THose who have most refined, and criticiz'd upon Technical notions, seem to distinguish what we com­monly name Sculpture into three several Arts; and, to attribute specifical defferen­ces to them all: For there is, besides Scul­ptura [Page 2] (as it relates to Chalcography) Scalptura (so Diomedes) and Caelatura; Lib. 1. L. 3. c. 21. both which, according to Quintilian, differ from the first ratione materiae. For to make but a brief enumeration only: It was apply'd to several things; as to working in Wood, or Ivory, Tomice, the Artists, Desectores: in Clay, Plastice, Plastae: in Playster Paradi­gramatice, the Workmen Gypsochi. In Stone cutting Colaptice, the Artists Lithoxoi; and lastly, in Metals Glyphice; which again is Two-fold; for if Wax be us'd, A­gogice; If the Figure be of Cast-work, Chemice; Anaglyphice when the Image was prominent, Diaglyphice when hol­low, as in Seales and Intaglia's; Encolapti­ce when lesse deep, as in plates of Brasse for Lawes and Monumental Inscriptions; Then the Toreutice; Cael. Ro­dig. Antiq. Lect l. 29. c. 24. and the Encaustic for a kind of Enamel; Proplastice forming the future work ex creta, or some such matter, as the Protypus was of Wax for Efformation, and the Modulus of wood; not to omit the an­tient Diatretice, which seems to have been a work upon Chrystal, and the Calices Dia­treti (of which somewhere the Poet Mar­tial) whether emboss'd or engraven, as now with the point of a Diamond, &c. for I can onely name them briefly, the field would [Page 3] be too luxurious to discourse upon them se­verally, and as they rather concern the Statu­ [...]ry Art, Fusile and Plastic head, which would serve better to adorne some designe of Architecture, or merit an expresse Treatise, then become the present, which does only touch the Metalls, and such other materials as had not the Figure finished through all its dimensions; though we mght yet safely I think admit some of the Greek Anaglyptic's: Argentum asperum & pustulatum, and, as the Latines terme it, Ebur [...]pingue: for so the Poet, Ep [...]st ad Mocenium Expositumque alte pingue poposcit ebur, &c. Manutius calls them Dimidiae eminentiae, and the Italians do well interpret by Basso and Mezzo Relievo; hence the Figure is said stare, or exstare: for so Mart. Stat Ca­per, and Juvenal, stantem extra pocula caprum. As from the similitude, and perfection of the work, Vivere, Spirare, calere, it seemed to breath, and be living, as Virgil expresses it,

For in this manner they us'd to celebrate those rare pieces of Art, distinct from the [Page 4] Diagliphice, and Encolaptic more properly according with our purpose; and which may happly be as well express'd by Caelatura, and from the signification made a derivative [...] to dig, or make incision. I think Varro may have Scaptus [...]or Caelatus; as Cicero Scalptus, and Plinie, Scalpturatus; yet we rather follow them who derive Scalpo, Sculpo, from [...] and [...]; because the best Origination is to preserve the foundati­on in the antienter Languages, if the muta­tion of Letters be warranted, as here in [...] Scribo. The word in the Holy tongue [...] which imports an opening (because the Plate, Stone or whatever else materal they us'd aperitur aliqua sui parte, was some­where opened when any thing is engraven upon it) attests rather to the former Etymon, and signification, then to any other materi­al affinity; besides that 'tis also transferra­ble to those who carve with the cheezil, or work in Bosse with the Puntion, as our Sta­tuaries, Goldsmiths and Repairers do. In the Glosse we meet with Caelum [...] &c. which though some admit not, so freely in this sence; Lib. 8. yet Martial, speaking of Emboss'd Cups more then once calls them Toreumata.

Miratus fueris cum prisca Toreumata multum.

[Page 5] And why may not the Tori, Brawn, or Collops of fat be express'd by these raised Figures, and they Torosae plump, and (as the French has it) en bon point, as well as Fusil and Fictile ones? Some round Cheezil or Lathe perhaps it was; but we dare only conjecture: Others Coelum a Coedo which is to beat, strike, cut or dig; but by what pa­rallel authority of such a derivative we know not: Varro l. 4 de L. L. Varro yet e Coelo Heaven it self, reaching its Original from the very stars. [...] is another more consonant and har­monius with the antient [...] Kalangh, which imports to excavate and make hollow as it is frequently interpreted, particularly, 1 Reg. 6. 32, 35. where, what the Vulgar Latine renders Sculpsit; Vatablus makes Cae­lavit, and Junius Incidit, best of all correspon­ding with our purpose; and so in the famous wrought shield which Ulysses purchased by his Eloquence, Quintilian applies the word, Lib. 2. c. 18 In Caelatura clipei Achillis, & lites sunt & actiones: For so it seems to have been much used on their Harnesse; Livy reports of two famous Armies so represented: Liu. hist. l. 9. Or as more allusive yet to our plate, where 'tis said, Cae­latura rumpit tenuem Laminam, if the question be not rather, whither these works, like the Ancaesa Vasa, were not rais'd and em­boss'd, [Page 6] those expressions of Plinie so much favouring their Eminency, where he tells us, speaking of this very Art, ita exole [...]it, ut sola jam vetustate censeatur usque adeo attri­tis caelaturis, ne figura discerni possit, time and age had so greatly defac'd them.

But, may this suffice for the Division, and Denomination of the Art in general; since the Title which we have made choice of, is Universally applicable: for so lo­quendi consuetudine in ordinary discourse Sculptura, and Scalptura import but one, and the same thing, as Salmasius has well no­ted on Solinus; and therefore those who wrought any of these hollow cut-works, were by some call'd Cavatores, and Gra­phatores, sayes that Learned Person, whence doubtless, our Gravers may have deriv'd their Appellation.

By this then it will not be difficult for any to define what the Art it self is; whither consider'd in the most general and comprehensive acceptation; or, as it concernes that of Chalcography chiefly, and such as have most Affinity with it; since (as well as the rest) it may be describ'd to be an Art which takes away all that is super­fluous of the Subject matter, reducing it to that Forme or Body, which was design'd in the I­dea [Page 7] of the Artist. And this, as sufficient­ly Universal; unless in favour of the Pla­stic (which yet does not come under our Cognizance) we will rather receive the distinction which Michael Angelo was us'd to observe between them, That this last was made by Apposition, which is the quite contrary. But indeed, neither the Paradig­matic, Agogic, or any of the Plastic, can Ge­nuinely, and in Propriety of speech be call'd Sculpture, without a Catachresis and some Vi­olence; since, nullum simile est id em, whither applied to the Matter, or the Tools. And now we speak of Instruments, we shall find that there has been little less controversie amongst the Grammarians, touching them also, then concerning the very Art it self: As whither the [...] Style, or Scalprum is to be call'd Caelum, Caeles, or Caeltes; no­ted by the Critics from that Text in 19. Job. Quis mihi det, ut exarentur in Libro Stylo ferreo, aut plumbi Lamina, vel Caelte scul­pantur in Silice? (where by the way, 'tis observ'd, that this verse comprehends, and alludes to, almost all the sorts of antient Writing and Engraving: Books, Plates, Stone, and Stile) and from an old Inscripti­on out of Aldus, and Greuter, Martial, Au­sonius, and the Poet Statius use Coelum fre­quently. Epist. [...]6 [...] Laboriferi Sta [...]. l. [...].

but we will be sparing. [...] as [...]unius: Theocr. Thucyd. Also [...] as much as [...]; so is [...] and [...] in Pollux. Scalprum, is [...] with the same Junius Graphium; Lastly, Stylus [...], in Sui­das, [...] the same Pollux; call them Point, Stile, Graver, Punction, Polisher, or what else you please, we will contend no farther about it; For these Instruments (as despicable as they appear) have sometimes proved fatal and dangerous Weapons; as the blessed Cassianus found by sad experi­ence, whose cruel Martyrdom with these Stiles is gloriously celebrated by Prudentius, [...] Hymn. IX. And thus was also Erixion slain, for his unnatural affection, by the enraged People, with other exam­ples to be produc'd out of Seneca, Plutarch, Sueton, and others: For, when upon seve­ral of those disorders, [...] (or the carrying about them any Weapons of Iron) was made Capital; they did mis­chief with these Instruments, till like Chil­drens knives, they were converted into Bone, which did only serve them to write [Page 9] withall, and Arare campum cereum, to plough up their Superinduced Tables, and [...]erei Pugillares; not much unlike to our Etching with points, and Needles on the Vernish, in Shape, and use resembling them, save where the obtuser end was made more deletive, apt to put out, and oblite­rate, when they would Stylum vertere, which our Burnisher (another Tool us'd by Chal­cographers) and Polisher performes. But to descend to the modern names both of the Art and Instrument: the French call it in parti­cular Taille douce, Sweet, or tender cut; whither wrought with the Burin (for so they tearm the Instrument which we the Graver) or, with Aqua Fortis. The Itali­ans, [...], or stamp, without Adjunct, and [...] which is doubtless the more antient [...], as prompting the use both of the Point, Needle, and Etching in A. Fortis, by some so happily executed, as hardly to be discern'd from the Bolio, or Graver it self: But the main difference is this, That with the Burine one cuts the peice all at once out of the plate, immediately; whereas, with the point, or stile, we only cut the Ver­nish, razing, and Scalping as it were, the Superficies of the Plate a little, which af­terwards the A. F. corrodes and finishes: [Page 10] A rare Invention, new, expeditious, and wholly unknown to the past Antiquity. Burine then from Bolino; and why not? yea doubtless, this from [...] the Modern name of a Seal, and Instrument of making Seals. To this we might also add [...], Cheret: And we find Charasch, and Charath of the same import with [...] and [...] in the Greek, as Mr. Adam Littleton has acutely observ'd in his Complexion of Roots: But least too much of this Stuffe should (as Theocritus on another occasion) stiles it, [...] smell of the Burine; we will here make an end with hard names, the Pedantrie and various ac­ceptions of the words; and in the Chapters following endeavour to investigate the Ori­ginal of the Art it self, and discourse some­what of the Progress it has made, to ar­rive at this perfection: For it is not to shew how diligently we have weeded the Cale­pines, and Lexicons (amongst all which there is none over fertill upon these Arts, or so well furnish'd as we could have wish [...]d) but the result of much diligent collecti [...]on, produc'd out of sundry Authors to meet in this Chapter, for the ease, and instruction of such as may possibly encounter with difficul­ties in the Course of their reading such [Page 11] books as treat of the Mechanical or more Liberal Subjects; And, that there might be nothing of deficient as to our Institution, seeing it behoov'd him that would deduce an History ab origine, to let nothing escape that was in the least or usefull, or instructive.

WE shall not with Epigenes in Pliny, L: 7. c. 6. depose that this Art had its being from Eternity; because it is not sence, and would contradict its invention; but, if that may passe which St. Augustine affirmes, that the Protoplast our Father Adam, L. 18. de Civit. Dei. c. 38. or (as o­thers) his good Genius the Angel Raziel, were the first inventor of Letters, Scul­pture may derive its Pedegree from the in­fancy of the World, and contend for its Pre-eminence with most of the Antiqui­ties which it so much celebrates. For, that there went several books about (some where­of had been long since read in the Primi­tive Church) bearing his venerable Name; as that which Epiphanius and others cite, [Page 12] ex libro Behu, de Poenitentia Adae, Adae R [...] ­velatio, &c. we have no reason to contra­dict: And Tho. Aquinas in his Treatise De ente & essentia, speaks of a Volume of Plants described by Adam; and there are Traditions of a whole Natural History, with several other works of this most Learned of all Men living, as Suidas doubts not to call him; nor do we think that his unhappy Fall did so much concern his rare and infus'd Habits, as not to leave him the most accom­plish'd, and perfectly instructed in all those Arts, which were so highly necessary, and therefore thus early invented; though whither these Books of his were so mira­culously found out, and preserv'd by the re­nouned Trismegistus, we leave to the more credulous: But that Letters, and consequent­ly Sculpture, was long before the Flood, we make no scruple of: Suidas, whom but now we mention [...]d, is peremptory, ascribing (as was affirm'd) both Letters, and all the rest of the sciences to Adam [...] &c. We shall not add hereunto, what the Rabbins assert he compos'd of the prae­cepts given him in Paradise, with the like trash; but pass from these conjectures to others of the Antediluvian Patriarchs men­tion'd [Page 13] by Josephus, Cedrenus and some o­ther Authors, concerning the Sculptures in [...]tone, and Brick, erected at Joppa, contain­ing (as some depose) the Sideral, and Celestial Sciences, proofe against the two most devouring and subverting Elements, and lasting some thousands of years after the Universal Cataclysm. The Aethiopians are said at this day to glory much in posses­sing the Books of Seth and Enoch, as those who have lately written of the Abyssines re­late. Origen, St. Augustine, and Hierom have likewise made honourable mention of them; and Tertullian plainly reproves those who (in his time) thought they could not be preserved; Tertul. de habit. mu­lier. Noah, being himself one of the great Nephews of Seth; and the proba­bility that these Antient Men of renoun, would transmit to Posterity the glorious Actions and Atchievements which they had perform'd; especially Cham (that is Zoroaster) a Spirit so Universally curious, and flourishing above an hundred years be­fore this publick Calamity. But to apply this to the honour now of Chalcography, and justifie our design; The Author of the Scho­l [...]i [...]al History upon Genesis speaks of this Z [...]roasters ingraving the Liberal Arts on fourt [...]en Colomns, seven whereof he affirms [Page 14] to have been of Brasse, and the rest of Brick▪ The same is also reported by Serenus, Apud Cassia­num. where he adds diversorum Metallorum Laminis, to­gether with some other Inscriptions thus pre­served, and which the noble and learned Earl of Mirandula in a certain Epistle of his to Marsilius Ficinus boasts to have the possession of: His words are these, Chaldaici hi Libri sunt, si Libri sunt, & non Thesauri: Audi inscriptiones: Patris Ezrae, Zoroastris, & Melchior Magorum oracula. In quibus, & illa quoque, quae apud Guaecos mendosa, & mu­tila circumferuntur, leguntur integra & abso­luta, &c. The Books (saith Picus) if books it be lawful to call them, and not rather most inestimable Treasures, are all in the Chaldy tongue: Observe their Titles: The Oracles of those famous Magi, Ezra, Zo­roaster and Melchior; in which those parti­culars also which have been carried about by the Greeks, maim'd and miserably corrupted, are here to be read perfect and intire.

Concerning the Art of Sculpture immedi­ately after the Flood, there are few we sup­pose make any considerable question, as that it might not be propagated by Noah to his posterity; though some there be, that in­deed admit of none before Moses; but what then shall we think of that Book of the Warrs [Page 15] [...]f the Lord, which this sacred Author men­tions Num. 21? not to insist upon the 88. [...]nd 109. Psalmes, by many ascrib'd to some of the Patriarchs his Predecessours. The above mention'd Mercurius Trismegistus, three hundred years after the Flood, and long before Moses, engrav'd his secret, and Mysterious things in Stone, as him­self reports; reforming what had been de­praved by the wicked Cham; some in Let­ters, some in Figures and Enigmatical Cha­racters; such happly, as were those con­tain'd in the magnificent, and stupendious Obelisks erected by Misra the first Aegyptian Pharoah, which being at least four hundred years before Moses (as the most indefatiga­ble Kirker has computed) does greatly pre­sage their Antiquity to have been before that holy Prophet. Obelis, Pham­phil: But not to put too much stresse upon superannuated Tradition, this we are sure is of Faith, and without contro­versy; That in Moses we have the Tables of stone, engraven by the Finger of GOD him­self; where the commandement is expresse, even against the abuse of this very Art, as well as an instance of the Antiquity of Ido­latry attesting that of Sculpture: THOU SHALT NOT MAKE TO THY SELF ANY GRAVEN IMAGE. Exod. [...]. But this which [Page 16] is indeed the first writing that we have Scri­pture to vouch for, do's yet presuppose En­graving to have been of much greater Anti­quity: What else were the Teraphim? What the Penates of Laban stollen by Rachel? The Idols of Terah? or the Aegyptian? &c. But we forbear to expatiate, onely that which is by Ben. Syrac somewhere in Ecclesi­asticus delivered, that the Original of Idola­try was from images to preserve the memo­ry of the Dead; as in processe of time by the Flatterers of great men it was turn'd to be an object of Adoration, Se Sap. c. 14. plainly inferrs, Graving to have been Elder then Idola­try.

But now to recover its esteem again be­yond all prejudice (how ever by others a­bus'd as indeed many of the best things have been) it was (we know) imputed for a spiritual talent in Bezaleel and Aholiab, [...]1. Exod. who made Intaglias to adorne the High Priests Pectoral. And we have said how the Ae­gytians reverenced it, as seeming to have us'd it before Letters; or rather their Hiero­glypics (importing sacred Sculpture) were those Elements by which they transmitted to posterity what they esteem'd most worthy of Record; and not (as some have ima­gin'd) wrap'd up in those Enigmatical Fi­gures, [Page 17] the secrets of their Arts both Divine a [...]d Secular: For

whence Tacitus calls them Antiquissima mo­numenta memoriae humanae impressa Saxis. Such as were also the Horapollinis [...]otae, and all those other venerable Antiquities of this na­ture transported to Rome out of Aegypt, in no less then two and forty prodigious O [...]e­lisc's, of late interpreted by the industrious Kirker before cited. Suidas attributes the invention to the Father of the [...]aithful; others to Theut or Hermes, some to Cadmus and the Phoenicians. Bibliander will have Let­ters and Sculpture from Adam; Josephus from Henoch; Philo from Abraham; Euse­bius from Moses; Cyprian from Saturne, where, by the way; because 'tis said he did Litteras imprimere, Peter Calaber (who much affects to call himself Pomponius Laetus) foo­lishly deduces, Vossius in Art Hist. that even the Typographical Art was known in the Age of this Hero; but thence (as we said) it descended to the Aegyptians by Misraim, and so was commu­nicated to the Persians, Medes and Assyrians, [Page 18] thence to the Greeks, and finally, to the Ro­mans from whom it was deriv'd to us, as Pe [...]er Crinitus in his 17th. book de Honesta Disciplina, Cap. 1. out of a very antient MSS. Bibliothecae Septi­mianae seems to deduce, and thus summe them up together.

Now, should all this but relate to the se­veral Characters only, it shall yet serve ou [...] purpose; since whoever was the inventor of Letters, was also doubtless the Father of Sculpture, as is apparent, if not by the for­mer colomns erected by Seth (one whereof Angelus Roccha in his Bibliotheca Vatican [...] presumes to have been of Brasse) by several other instances; the writing with Ink, in Paper or Parchment, being altogether a no­velty in comparrison to the more antient formes and materials such as were the Slit­stones, or Slates which succeeded the stately [...]arbles, and preceeded the thinner leaves of Bark, and Tablets of Wood, which from the [Page 19] German Bucher, signifying the Fagus or Beech-tree, (whose Fruit do's still with us retain the name of Buch-mast) were called Books, to whatever voluble or folding mat­ter applyed: For before the invention of Paper, they us'd the leaves of Palmes, as Varro de Sibylla: then the Rinds of Trees; afterwards sheets of Lead, Linnen, Wax, and Ivory, as Plinie and Vopiscus tell us; They writ in Silk amongst the Persians and Chineses; and lastly, were invented Parch­ment and Paper. But whether in all these, or whatever the Subj [...]ct were (some few latter excepted) it was still by Insculping, Scarrifying, and making a kind of Incision in­to it; especially intending to consign to posterity their Lawes, divine and humane, Roman, Aegyptian, or Hebrew: For so of Old

according to the Poet. Thus were the Hie­ronicae preserv'd in the Temple of Olympian Jove, and the Roman Consuls in the Capitol; and as by those innumerable Inscriptions of irrefragable, and undeniable Antiquitie do's appear.

[Page 20] We have already computed how pro­bable it is, that Sculpture was in use in Aegypt somewhat before, or at least as soon as the Patriarch Abraham set his foot there: But the lesse discerning Greeks who receiv [...]d it from the Aegypti­ans, could tell us of no writings of t [...]eirs extant before Homer, if we will give ear to Josephus, before that of Iatian (a learned Assyrian, and contemporary with Just in Martyr) where he affirmes [...], &c. Where we have no lesse then seven­teen Graecians nam'd elder then Homer. There are also enumerated the names of twenty Argive Kings from Inachus to Aga­mem [...]on, which strongly infers the means of Recording by Sculpture and Writing to have been very ancient. For so we read that the Poems of Hesiod were ingraven in Lead. Aristotle mentions Daphne a certain Devotresse of Apollo; [Page 21] Sabinus, and Diodorus many others. But when, or whoever it were, thence (as we said) it travell'd into Greece, that Theater of the Arts, where it soon arriv'd to the supreamest height of perfection, when being applied to the forming of Figures, it was celebrated by all the Witty men of Those, and the succeeding Ages. Homer tells us of the engraving in the Shield of A­chilles; Iliad 3. Metam l. 3. l. 3. c. 3. Hesiod that of Hercules; not to mention the Sculptures upon the Charriot of the Sun, described by the Poet, because it is altogether fictitious, though extreamly in­genious, and whence happly they might have their Vehicula Caelata mention'd by Q. Curti­u [...]. But whither now these antient and fa­mous pieces were hollow, like those of our Burine, or the work of our Cheezil and re­pair'd Embossements, might seem a difficul­ty to resolve from the frequent interpretati­ons we attributed to the Verbe in the former chapter; if what we have here attested con­cerning the Antiquity of Letters, and con­sequently of flat incisions, pronounce not for its preheminence, however this may appear to the more judicious. Add to it, that both Plastica (whatever others may fancy) unless we will ascend to the divine figulation of the first breathing Statue that was ever form'd [Page 22] (and with Pliny, derive it to be before, an [...] the Mother of Sculpture) and the Anaglyptic Art, (not produc'd in the World 'till about the time of Belus, and the beginning of Gentilisme) were not 'till long after the use of Letters, if Enochs Prophesy were not pre­served by unwritten tradition, and the for­mer Apocryphal Monuments have other foun­dation then the Wit of the Rabbins, which we can by no means assent to in the generall. Besides, if we apply it to Intaglia's in Stone, seals, and the like, for having been almost coevous with Rings (what was else the Sig­net which Judah left with his Daughter Ta­mar?) 38. Gen. [...]8. it questionless derives its Original before any History at present extant in the World, Divine or Humane, was commit­ted to writing▪ Of which he who has a thirst to satisfie his Curiosity farther, may consult Gorlaeus, or Fortun. Licetus de Annulis Anti­quorum; Where also concerning their Scul­pture, first in Iron, then in Gold, other Me­tals and Stones; and of which might very much be added, both touching their dignity, signification, and how they came at length to be worne so universally. Something we might here likewise insert of their Constella­ted Figures, or Talisman's, long since engraven upon certain Instants and Periods of the Suns [Page 23] ingresse into such, and such particular signes of the Zodiac, treated of by Francis Rueus the Physitian, Tralianus, and instar omnium, by the learned Gaffarel at large; but we hasten to that which followes.

WE have now done with the Original, and will next endeavour to investi­gate what progress it has made amongst those glorious and universal Monarchs, when Sculpture and all other noble Arts were in their Ascendent and highest reputation; I mean the Greeks and the Romans; For to the first do's Herodotus appropriate the per­fection of this art, not admitting it to have arriv'd at the latter till about the time of Spurius Cassius, when Baptist Alberti ascribes it to his country men the Tuscans.

Those who have well survei'd the Natu­ral History of Pliny will easily commute for [Page 24] the Omission, if out of pure indulgence to their eyes only, we forbear the transcribing of at least three or four intire Chapters, indu­striously bau [...]king those ample and luxurious Fields of Statues, as under the Fusile and Plaistic head; l. 33. c. 8. l. 34 c. 12 l. 30. c. [...] because it suites not wit [...] ou [...] present design and institution: For to passe over the Figures in Metal, those of Gyps [...] and other materials; The Sculptores Mar­moris were so many, and the Greeks so ex­travagantly fond of their works, that at Rhodes alone, that small Island, were no lesse then 73000 Signa; nor were there fewer at Athens, Olympia, Delphi and seve­ral other Cities, whereof whole Armies of them were transferr'd to Rome, after Achaia had been conquered by L. Mummius, at which period the Greek Arts began to Rise, and be in such reputation amongst them; and This to so high an excesse, as Pliny records of his Age, that there were almost as many Statues as Men, by a kind of noble contention (sayes Sr. H. Wott [...]n) in point of f [...]rtility 'twixt Art and Nature, Element. Architect Instaurat. Scient. and which He, and my Lord Bacon improves to a politique, as well as altogether an expence­ful magnificency. It shall then suffi [...]e that we be sparing in these Instances, and keep our selves to those workes and Intaglia's only, [Page 25] which do nearest approach our design; of which sort may be esteem'd those [...] mention'd by Pliny, in which Art that famous Pyrgoteles did so excell, as made Alexander the great ordain, that none should presume to carve his Effigies save him only; to paint or cast him, besides Apel­les and Lysippus,

Had Queen Elizabeth been thus circumspect, there had not been so many vile copies mul­tiplyed from an ill Painting; as being call'd in, and brought to Essex-house, Where my L. of [...] then li­ved. did for se­veral years, furnish the Pastry-men with Peels for the use of their Ovens.

We wish the same might please his Ma­jesty, and that none save such as for their ex­cellent tallent had particular indulgence, might any more dare to represent his sacred person in painting, or Carving, then in his Coy [...]e and Royal Signature: For it is seriously a reprochfull thing only, to behold how it is profan'd by the [...]and of so many vile, and wretched Bunglers (they deserve not the name of Workmen) as blush not daily to expose their own shame, in so precious and reve [...]'d a Subject: And that the Heads of [Page 26] Kings and Heros should be permitted to hang for Signes, among Cats, and Owles, Dogs and Asses, at the pleasure of every Ta­vern and Tippling-house, we have frequent­ly stood in admiraion of: But so did not that of Alexander as we noted; nor would Au­gustus make himself cheaper, then that great Master of his time, Dioscorides pleas'd, whom he particularly chose to preserve, and derive his Divine Effigies to the after Ages, and to the honour of his memory, by what he left in those Signets, and other Stones which he cut for that renown'd Em­perour. Thus Sculpture began to be most e­minent in Stones and Gemms, Auro, Argento, Aere, [...]erro, Ligno, Ebore, Marmore, Vi­tro, &c. As this Author affirmes; where discoursing of the famous Works were left by the Masters of note upon record in his time, he seems to ascribe the Invention to one Dipoenus, and Scyllis; For we shall not here ascend so high as Promotheus, or speak much of Ideocus, Eucirapus, Lysistra­tus, Demophilus, Dedalus, Leochares, Policar­mus, Myrmecides, and innumerable others: It would be tedious (as we said) to tran­scribe the names but of the Peices only, of all those renowned Men whom he there celebrates for their engravings on [Page 27] Armour, Cups, Rings, Glass, even to the very [...]igulina Vasa caelata, such as Cotys brake of purpose, least some other unexpected acci­dent or mischance might put him into passion, Plut. in Apotheg. as Plutarch tells the Story: Hydriae, and water pots were thus wrought, and Pliny speaks of the Engraving even of Bread: 'Tis yet observable, that very few were found who took any pleasure to en­grave in Gold (as we conceive) being too soft a Metall; but multitudes that wrought in Silver; especially, the famous Mentor of whose Work Varro affirmes he had a piece in his possession, which he infinitely valu­ed; for, it seems, he had never finish'd a­bove eight, which were most of them lost. Two more of his Cups had L. Crassus the Orator, priz'd at C. HS. Confessus est tamen se nunq [...]am his uti, propter verecundiam au­sum; so rich it seems, and magnificent they were, that even this great person professed he never durst make use of them out of pure modesty, and to avoid the censure of being thought too Luxurious: Martial de­scribes another, where a Lizard was so lively represented, Men were afraid it would bite.

Next to Mentor, was Acragus, Boethus, [Page 28] and Mys, whose Master-piece was expos [...] at Rhodes; especially those glorious Vas [...]s, and Goblets of the Bacchanalia, engrave [...] by the foremention'd Acragus, and of Bes­cage, Chases, and Hunting: Famous also were Calamis, Antipa [...]er, and Stratonicus, who engraved the Satyr Sleeping, a stupen­dious piece of Art; Then there flourish'd Tauriseus of Cizi [...]um, Aristus, Eunicus both of them Mi [...]le [...]ans: Likewise Hecates, and the renowned Praxiteles about the time of Pompy: Posidonius of Ephesus, and Ledus fa­mous for representing of Battails, &c. To be brief (for their Works are endless) Zo­pirus, who engrav'd the Court of the Are­opagi in a Cup, and the trial of Orestes: After him lived Pytheus and several others too long here to recite. Nor were all these Gravers in flat; but, as we said, in Relievo some of them, and more approching to the Statuary; Besides such as were excellent Medaillists from Augustus, Caligula, Claudius, Nero, Galba, &c. down to the Reigns of Commodus, and Pertinax; for from Severus it greatly decay'd, and the most tollerable engravings of the former, lasted but to Ner­va, the best being those which were cut, and stamped in the time of Caligula, Clau­dius, and Nero, about which period Sculp­ture [Page 29] beginning to degenerate in Greece, it travell'd and came to Rome now opulent and victorious. But after the [...]e, and the for­me [...]y recorded by Pliny, there were not ma­ny who left either Name, or Work famous to Posterity: For, besides that the Monar­chy was soon broken and disorder'd; the later Empp▪ became less Curious, Rich and Magnificent; so as even in the time of the Great Constantine it self, Ar [...]s began mani­festly to degenerate: But, when afterwards the Goths and Saracens had broken in upon the Roman Empire, and made those horrid devastations, they were in a manner utter­ly lost; as the Reliques which they left in Statuary, Sculpture, Architecture, Letters, and all other good Arts do yet testifie. It is true, that the ruder Danes, and Norvegians had in th [...]se times their Runic writings, or engraven Letters, as in their Rimstoc or Primstaf; some square or long piece of board, or Staff, having an Almanac carved on it: So they engrav'd their Letters on Bones, either whole, or Sliced, and bound up together, like our Tallies; also upon Jaw-bones of the greater Fishes, taken on their Coasts: And Wormi [...]s in Fast. Dan. L. 1. chap. 18. mentions Danish Hierogly­phics, on the Tombs of their old H [...]r [...]'s; [Page 30] Lyons, Bears, Horses, Dogs, Dragons Snakes, &c. wrought on the hardest Rock [...] together with Runic Characters; so as these Nations seldom travell'd without their Graef, or Graef-Saex, a kind of point or stiletto, with which they us'd to carve out Letters and o­ther Figures upon occasion; but it was yet so rude, and their Gusto so depravd, [...]hat they demolish'd, and ruin'd all those goodly fabricks, and excellent Works, whereever they became Masters, introducing their lame, and wretched manner, in all those Arts which they pretended to restore, even when now they became a little more civi­liz'd by the conversation of the more po­lish'd and flourishing Countries: For it was not any general, and imaginary decay, which some have conceited to be diffus'd up­on the universal face of Nature, that the succeeding periods did not emerge, or at­tain to the excellency of the former Ages, antient Masters, and renowned workes; but to the universal decay of noble, and heroic Genius's to encourage them. Priscis enim temporibus (saies Petronius) cum adhuc nuda placeret virtus, Satyr. Vigebant Artes ingenuae, summumque certamen inter homines erat, ne quid profuturum saeculis diu lateret; Itaque omnium Herbarum succos Democritus expressit; & [Page 31] [...]lapidum Virgultorumque vis lateret, aetatem [...]iter experimenta consumpsit: Eudoxus quidem [...] cacumine excelsissimi montis consenuit, ut Astrorum Caelique motus deprehenderet: & C [...]ry [...]ppus ut ad inventionem sufficeret, ter Helleboro animum detersit: Verum, ut ad plastas converta [...] (which comes nearest our in­stance) Lysippum statuae unius lineamentis in­haerentem inopia exstinxit; & Myron, qui paene hominum Animas, Ferarumque Aere compre­henderat, non invenit heredem. At nos Vino, scortisque demersi, ne paratas quidem artes aude­mus cogn s [...]ere, sed accusatores antiquitatis, Vitia tantum docemus & discimus, &c. He concludes; N [...]lito ergo mirari, si pictura de­fecit, cum omnibus Diis Hominibusque formo­sior videatur massa Auri, quam quicquid Apel­les, Phidiasve, Graeculi delirantes fece­runt.

And if thus even in the greatest height and perfection of the Sciences, the eloquent Satyrist could find just reason to deplore their decadence, and censure the vices of that age; what shall we say of ours, so mi­serably declining, and prodigiously degene­rate? We want Alexanders, Augustus's, such as Francis the I. Cosimo di Medice [...], Charles the V. those Fathers, and Mecaenas's of the arts, who by their liberality and af­fection [Page 32] to Virtue, may stimulate, and provoke men to gallant exploits; and that being thereby once at their ease from the penurie, and necessities which depresse the noblest mindes, they might work for glory, and not for those trifling and illiberal rewards, which hardly would find them bread, should they employ but half that time upon their studies, which were requisite to bring their labours to the supremest perfection; since according to that saying, [...] [...] Nothing which is great can be done without leasure: If a quarte [...] of that which is thrown away upon Cards, Dice, Dogs, Mistresses, base and viti [...]us Gallanteries, and impertinent follies, were im­ploy'd to the encouragement of arts, and promotion of science, how illustrious and magnificent would that age be; how glori­ous and infinitely happy? We complain of the times present, 'tis We that make them bad; We admire the former, 'tis the ef­fect of our Ignorance only; and which is yet more criminal, in that we have had their examples to instruct, and have made them to reproch us: Pardon this indignati­on of Ours, O ye that love vertue and cul­tivate the sciences!

To returne to our Institution again: Scul­pture [Page 33] and Chalcography seem to have been of much antienter date in China then with us; whereall their writings and printed Records were engraven either on Copper plates or cut in Tablets of Wood, of which some we possesse, and have seen more, repre­senting (in all pictures) Landskips, Sto­ries, and the like. Josephus Scaliger af­firmes that our first Letters in Europe were thus cut upon Wood, before they invented the Typos aeneos; instancing in a certain Ho­rologium B. Mariae, Hist Chin part▪ 1. cap 7 which he sayes he had seen Printed upon Parchment a great while since: But Semedo would make the World believe that the foremention'd Chinezes have been possess'd of this invention about sixteen hundred years, some others a [...]irme 3700. However, that they were really Masters of it long before us, is [...]universally ageed upon; and is yet in such esteem a­mongst them, that the very Artizan who compounds the Ink for the Presse, is not accounted amongst the Mechanic professors; but is dignify'd with a liberal Salary, and particular priviledges. They also engrave upon stone, and imprint with it; but with this difference in the working-off; that the paper being black, the Sculpture remains white. More admirable is that which they at­test [Page 34] was found in Mexico, and other place [...] of the new world, where they Hierogly­phiz'd both their Thoughts, Histories and inventions to posterity, not much unlike to the Aegytians, though in lesse durable, and permanent matter: The same likewise Jo. Laet affirmes of the Sculpture among the Acadiae, and those of Nova Francia; so natural (it seems) and useful was this art, even to the least civiliz'd amongst the Heathens: And there is indeed nothing at which we more admire, and deplore, then that this facile, and obvious inven­tion; and which would have transmitted to us so many rare and admirable things, was never hit upon among the Greeks and inventive Romans, who engrav'd so many Inscriptions both in Brasse and Marble; im­pressed and publish'd so many thousands of medails, and coynes as are in the hands and collections of the Virtuosi, and the bowels of the Earth, whereever their conquests ex­tended themselves, or Eagles display'd their wings.

THe Art of Engraving and working off, from Plates of Copper, which we call Prints, was not yet appearing, or born with us, till about the year 1490. which was near upon 50 years after Topography had been found out by John Guittemberg; or who ever that lucky person were (for 'tis exceedingly controverted) that first pro­duc'd the Invention. There is a collection of antient Offices adorned with several Scul­tures (if so we may terme those wretched Gravings in the infancy of this art) where the Devil is but one great blot (as indeed he is the Foulest of the Creation) and the rest of the Figures Monochroms as ridiculous and extravagant; though still as the invention grew older, refi­ning and improving upon it. One of the antientest Gravings which we have seen, to which any mark is appos'd hath M. 3. and [Page 36] M. C. in one of the corners of the plates and it was long that they used the initia letters of their names, only, and sometimes but one; as in those of Lucas. Albert D [...] ­rer did frequently add the year of the Lord, and his own age from ten to four­teen, &c. performing such things as might shame most of the best Masters, for the true and steady design, the incomparable proportion, and stroake of his Graver: But Israel, Martin Schon, and the Todesco (wh [...] is by some sirnamed The Master of the Can­dlestick, because of the foulnesse of his Ink) were of the very first, as far as we can col­lect, who published any works of this kind under their names, wrought off by the Rolling-Presse, and whose slender attempts gave incouragement to those who have succeeded.

George Vasari, who has been exceeding­ly curious in this enquiry, attributes the first invention of this Art to one Maso Fini­guerra a Florentine, about anno 1460, which exceeds our former computation by 30. years; but then we are to consider by what progresse and degrees; for it was first only in Silver, to fill with a certain Encaus [...]ic or black Enamel, which it seems gave him the first hint how to improve it in plates of bras [...], [Page 37] which having engraved, he did only fume, taking off the impression with a moyst pa­per and a Rolling pin. This mean com­mencement was yet afterwards pursu'd by Baccio Baldini a Goldsmith, his Country man, whose works coming to the sight of Andrea Mantegna in Rome, invited that great Painter to give him some designes of his own for his encouragement; and from thence it travell'd into Flanders to one Martine of Antwerp, whose works (as we observ'd) were usually countersign'd with M. the first whereof were the five wise and five foolish Virgins, and a Crucifix, which was so well cut, that Gerardo a Florentine Painter would needs copy it: After this he published his four Evangelists, our Saviour, and the twelve Apostles, a Veronica, S. George, Christ before Pilate, an assumption of the B. Virgin, one of the rarest that ever he did; besides that St. Anthonies temptation, which was so well performed, that Michael Angelo (exceedingly ravished with it) would needs wash it over with his own hands.

The next that appeared of note was the formerly mention'd and renowned Albert Durer, who flourished about the years 1503. and who had performed wonders both in [Page 38] Copper and Wood, had he once fortun'd upon the least notion of that excellent manner, which came afterwards to be in vogue, of giving things their natural distan­ces, and agreeable sweetnesse, the defect of which Sir H. Wotton does worthily perstringe both in him, Element of Archi­tect. and some others. But to proceed, Albert being very young set forth our Lady, some designes of Horses after the life; the Prodigal, S. Sebastian in little, a Nymph ravished by a Monster; a Woman o [...] Horseback, Diana chastising a Nymph who flies to a Satyr for protection, in which he discovered his admirable talent and skill in expressing Nudities: A Country man and Woman playing on Bagpipes, with Poultry, &c. about them. Venus, or the temptation of the Stove; his two St. Chri­stophers, rare cuts. After that, he engraved several Stamps in Wood, proof whereof he gave in the decollation of St. Jo. Bapt. with Herodias, Pope Sixtus, St. Stephen, Lazarus, S. George, a passion in great, the last supper, Christs apprehension in the Garden, descent into Limbo, and Resur­rection, with eight more Prints of this subject, which are held to be spurious: All these be published anno 1510. The year following, he set forth the life of our [Page 39] Lady in twenty sheets rarely conducted. The Apocalyps in fifteen sheets, of which the Painters have made sufficient use; Christ bemoaning our sins; Then applying himself to grave in Copper again, he pub­lished his Melancholia, three different Ma­donas, with thirty pieces besides concern­ing the passion, and which being afterwards imitated by that rare Artist Marco Antonio (who had procur'd them at Venice) and published for Originals (so exactly it seems they were perform'd) did so insense Albert, that he made a journey to Venice expresly to complain of the injury to the Senate, and obtain'd at last, that M. Antonio should no more be permitted to set his mark or Plagia, which was all he could procure of them. Another emulator of Alberts was Lucas van Leyden, whom at his returne into Germany he found had well neer over­taken him for the sweetnesse of his Burine, though something inferiour of design: Such were a Christ bearing the Crosse, and ano­ther of his Crucifixion, Sampson, David on a horse, the Martyrdome of S. Peter, Saul, and David, the slaughter of Goliah, the famous Piper, Virgil's, and some other heads, all which works did so inflame his Anto­gonist Albert, that in a laudable revenge, [Page 40] he publish'd his arm'd Cavalier or Dream, in which the brightnesse and lustre of the Armour and Horse is rarely conducted: Then in the year 1512 he set forth six other small stories of the passion, which Lucas also imitated, though hardly reach'd: Then a S. George, Solomons Idolatry; the Baptisme of our Lord, Pyramus and Thisbie, Ahasu­erus and Hester, &c. These again incited Albert to publish that Temperantia, whom he elevates above the clouds, S. Eustathius and the Hart, a most incomparable cut; his Deaths head in a Scutcheon, and seve­ral German Coates full of rare Mantlings and invention. Also S. Hierom, a Christ and twelve Apostles in small: anno 1523. many heads, as that of Erasmus, Cardinal Albert, the Imperal Electors, and his own, with divers other.

Lucas again in emulation of these, set forth his Joseph and four Evangelists, the Angels appearing to Abraham; Susanna, David praying, Mordecay triumphing; Lot, the Creation of Adam and Eve; the story of Cain and Abel, viz. anno 1529. But what procur'd him immortal glory was his great Cruci [...]ix; Ecce Homo, and Conversion of St. Paul; in which he exceeded himself both for the work and ordinance; the [Page 41] distances being better conducted then Al­berts, and indeed so well observ'd, as gave light even to some of the best Painters that succeeded him; so much are they oblig'd to this Art, and to this rare Workman: He graved also several Madona's, our blessed Saviour and Apostles; together with divers Saints, Armes and Mantlings, a Mountebanc and many more.

But to return now into Italy from whence we first sallied; in the time of Raphael Urbine flourished the renouned Marco An­tonio, who graved after those incomparible pieces of that famous Painter, to whom he was so dear, that the honour he has done him to posterity will appear, as long as that School of Raphael remains in the Popes Chamber at the Vatican, or any me­morial of it lasts; though to speak truth, even of this rare Graver, the Pieces which he hath published seem to be more estima­ble yet for the choice and imitation, then for any other perfection of the Burine; as forming most of his figures and touches of too equal force, and by no means well observing the distances, according to the rules of Perspective, that tendernesse, and as the Italians terme it, Morbidezza, in the hatchings, which is absolutely requisite [Page 42] to render a piece accomplish'd and without reproch.

We have recited above, what he Cop­pied after Albert Durer; But being at Rome, and applying himself to Raphael, he cut that rare Lucretia of his, which he per­form'd so much to satisfaction, that di­vers excellent painters desir'd him to Pub­lish many of their Works: This produc'd Urbines Judgment of Paris, at which the City was so ravish'd, that they decreed the Golden apple to Antonio, before the fair Goddesse: Then he set forth the Slaughter of the Innocents, Neptune, the Rape of Helena, all of them of Raphael [...] designing: Also the Martyrdome of St. Fe­lix in the boyling Oyl, which purchas'd him so much Fame and Credit; but this Excellent Painter would alwayes from that time forewards, have one of his Servants to attend only M. Antonio's Rolling-press, and to work off his Plates, which then be­gan to be marked with R. S. for Raphael Sancio, which was the name of Urbine, and with M. F. for Marco Fecit. Of these there is a Venus design'd by Raphael, Abra­ham and his Handmaid: After this he gra­ved all those round designes painted in the Vatican by the same hand; Likewise the [Page 43] Caliope, Providentia, Justitia, the Muses, Apollo, Par [...]assus, the Poets; Aeneas and Anchises, the famous Galatea all of them af­ter Raphael: Also the three Theological Vertues, and four Moral, Pax, Christ, and the Twelve: Several Madonas, St. Hi­erome, Tobit, St. Jo. Baptist, and divers o­ther Saints; besides many prints after the Cartoons of Raphael which had been de­sign'd to be wrought in Tapestry and Arras; as the story of St. Peter, Paul, Stephen, John, St. Catharine, and sundry heads to the life, &c. especially that incomparable one of Pietro Aretino the Poet: somethings like­wise being sent by Albert Durer out of Germany to Raphael, were upon his recom­mendation, afterwards cut by M. Antonio, together with the Innocents, a Coenaculum, and St. Cecilia's Martyrdom of Raphaels in­vention: Then he publish'd his twelve A­postles in little, and divers Saints for the help of painters, as St. Hierome, the naked Woman, and the Lyon, after Raphael, Au­rora, and from the Antique, the three Graces.

Marco di Ravenna was one of Antonio's Schollars, who had also together with Au­gustino Venetiano, the honour to dignifie his gravings with Raphels Cypher; though the [Page 44] latter often us'd A. VI. his own initia letters; of both their cutting are a Madona, with a Christus mortuus, and in a large sheet the B. Virgin praying, and a Nati­vity in great also: The Metamorpheses of Lycaon, a Perfumer, Alexander magnus, and Roxana, a Caena Domini, the Annuntiation, all design'd by Raphael, besides these were set forth two Stories of the Marriage of Psyche,; and indeed there was hardly any thing which ever Raphael either painted or design'd, but what were graven by one, or both of these Workmen; besides divers other things after Julio Romano, viz. all that he painted in Raphaels Lodge, or Gallery in the Vatican; some whereof are signed with M. R. and others with A. V. to shew they had been imitated by o­thers, as was the Creation; the Sacrifice of Cain and Abel, Noah, Abraham; the Passage over the red sea; The Promulga­tion of the Law; the fall of Manna, Da­vid and Goliah, which also M. Antonio had published before; as likewise the Temple of Solomon, his Judgment on the Harlots, the Queen of Saba's visit, and many other Histories collected out of the Old Testa­ment, all which were published before Raphaels decease: For after that, Augustino [Page 45] wrought with Bac [...]io Bandinelli, a scul­pter of Florence, who caus'd him to grave his Antonius and [...]lcopatra, very rare things, with divers other designs; as the slaugh­ter of the Innocents, divers Nudities, and Clad Figures; not to omit those excellent and incomparable Drawings and Paintings of Andrea del Sarto after which he graved; though in the Christo mortuo not altoge­ther succeeding so vvell as had been vvished.

But to come again to Marco Antonio (be­cause there is not a paper of his to be lost) after Raphaels death, did Julio Romano publish some of his own designes in print: I say, after his Death; for before, though he were an excellent painter; yet durst he never take the boldness upon him. Such were the Duel of Horses, a Venus which he had formerly painted: The penance of Mary Magdalen, the four E­vangelists and some Bassi [...]elievi, with ma­ny things that Raphael had design'd for the Corridor of the Vatican, and which were afterward retouched by Tomaso Bar­lacchi: VVe will not contaminate this dis­course with those twenty vile designes of Julio cut by M. Antonio, and celebrated with the impure verses of Peter Aretino, by which he so dishonour'd this excellent Art, [Page 46] as well as himself; because it deserved a severer Animadversion and Chastisement then was inflicted upon him for it; though to commute for this Extravagancy, he pub­lish'd the Martyrdome of S. Laurence, in which he also reformed those designes of Baccio Bandinelli to the great reputation of the Art of Chalcography.

About the same time flourish'd Giouan­ni Battista Mantuano Disciple of Giuleo Ro­mano, who publish'd a Madona, his armed Mars and Venus, the burning of Troy, an extraordinary piece; his prints are usually sign'd I.B.M. Also his three Sheets of Battails (cut by some other hand) a Phy­sitian applying of Cupping Glasses to a VVoman; Christs Journey into Aegypt, Romulus and Rhemus, the Stories of Pluto, Jupiter and Neptune; the miseries of Im­prisonment, Interview of the Armies of Scipio and Hanibal; St. John Baptists Na­tivity, cut by Sebastiano de Reggio, all, af­ter Julio Romano.

Giorgio Mantuano set forth the Facciata of the Popes Chappel, M. Angelos Judge­ment, St. Peters Martyrdome, the Con­version of St. Paul, &c. And some plates were sent abroad about the year 1530. eaten with Aqua Fortis after Parmesano; [Page 47] For, as ab aere, deventum ad Tabulas ceratas in writing, the use of the Palimpsestus, Ta­ [...]e books, Plumbae lamellae and the like; [...]o hapned it also in this Art of Chalcogra­phy; and Etching with Corrosive waters began by some to be attempted with lau­dable success, as in this Recital we shall frequently have occasion to remember: But, whither those Symeters and Blades brought us from Damascus, and out of Sy­ria, and wrought with these strong wa­ters, might give any light to this expedi­tious and usefull invention, we are not yet inform'd; and the effect was suffici­ently obvious, after that of the Burine had been well considered.

Vago de Carpi did things in stamp, which appear'd as tender as any Drawings, and in a new way of Charo Scuro, or Mezzo Tin­to by the help of two plates, exactly con­ter-calked, one serving for the shadow; the other for the heightning; and of this he publish'd a Syb [...]lla after Raphael, which succeeded so rarely well, that he im­prov'd the curiosity to three Colours; as his Aeneas and Anchises, descent from the Cross, story of Symon Magus, a David af­ter the same Urbin, and a Venus do testifie: This occasioned many others to imitate him, as in particular,

[Page 48] Baldassare Peruzzi (who graved th [...] Hercules, Parnassus, the Muses) and Fran­cisco Parmegiano, who having set out Di­ogenes in this guise, a very rare print, in­structed Antonio di Trento in the Art, who published his Peter and Paul in Charo oscuro, the Tyburtine Sybill and a Madona; but none was there who exceeded those of Beccafumi; especially, his two A­postles in wood, and the Alchimist in Aqua Fortis.

Fran. Parmegiano (whom we already mention'd) may be esteemed for one of the first that brought the use of A. Fortis into reputation; so tender and gracefull were some of his Etchings, as appears in that rare Descent of the Cross, Nativity and several other pieces.

Baptista Vicentino, and Del Moro set forth many curious Landships,

Girolamo Cocu the Liberal Sciences, &c.

Giacomo del Cavaglio cut many things af­ter Rosso Fiorentino, as the Metamorphosis of Saturn into a Horse, the Rape of Porser­pine, Antoninus and the Swan; some of the Herculean Labours; a book of the Gods and their transformations, whereof part are after Perino del Vaga; also the Rape of the Sabines, an incomparable print, [Page 49] had it been perfect; but the City of Rome hapning at that time to be in some disor­ [...]er, the plates were lost: He graved like­wise for Parmegiano the Espousals of our Lady, and a rare Nativity after Titian; not to conceal his admirable talent in cut­ting of Onixes, Christals, and other estima­ble stones.

Enea vico de Parma engraved the Rape of Helena after old Rosso, a Vulcan with some Cupids about him: Leda after Mich. Angelo: The Annuntiation design'd by Ti­tian; the story of Judith, the Portrait of Cosimo di Medices, &c. Also the contest 'twixt Cupid and Apollo before the Gods; the Conversion of St. Paul in great, a ve­ry rare stamp: The head of Jovanni de Medici, Charles the V. and some rare Me­dails which are extant in the hands of the Curious: He also publish'd St. George; several habits of Countries; The Stem­mata or Trees of the Emperours and divers other Famous Pedegrees.

Lamberto Suave set forth 13 prints of Christ and his Disciples far better graved then design'd, also the Resurrection of Lazarus, and a St. Paul, which are skilfully, and very laudably handled.

G [...]o. Battista de Cavaglieri has cut the de­scent [Page 50] from the Cross, a Madona and many others.

Antonio Lanferri, and Tomaso Barlacchi graved divers things after Michael Angelo, and procured so many as were almost num­berlesse: But what they publish'd of bet­ter use were divers Grotescos, Antiquities and peices serving to Architecture, taken out of the old buildings and Ruines yet extant, which afterwards Sebastiam Serli. refining upon, compos'd the better part of that excellent book of his: And of this nature are the things publish [...]d by Antonio Labbaco, and Barozzo da Vignol [...].

The Famous Titian himself left some rare things graven with his own hand in wood, besides his Pharo in the great Car­toons, divers Landskips, a Nativity, St. Hierom, S. Francis; and in Copper a Tan­talus, Adonis, also in Box the Triumph of Faith, Patriarchs, Sybills, Innocents, Apostles, Martyrs, with our Saviour borne up in a Chariot by the four Evangelists, Doctor [...], and Confessors; Also the B. Virgin, a St. Anna, which he first painted in charo oscu­ro on the Sepulcher of Luigi Trivisano in St. Giovanni e paola at Venice; Samson and Daillia, some Shepheards and Animals; Three Bertuccie sitting, and encompassed [Page 51] with Serpents like the Laocon; not to men­tion what were published by Giulio Buo­rasoni, and those which were cut after Raphael, Giulio Romano, Parmegiano and several others.

Baptista Franco a Venetian Painter, has shewed both his dexterity in the Gra­ver, and Aqua Fortis also; by the Nativity, Adoration of the Magi, Predication of St. Peter, Some Acts of the Apostles, Histories of the Old Testament after several excel­lent Masters:

Renato did divers rare things after Rosso, as in that of Francis the First his passing to the Temple of Jupiter; The Salutation of the B. Virgin, and a daunce of ten wo­men, with several others.

Luca Penni published his two Satyrs whipping of Bacchus; a Leda, Susanna and some things after Primaticcio: also the Judgement of Paris, Isaac upon the Altar; a Christ, a Madona Espousing of S. Catha­rine; the Metamorphosis of Calista, Concili­um Deorum, Penelope and some others in Wood. Who does not with admiration and even ex [...]asie behold the works of Francesco Marcolini? Especially, his Gar­den of thoughts; Fate, Envy, Calamity, Fear, Prayse, so incomparably [...]ut in Wood.

[Page 52] Nor lesse Worthy of Commenda­tion are the Gravings of Gabrielle Giolito, in the Orlando of Ariosto; as also those e­leven pieces of Anatomie made for An­drea Vessalius design'd by Calcare the Flem­ming, an Excellent Painter, and which were afterwards engraven in Copper by Val­verde in little.

Christophero Coriolano graved the heads in Vasaris lives of the Painters, being af­ter the designes of the same Vasari; they are in wood, and rarely done.

Antonio Salamanca did put forth some ve­ry good things.

Andrea Mantegna that admirable Painter, engraved his Triumphs of Caesar with great Art; as likewise Baccanalias, and sea-Gods, a Christ taken from the Cross, his Burial, and Resurrection; which being done both in Brass and Wood, were con­ducted with that skill, as for the softness and tendernesse of the lights, they ap­peared as if they had been Painted in Miniature.

Nor may we here omit to celebrate for the glory of the Sex, Propertia de Rossi a Florentine Sculptress; who having cut stu­pendious things in Marble, put forth also some rare things in Stampi to be encoun­tred [Page 53] amongst the Collections of the Cu­rious.

And about this age, or a little after, flou­rished Martin Ruota, famous for his Judg­ment after Michael Angelo in a small volume, much to be preferred to that which is com­monly sold at Rome in so many sheets; likewise his St. Anthony and divers more. Jacomo Palma has (besides his excellent book of Drawing) set forth many rare pieces, very much esteem'd.

Andrea Mantuan graved both in Wood and Copper; of his were the Triumph of our Saviour after Titian, and some things in Charo oscuro after Gio: di Bologna and Domenico Beccafumi, whom but now we men­tioned; also the Roman Triumphs in imi­tation of Mantegna, a Christus mortuus after Alexand. Casolini, &c.

Finally, towards the end of this Century, appeared Augustino, and Annibal Carracci most rare Painters and exquisite Engra­vers; for indeed when these to Arts go together, then it is, and then only, that we may expect to see the utmost efforts and excellency of the Bolino: amongst the fa­mous pieces communicated to us by these Masters, we may esteem the Monelli, Ae­neas of Barrochio's invention, and S. Hierom. [Page 54] After Tintoret the large and famous Cruci­fix of three sheets in S. Roccos school which so ravished the Painter: Mercury and the Graces, Sapientia, Pax, Abundantia chasing Mars away; The Ecce homo of Correggio, S. Francis of Cavalier Vanni: a Venus in little with a Satyr, and some other nudities with something a too luxurious Graver: S. Giustina's Martyrdom of Paulo Veronezes, S. Catherine, and that renown'd S. Hierom of Correggio; Also in Aqua fortis his bro­ther Hannibal etched another Venus; the Woman of Samaria at the well, a Christ in little, and a Madona with the Bambino, and S. John; The famous S. Roch and the spitefull coronation with thornes: The Christus mortuus bewailed by the devout sex, the original painting whereof hangs in the D. of Parmas Palace at Caprarvola, and is in the Cut one of the tenderst and rarest things that can be imagined, abating the vileness of the Plate, which was most unfortunately chosen, though through that accident, ren­dred inimitable, and never to be counterfei­ted: There is likewise his Magdalen and a Landskip touch'd with the Graver a little; likewise a Sylenus, all of them incomparably design'd, nor indeed, did any of the four ce­lebrated Artists exceed the Carracci, espe­cially [Page 55] Hannibal, for the noblenesse and freedom of his postures, bodies and limbs, which he express'd in greatest perfection; We may not omit the Purification which he grav'd, and Villamena made in large, nor the S. Anthony, the Original whereof is in the Palace of Signior Francisco della Vigna at Venice, nor lastly the Resurection and the two Caenaculas.

In the time of Sixtus Quintus and since, lived Francisco Villamena a rare workman, whether consider'd for the equality of his hatches, which he conducted with a liber­ty and agreeableness suitable to the per­perfection of his design (as is sufficiently apparent in that famous Plate, which he engrav'd after Paulo Veroneze, representing Christ in the Temple) or in those things after the Vatican paintings by Raphael, some whereof being never finished, came into a private hand. The Triumphant Venus on the sea; Moses, some cuts after Fredrick Barroccio in Aqua fortis, divers Catafalco's of excellent Architecture, Igna­tius Lyola; the story of Psysche containing many sheets; a combate of men casting stones at one another; and lastly, that la­borious and usefull book, comprehending the Historical Columne of Trajan, design'd [Page 56] by Julio Romano, and Girolan [...]o Mutiano, which at my being at Rome (then quite out of print) I procur'd of his Widow who was then living, but would not part with the Plates out of her sight.

Giovanni Maggi was an excellent Painter and Etcher, as he has sufficiently discover­ed in his rare Perspectives, Landskips, and his Roma in the Larger Chartoon; likewise in the nine priviledg'd and stationary Churches, with the three Magi who offer presents to our Saviour in allusion to his name.

Leonardo, Isabella, and Bernardino Pa­rasol, that we may furnish all the sorts of Art in this kind, cut exquisitively in wood, which is a graving much more difficult; be­cause all the work is to be abated and cut hallow, which is to appear white; so that (by a seeming paradox) as the Matter diminishes the Forme increases, as one wastes, the other growes perfect. These all flourished about the year 1560, and left us three little histories of the Salutati­on, Visitation, and St. John Baptist: Also Christs washing his Disciples feet, and the cuts to Castor Durantes Herbal: Isabella, who was his wife, publish'd a book of all the sorts of Points, Laces, and Embrode­ries, [Page 57] with other curious works for the Ladies, being all of her own invention (except the Frontispiece only, which is Vilamenas) and the Plants in the Herbal of the Prince Cesi d' Aquasporte, a learned person of that Age. Lastly, the son did also put forth some few things of his work; but was a far better Painter in Fresco.

Antonio Tempesta was a most exact and rare designer, for which his works are much more estimable, then for the excel­lency of his Points and Needles: he has left us of his essayes in A. F. the Histories of the Fathers, the twelve Moneths of the year, Roma in a very large volumne; an incomparable Book of Horses, another of Hunting, the plates now worn out, and retouch'd with the Bolino: St. Hierom, and a Judgement: the wars of Charles the Fifth rarely perform'd: the Metomorphosis of Ovid; the Battails of the Je [...]es, especially that of the Amalakites in great, the Crea­tion and Old Testament, Torquato Tasso's Jerusalemma Liberata, the Birds and Faul­conry in Pietro Olinas Book, with divers others well known, and much esteemed by the Virtuosi.

Cherubin Alberti has celebrated h [...]s in­comparable Graver in that presentation of [Page 58] our Lord in the Temple▪ the Adam expulsed out of Paradise: In the Puti, divers Vasa's, and other pieces which he wrought after Polydoro de Caravaggio and Michael Angelo, commonly sold at Rome, and universally collected.

Horatio Borgiani cut the History of the Bible in the Peristyle of Raphael at the Vati­can, so often made mention of, and out of which, as from a School of the noblest Science, most of the great Painters of the World have since taken forth their Lessons: He likewise published some things in Char' Oscuro, which were rarely height­ned.

Raphael Guido a Tuscane, engraved many pieces after Cavalier Arpino, as the Flagel­lation, Romulus, Icarus, The Angelus Custos, Ceres, Bacchus, a Christus mortuus and St. Andrew the Apostle after Barroccio.

Jovanni Baptista della Marca put forth many divices of Shields, Armour, Busts, and Trophies cut in wood.

To these we might add those excellent things of Camillo Graffico, and Cavalier Sa­limbene, Anna Vaiana, with innumerable more; But we have yet other fruitfull Countries to visit, to whose praises we must be just; only we may not forget the [Page 59] incomparable Stephano Della Bella a Floren­tine Painter now, or lately living, whose in­tire collection in A. fortis is deservedly ad­mir'd, and here in particular to be celebrated by me, in acknowledgment of some obliga­tion I have for his civilities abroad: And of this Artist's works, flowing, and most luxu­rious for invention, are those things which in imitation of Callot he did in little, being yet very young: As the Scaenes and dances of the Horses at the Marriage of the Duke of Tuscany; Compartimenti, Cartells, Orna­ments and Capricios for Carvers and Em­broderers: A book of Gobbi, and divers Vasa's, Landskips in Rounds and others: A book of Beasts done exceedingly to the na­tural: The principles of Designe, Heads, and other touches very rare and full of spirit, several pieces of our Lady, Christ, St. Joseph. &c. Jacobs descent into Aegypt: The Procession and Exposure of the Sa­crament, where there is an Altar of curious Architecture inrich'd with festival Orna­ments: The Cavalcado of the Polonian Embassadour into Rome, with divers other proceedings, Pieces of Polonians, Persians, and Moores on Horseback breathing a rich and noble fanc [...]: Also Seiges, Engines for War, with Skirmishes, Land and Sea [Page 60] Fights: The Metamorphosis of Ovid: The Sultana and her son taken by the Knights of Malta, and to conclude, (for there is no end of his Industry) the Prospect of the Pont Neuf at Paris, then which there is not certainly extant a more lively representa­tion of the busie Genius of that Mercurial Nation; nor a piece of greater variety as to all encounters and accidents, which one can imagine may happen amongst so nu­merous a people and concourse of Man­kind.

Lastly (for they were likewise some of them Gravers in Copper and very rare Chalcographers) we must not omit to make honourable mention here of those incompa­rable Sculptors and Cutters of Medails, whither in Gemms or Metals; such as were (besides those we touch'd in the former chapter) Vittor, Gambello, Giovanni dal Cavino the Padouan, and a Son of his; Be­nevento Gellini, Leone Aretino, Jacopo da Tresso, Fred. Bonzagna; and above all Gio. Jacopo who have almost exceeded, at least approach'd the Antients: To these may we add Giovanni da Castel Bolognese, Matteo dal Nasaro, Giovanni dal Cornivole, Domenica Milaneze, Pietro Maria de Pescia, Marmita, and Ludovico his Son, Valerio [Page 61] Vincentino who had been in England in the time of Queen Elizabeth, and left a Sar­donix which he cut, representing the head of that famous Heroine, inferiour to none of the Antients: There was likewise Mi­chelino, who with the above named Ludo­vico, and Vincentino, had so accurarely counterfeited the antient Medails, that the most knowing Antiquaries were often at a losse to distinguish them: Such were also Luigi Arichini, Alessandro Caesari called the Greek, so much celebrated for that stupendious Medalion of Paul the Third, and the head of Photius the Athenian which he cut in an Onix, comparable, by the U­niversal Suffrages, to any of the Antients: We could reckon up the works also of ma­ny of the rest, but it is not requisite, after we have given this tast, and would merit an expresse Treatise. Likewise those of Antonio de Rossi, Cosimoda Trezzo, Philip­po Negarolo, Gaspar and Girolamo Mis [...]roni, Pietro Paulo Galcotto, Pastorino di Sienna, not omitting that famous Pharodoxus of Milan, Fran. Furnius, and Severus of Ra­venna, &c. whose works were in Gold, Sil­ver, Copper, Steel, Achates, Cornelians, Onixes, Christal, Jasper, Heliotrope, La­zuli, Ametheistis, &c. yea, and to shew [Page 62] how much some of those Modern Masters exceeded the Antients, even the Diamond, that hitherto insuperable gemme, was subdu'd by the famous Treccia of Milan, who with stupendious successe cutting the King of Spains Armes in a Noble Table, was the first that ever engrav'd, or made impression into that Obdurat stone. It will become such to be well acquainted with these Masters Labours, and their man­ner, who aspire to be knowing, and to im­prove their Judgment in Medaills and In­taglias, that necessary, Ornamental and No­ble piece of Learning; and not only to be well skill'd in their way of design; but to be able also to perform something in the Art themselves: For such were those inge­nious and Illustrious Spirits, Geo. Battista Sozini of Sienna, and Rosso de Giugni of Florence, Gentlemen of note; and such, with us, is our Noble and worthy Friend, Elias Ashmole Esq; whose Learning, and o­ther excellent qualities deserve a more glo­rious inscription.

Finally, that excellent Medalist Moun­sieur Roti, now entertain'd by his Majesty for the Mint, and a rare Workman as well for Intaglias in stone, as Metal, is not to be here omitted.

[Page 63] We shall speak in the next of those Germans and Flemmings who excell'd in the Art of Chalcography, not that they have exceeded some of the French; but, be­cause they were before them, and Univer­sally admired: of these, the Antesignani were the foremention'd Albert Durer; that Prodigie of science, Master Bleau of Amster­dam. whose works we have already recounted upon occasion of Marco Antonio, and therefore shall here forbear the repetition; as also those of Lu­cas, whose works (consisting in all of a­bout Lxx. sheets, and which I have known sold for near an hundred pounds sterling, to one that as well understood the value of mony, as of that rare Collection; he being one of the greatest Merchants of Books in Europe) are to be taken blind fold as they say; provided the impressions be black, well conserved, of equal force, and not counterfeit, as there are several of them which be; discernable only by the curious, and accurately skilfull: For such (amongst others of Durers) are the Crea­tion of Adam, the story of Lot, Susanna, The Crucifix which he cut in a small round plate of Gold for the Emperours sword, and is fixed on the pummel, not before mention'd: his arm'd Cavalier and Satyre, [Page 64] and indeed, almost all that ever He, or Lu­cas graved and set forth.

The Works of Aldegrave, who came very near Albert, and flourish'd about the same Age, are worthy the Collection: His pieces are distinguish'd by the Cypher of his initial Letters * in imitation of Durer, as likewise the Author of the sep­tem opera misericordiae; stories of the book of the Kings, Artemisia, &c. whose gravings are countersign'd with G.P.I.B. publish'd the four Evangelists, Adam, a Country fel­low, a Bishop, a Cardinal, Satyrs, &c. M. the Prodigal son, the Evangelists, &c. some whereof are Copies after Albert, and most of their works done in small plates.

Hans Sibald [...]eme hath done wonders in those small figures, stones, and nakeds which he publish'd; it shall not be requisite to recite here the Catalogue; because his mark I-S-B is fixed to most of his works, though now and then profan'd by the hands of others.

Jerome Coach a Flemming cut a Moses, 32 sheets of the story of Psyche, design'd by one Michael a Painter of the same Coun­try very rarely conducted: Also Dalila and Samson; The destruction of the Philistims, the Creation of Adam, &c. 27 Stories of [Page 65] the Old- Testament nobly design'd by Mar­tino, and as well graved: Also the Histo­ry of Susanna: Another book of the Old, and New Testament: The Triumph of Pa­tience, a rare Cut: the Heart on the An­vile, and divers Emblems full of curious Figures; many sacred Triumphs; Fraud, Avarice; a Bacchanalia, and a Moses after Bronzini, in emulation whereof, Gio. Mantuano publish'd his Nativity, an incom­parable print; after which Jerome graved for the Inventor, twelve great sheets of Sorceresses, the Battails of Charolus the V. and for Verese a painter, the Perspectives which pass under his name, with 20 leaves of several Buildings; besides the St. Mar­tine in a book full of Devils; For Girol. Bos, the Alchimist, the seven deadly Sins, the last Judgment, a Carnoval; and, after Francis Floris ten pieces of Hercules La­bours, the Duel of the Horatii and Curatii, the Combate of the Pigmies and Hercules, Cain and Abel, Abraham; the Decission of Solomon between the two Harlots, and in summe, all the actions of humane life.

And now that we mention'd Francis Floris of Antwerp, the rare things which he publish'd in stamp, purchas'd [...]im [...] name of the Flemmish Michael Angelo.

[Page 66] Of the same Country was that incompa­rable Cornelius Cort; we will commence with the Judgment of Michael Angelo which he cut in little: Most of his things were after Frederic Zucchari, and some few of Raphaels; besides his Landskips and other Gravings, after Girolam Mutiano, which are very excellent: Also John Baptist, St. Hierom, St. Francis, Mary Magdalen, St. Eu­stachius, the Lapidation of S. Stephen de­sign'd by Marco Venusto the M [...]uan. A Nativity after Thadeo Zuccharo, St. Anne, &c. Also a Nativity in great after P [...]lydore: The Transfiguration; The school at Athens; The Battail of Elephants; some Gravings after Don Julio Clovio, and Titian, which had they been accompanied with that tenderness, and due observation of the di­stances, that accomplish'd the succeeding Gravers, had render'd him immortal, so sweet, even and bold was his work and de­sign in all other considerations. We men­tion'd Titian; for about 1570. Cor. Cort did use to work in that famous Painters house, and Graved for him that Paradise he made for the Emperour; St. Lazarus Martyrdom, Calis [...]e and the Nymphs, Pro­metheus, Andromeda, the fore-nam'd Mag­dalen in the desart, and St. Hierom, all of them of Titians invention,

[Page 67] We come now to Justus, John, Aegi­dius, and Ralph Sadelers, who lived in the time of the Emperour Rodulphus, and publish'd their almost numberless labours; we can therefore instance but in some of the most rare; such as were that Book divided into three parts. 1. Imago bonitatis, 2. Boni & mali scientia, 3. Bonorum & malorum Consensio, design'd by Martin de Vos: The Vestigia of Rome tenderly and finely touch'd in 50 sheets: The 12 Roman Emperours and Emperesses after Ti­tian, rarely graved by Giles, a Madona with our Saviour, and St. Joseph after Raphael, Christus Flagellatus, and the head of Ro­dulphus II. with various capriccios, and inven­tions about it, as also that of the Emperour Mathias, adorn'd with the chaplet of Medails; the calling of S. Andrew, by John and Giles in brotherly emulation: Four books of Ere­mites admirably conducted by Raphael, a caena Domini after Tintoret, and another Fla­gellation of Arpino's: Divers Landskips, The 12 Moneths; the great Hall at Prague, the Effigies of Martin de Vos by Aegidius; The Emperour and Empresse in their Robes of State; an Adoration of the Magi after Zuchari: Adonis and Venus after Titian: a Crucifix after Jac. Palma, a Resurection in [Page 68] great: the rich Epulo, St. Stephens Lapida­tion, the Original whereof is at Friuli: a S. Sebastian; These by Giles: John engrav'd after M. de Vos a scholar of Tintortes already mentioned, the Creation and many histo­ries out of Genesis: Ralph cut also the Life of Christ; the Credo by way of Embleme: In summe (for their whole collection is not to be crouded into this Catalogue) they have all of them published such incompara­ble gravings; that 'tis the greatest pitty in the world, they had not flourished in the time of the great Raphael, and the good Masters, for they were not only accurate and punctual imitators; but gave to their works that softnesse, life, and Colore (as Artists terme it) which accomplishes all the rest; Especially, John and Raphael in what they graved after Mich. de V [...]s, Bas­sano and others whose Rusticities they set forth: those of Aegidius in great, being a descent from the Crosse of Barrecci [...]s inven­tion, the other a Flagellation design'd by J [...]se­pho Pin, can never be sufficiently celebrated.

After the Sadelers appeared He man Muller with a very bold Bulino, and like­wise Janus who graved many things after Sprangers, worse chosen (for the con­vulsive and even Demo [...] postures) [...] [...]xecuted.

[Page 69] But the imitations of the Graver by Si­mon Frisius the Hollander, who wrought with the Aqua fortis of the Refiners, are al­together admirable and inimitable, the stroke and conduct consider'd, had the de­sign (excepting those of his Birds which are indeed without reproch) contributed in any proportion to his dexterity.

After him came the Swisse Matthew Miri­am, who had he perform'd his heightnings with more tendernesse, and come sweetly off with the extremities of his hatchings, had proved an excellent Master: His works are useful and innumerable in Towns, Land­skips, Battails (those especially fought by the great Gustavus) &c. the Sost Vernish and separating A. F. was the instrument he used.

We have seen some few things cut in Wood by the incomparable Hans Holbein the Dane, but they are rare, and exceeding difficult to come by; as his licentiousnesse of the Friers and Nuns, Erasmus, the Daunce Macchabree, the Mortis imago which he painted in great, in the Church at Basil, and afterward graved with no lesse art, and some few others: But there is extant a book of several Figures done in the same material by one Justus Ammannus Tigur, MDLXXVIII. which are incomparably [Page 70] design'd and cut: In the Epistle whereof, one Holtzhusen a Gentleman of Frankfort is commended for his universal knowledge, and particularly his rare talent in this Art, which it is there said he shewed, by won­derful contrivances at the celebration of Martin Luthers Nuptials, and therefore worthy to be taken notice of.

Hans Brossehaemer besides several other things, hath cut in wood a triumph of the Emperour Maximilian into Neuremberge.

Vergilius Solis graved also in wood the story of the Bible, and the Mechanic Arts in little, but for imitating those vile postures of Aretine, had his eyes put out by the sen­tence of the Magistrate.

Henry Golzius was a Hollander, and wanted only a good, and judicious choice to have render'd him comparable to the profoundest Masters that ever handled the Burin, for never did any exceed this rare workman; witnesse, those things of his af­ter Gasparo Celio, the Gallatea of Raphael San­tio, and divers other pieces after Polydor da Carravaggio, a Hierom, Nativity, and what he did of the Acts of the Apostles, with Ph. Galle, &c. but he was likewise an excellent painter.

George Nouvolstell was of Mentz in Ger­many, an admirable Graver in Wood: he [Page 71] publish'd that Aeneas in little, and some Historical parts of the Bible very well per­form'd; also divers of the Fathers after Tempesta, besides the Jerusalemma liberata of Bernardino Castelli in Quarto, with many Cartels of Armes and Harnesses, and some Pictures to a Breviary, &c.

Mathew Greuter publish'd a curious book of Letters, the City of Rome in an ample forme, and a large Map of Italy; the Old and New Testament, the Church of Stras­burge, an harmony 'twixt the Decalogue and the Lords prayer very ingeniously repre­sented in Picture, with severall other things laudably performed; But his son.

Frederic did infinitly exceed the Father, as may be seen by those many curious Gravings which he has cut after Pietro Be­retin Corton, and the famous Andrew Saccus egregious Painters.

Sanredamus did publish many excellent cuts, especially those which he coppied after Lucas van Leiden, of which we have formerly given a hint for their sakes, who are collectors of these curiosities, and may not happly be yet arriv'd to the judgment of being able to discerne them from the Originals; Also some things after Goltzius.

Cornelius Galle in his St. Priscas Baptism, [Page 72] Papenheim's and other heads after V. Dyke, has shew'd what he was able to perform, not to mention abundance of Frontispeices and o­ther lesse considerable of his workes. But the

Count Cloud [...] a Knight of the Palatinat has publish'd, though very few, yet some stupendious things, especially that of our B. Saviours flight into Aegypt by night, the story of Tobit, and about three or four more worthy of all admiration.

Swanevelts History of St. John, with divers Landskips.

Pandern's descent from the Crosse, Mattham's Christ and St. Jo [...]n, a Venus after Rotenhamer, Pope Innocent X. &c.

Branchorsts rare Etchings, especially those Ruines and Anticalias of Rome: and superiour to all, the incomparable Land­skips set forth by Paul Brill (some of which have been Etched in Aqua fortis by Nieu­lant) do extreamly well merit to be placed in this our Theater: For to be brief, be­cause we can only recite the most remark­able and worthy the collection. Mattham is famous for Fruits; Boetius, or Adam Bol­s [...]erd for his Rusticks after Blomaert, Lon­derselius has taken excessive pains in his Landskips; and so has Van Velde in some few: but above all, Nicholas de Bruyn (after [Page 73] Aegidius Coninxlogensis) is wonderful for Boscage, and the industry of his undertak­ing works of that large Volume, which Theodore de Bry (resembling him in name) has been as famous for contracting; though both of them of a Dutch heavy spirit, and perfectly suting with the times and places: notwithstanding has this latter performd some things in little very laudably: Nor with lesse ingratitude, amongst others may we forget the Nova reperta of Stradanus by Theodor Galle, who also published the whole processe of making silk of the worm, and certain other works in Manufacture, all of them represented in Sculpture.

Mallery in his Peccati fomes after Mic. de Vos, has perf [...]rm'd wonders as to the subtilty and imperceptible ductus of the Graver.

Bols [...]ert set forth the Sacra Eremus Asceti­carum, after Blomart and others, but above all is he to be celebrated for those rare heads, and other stories graved after the Paintings of Rubens and Van Dyke, which for their sakes, who are dilligent collectors of the renouned persons of the late Age, we shall not think amiss to mention. Such were the Dutchesse of Orleans, Arch Duke Albert, Justus Lypsius, and others after Van Dyke, Lessius and Bellarmine, Jesuites [Page 74] after Dipenbec: after the same hands did Paulus Pontius grave the head of Sigismund Kind of Poland, Count Pimentelo, &c. af­ter Rubens, Don phil: de Gusman, Don Alvar: Buzan an incomparable cut; Don Car. de Colunna, Rubens picture bare headed, for there is another in a hat: Gasp de Grayer, Simon de Vos; Maria de Medices, Caesar Alexand, Scaglia, Const. Hugens the learned Father of our most ingenious Friend Mon­sieur Soylecom, so worthily celebrated for his discoveries of the Annulus about Saturne, the Pendule clocks, and universal Mathema­tical Genius. Gasper Garartius the Lawyer; Gasp. Revestyn; Gustavus Adolphus King of Sweden, Jacobas de Breuch, the Princesse of Brabonson, that rare head of Frederic Henric Prince of Orenge, and his own, with many more after Van Dyke; besides the Jesuit Canisius, R. Urbin Painter, and o­thers whom he grav'd after Diepenbec, &c. And since we mention'd Sir P. Paule Ru­bens we may not pretermit those many ex­cellent things of that great Polititian, a learned and extraordinary person, set forth in so many incomparable Gravings by the admirable works of Suannebourg, the above named Pontius and Bolswert, Nesse, Voster­man, Vorst, and other rare Masters in [Page 75] this Art: Such are (to instance in some only) his battail of the Amazons, St. Roch, our B. Saviour composs'd to Burial, the Fight of Lyons, his great Crucifix, Con­version of S. Paul, St. Peter in the ship, a Nativity, the Magi; The bloody Cata­strophe of Cyrus; Solomons first Sentence; St. Catharines espousals, the tribute de­manded of our Lord; Susanna and the Elders, St. Laurence Martyr'd; the Pala­ces of Genoa; with divers others to be en­countr'd amongst the Merchants of Prints, whosrequently vend the copies for the origi­nals to the lesse wary Chapmen: Chr. Jeghre has cut the Temptation of our Saviour in wood very rarely perform'd after this great Master: And besides the former mention'd,

Lucas Vosterman, and Vorst are never to be forgotten so long as the memory of his Schollar Sir Ant Van Dyke is famous, for the heads of Marquesse Spinola; Char. de Malle­ry, Horatius Gentilescus; Jo. Count of Na­saw, Van Milder; P. Stevens, and Cor. Sachtleven, which he engrav'd after a new way, of Etching it first, and then pointing it (as it were) with the Burine afterwards, which renders those latter works of his as tender as Miniature; and such are the heads of Van Dyke himself, Jo. Livens, Cor. [Page 76] Schut, Corn. de Vos, Deodat del Mont, Luca [...] van Uden, Jodocus de Momper, Wencest. Coe­berger, Painters; Count de Ossono, Duke of Bavaria, the Arch-Dutchesse Clara, the last Duke of Orleans, Anton. Connebison, P. Stevens, and many others, together with those other pieces of History, viz. the Sepulture of Christ, and S. George after Raphael, Magdalene under the Crosse, our B. Saviour in his Agony after Carraccio, the Susanna, St. Laurence, and what but now we mention'd after Rubens, divers heads after Holbein, as that of Erasmus, the D of Nor­folk, and others of the Arundelian collection.

Van Vorst, Competitor with Vosterman, has likewise graven a number of Heads after Vandyke; I shall only name the learn­ed Sr. Kenelme Digby in a Philosophical ha­bit: our famous Architect Inego Jones, and those two incomparable figures of Charles the Martyr and his Royal Consort the Q Mo­ther now living: And to shew what honour was done this Art by the best of Painters,

Sr. Ant. Vandyke did himself etch divers things in A. Fortis: especially a Mad [...]na, Ecce Homo, Titian and his Mistress, Eras­mus Roterodamus, and touched several of the heads before mentioned to have been grav'd by Vosterman.

[Page 77] After this great Masters paintings, did Peter de Jode grave the Effigies of Genovefa Widdow to Car. Alex. Duke of Croi, Paulus Helma [...]ius; the Learned Putea­nus; the Bishop of Gendt; the face where­of is thought to be Etched by V. Dyke him­self; he graved Jo. Snellinx a Painter: besides a book of designing very rare; and the many other prints after his Master Golt­zius (whose Disciple he was) which both Pe­ter, and his Son of the same name, have en­graved for Monsieur Bon Enfant of Paris, &c.

Colaert graved some things rarely in steel.

S [...]iiderhoef has engraven the heads of most of the Learned Dutch, after several painters with good successe: as those of Heinsius, Grotius, Barleus, &c. not forgeting that stu­pendious Lady Anna Maria a Scureman, &c.

Jo. Baurs has design'd his Battails with a fine Spirit, but without care in the etching.

Vander Thulden published the whole Hi­story of Ulysses, being the work of the Fa­mous Primaticco at Fontain Bleau Etched also in A. F. and so design'd, as few preten­ders to this Art did ever exceed him: And so, as we but lately mention'd, are the pa­pers of the inimitable Suanebourge which strike a ravishing effect in [...]ll that be­held them, for the admirable tendernesse, [Page 78] and rare conduct of the hatches; especial­ly those which he cut after the drawings of Abraham Blomaert, and Rubens.

But now that we mention Blomaert, whose works we have celebrated in gene­ral, because they smell something of a Dutch spirit, though otherwise well engra­ven; There is at Rome (if we mistake not) a Son of his named Cornelius, who in that S. Francis after Guedo Reni, and those o­ther pieces after the design of those great Masters Mounsieur Poussine, Pietro Cortone, &c. to be seen in the books set forth by the Jesuit Ferrarius, his Hesperides, Flora, Aedes Barberini, &c. hath given ample Testimony how great his abilities are; for, certainly, he has in some of these stamps arrived to the utmost perfection of the Bo­lino, though some Workmen will hardly allow him this Elogie. But those things which the incomparable Natalis a Ligeois, (and therefore reckon'd here amongst the Germans) pass without the least contradicti­on for the utmost effort of that instru­ment. Such are that St. Catharines Espou­salls after Bourdon, which seems to be a very piece of Painting: The two Mado­nas in contest with Poilly: The Thesis; and the chapter of the Carthusians, all after [Page 79] the Life and his own design, a stupendious work: also the heads of Jacob Catz one of [...]e States of Holl. painted by Dubordieu; and some few things more, as the exactness and Curiosity of what he un­dertakes requires, sufficient to discover the admirable perfection of this great Artist: For we do not mention several Frontis­pieces which he has likewise engraven, with equal Industry.

Ferdinand has besides many others, graved after the same Bourdon, the story of Ulysses and Andromache:

Uriese▪ and Verden are famous for their perspectives.

Winegard his Roman Vestigia, &c.

William Hondius, besides those things which adorn his Mapps, which are the largest Pla­nispheres, has very rarely engraven his own Head, after a painting of Vandyke: nor with lesse Art has Va [...]kessel done that of Charles the fifth after Titian: Clovet Car. Scriboni­us the Jesuits.

Caukern has graven the story of that pious Daughter, who gave suck to her im­prison'd Father; a fight of Bo [...]res, with divers others after Rubens and Vandyke, &c. besides those which are extant in Mr. Ogle­byes Homer, Bible, my Lord of New-Castles [Page 80] Cavalerizzo, &c. design'd by Deipenbec, whose rare Talent, that Theater, or Temple o [...] the Muses published by that Curiously Learned, and Universal Collector of prints, the Abbot of Villoin, (of whom we shall have occasion to discourse in the next Chapter) do's sufficiently illustrate.

Lucas Kilianus has rarely graved the Murther of the Innocents; the Miracles of the fish; Annuntiation, Circumcision, and some Plates in the Hortus Eystettensis, &c.

Vischer, viz. Cornelius (for there is ano­ther who has published divers Landskips) hath most rarely Etched a certain Dutch Kitchin, where there is an old Man taking Iobacco, whilst his Wife is a frying of pancakes: also a Fiddler accompanied with boyes and girles, painted by Ostade: but above all, admirable is the descent, or Christus Mor­tuus after Tintoret, both grav'd and Etch'd, as indeed, I should have said of the rest.

Vovillemont has Etched our Saviours cha­sing the sacrilegious Merchants out of the Temple after the same Tintoret; which is very rare.

Nolp the twelve moneths, especially the boystrous March.

Lombart, many plates for Mr. Oglebyes Virgil; as likewise that industrious Inter­preters [Page 81] Picture after our famous Mr. Lilly, in which he has performed laudably: Nor must I here forget Mr. Hertoc who has grav'd the Frontispiece for [...], in fol. and that of this Treatise, with many other.

To these we may add the incomparable Reinbrand, whose Etchings and gravings are of a particular spirit; especially the old Woman in the furr: The good Samari­tane, the Angels appearing to the Shep­heards; divers Landskips and heads to the life; St. Hierom, of which there is one very rarely graven with the Burine; but above all, his Eece Homo; descent from the Cross in large; Philp, and the Eunuch, &c.

Winceslaus Hollar a Gentleman of Bohe­mia, comes in the next place, not that he is not before most of the rest for his choyce and great industry (for we rank them very promiscuously both as to time and preheminence) but to bring up the Rear of the Germans with a deserving per­son; whose indefatigable works in Aqua Fortis do infinitely recommend themselves by the excellent choyce which he hath made of the rare things furnish'd out of the Arundelian collection; and from most of the best hands, and designs; for such were those of Leonardo da Vinci; [...]. Parmensis, [Page 82] Titian, Jul. Romano, A. Mantenio, Corregio, Peri [...]o del Vago, A. Urbin, Seb. del Piombo, Palma, Alb. Darer, Hans Holbein, Van­dike, Rubens, Bereugle, Bassan, Aelsheimer, Brower, Ar [...]ois, and divers other Masters of prime note, whose Drawings and Paintings he hath faithfully copied; be­sides several books of Landskips, Townes, Solemnities, Histories, Heads, Beasts, Fouls, I [...]sects, Vessels, and other signal pieces, not omiting what he hath Etched after De Clyne, Mr. Streter, and Dankert, for Sr. Phil. Stapletons Juvenal, Mr. Ross his Silius, Polyglotta Biblia, the Monasticon, first and second part, Mr. Dugdales Paules, and Sur­vey of Warwickshire, with other innumera­ble Frontispieces, and things by him pub­lished and done after the life; and to be ( e [...] nom [...]ne) more valued and esteemed, then where there has been more curiosity about Chimaeras, and things which are not in Na­ture: so that of Mr. Hollars works we may justly pronounce, there is not a more useful, and instructive Collection to bemade.

The learned Hevelius has shewed his ad­mirable dexterity in this Art, by the seve­ral Phases and other Ichonisms which adorn his Selenographi, and is therefore one of the noblest instances of the extraordinary [Page 83] use of this Talent, for men of Letters, and that would be accurate in the Dia­gramms which they publish in their works.

The no lesse knowing Anna Maria a Schurman is likewise skilled in this Art, with innumerable others even to a Prodigy of her Sex. For the rest, we shall only call over their names, after we have cele­brated the extravagant fancies of both the Breugles, as those of the seven deadly sins, Satyrical pieces against the Nuns and Friers; with divers Histories, Drolleries, Landskips, fantastic Grylles and Grotesqus of these two rare Rhyparographs; not farther to tire our Reader with the particulars and several works of Ostade, Corn, Clock, Queborne, Custos, le Delfe, (who has put forth the Pourtraicts of many learned persons) Dors, Falck, Gerard, Bens, Moestuer, Grebber, Geldorp, Hopfer, Ge­rard, Bens, Chein, Ach: d' Egmont, de Vinghe, Heins, Ditmer, Cronis, Lindoven, Mirevel, Kager, Coccien, Maubease, Veni­us, Firens, Pierets, Quelinus, Stachade, Se­hut, Soutman, Vanulch, Broon, Valdet, whom we expresly omit; because we have introduc'd a sufficient number, and that this chapter is already too prolix.

Only we would not omit Min Here Bi­scop a learned advocate now of Holland, [Page 84] who for his story of Joseph and Benjamin, where the cup is found in his sack, and those other few cuts among the hands of the curious, must not be passed over in ob­livion; as we had like to have done some of the old, and best Masters by having hi­therto omitted.

Druefken his King of the Boors in Hunga­ria, eaten alive by the Rebels whom he se­duced; with some other cuts in wood known by his mark, which was commonly a cluster of Grapes:

Pieter Van Aelst, his Cavalcad of the Grand Signior to Sancta Sophia, and several Turkish habits, on which subject also

Swart Jan Van Groennighen has set forth many remarkable things, Caravanns, Pilgri­mages to Mecha, &c.

Lucas Cranach, Tiltings, Huntings, Ger­man Habits, and the portraicts of all the Dukes of Saxony to his time:

Joos Ammanus (whom we already men­tion'd) divers of the Mechanic Arts; not omitting all those excellent Wood Cuts of Hans Schin [...]lyn and Adam Altorf, especially this last, known by the two Capital AA of the Gotick forme included one within the other, as the D is in that of Albert Durers.

[...]bert Goltzius has cut in wood a book [Page 85] of the Roman Emperours in two Colours; this name recals to mind an omission of ours in some of those excellent Chalcographers al­ready recorded, and in particular, the in­comparable imitations of Henry Goltzius af­ter Lucas Van Leyden in the Passion, the Christus mortuus or Pieta; and those other six pieces, in each of which he so accurately pursues Durer, Lucas, and some others of the old Masters, as makes it almost impos­ble to discerne the ingenious fraud.

We did not speak of the heads of the famous men in the Court of the Emp. set forth by Aegid. Sadeler; as Raphael (his Brother) had the Bavaria Sancta, represen­ting all the Saints of that pious Country.

Albert Durer's Tenerdack or Romantic description of the Amours of Maximilian and Maria de Burgundy: the book is in High Dutch: He has likewise cut Petrachs Utrius­que Fortunae Remedia, which admirable trea­tise being translated into the German Lan­guage, is adorn'd with the Gravings of Hans Sibald Bheem, Ammanus, Aldegrave, and most of the rare Masters of that age: Final­ly, he has cut the stories of Apuleius his gold­en Asse: and sprinkled divers pretty inven­tions and Capriccios in an old impression of Cicero's Epistles: And with this recollection [Page 86] of what we had omitted in the foregoing Paragraphs (to which they are reducible) we will take leave of the Dutch Sculptors, and passe on to

The French who challenge the next place in this Recension, for their gravings in Taille Douce, which began to be in repu­tation after Rosso the Florentine painter had been invited and Caress'd by that Worthy and illustrious Mecaenas of the Arts, Francis the first: about which time Petit Bernard of Lyons publish'd the stories for the Bible of St. Hierom, per­forming such things in little, for the De­sign and Ordinance as are worthy of imi­tation: so greatly he approch'd the An­tique in the garb of his Figures, Distances, Architecture, and other accessories of the Storie: We have some of these engraven by this Artist, and printed long since at Lyons, with the Argument under each cut, in the English verse of those times, which appears to have been done about the be­ginning of the Reformation, when, it seems, men were not so much scandaliz'd at holy representations.

Nicholas Beatricius a Loraneze graved his Horse conflicts, and several books of Animals, and Wildbeasts. The Wid­dowes [Page 87] son raised to life, the Annuntiation after M. Angelo, the Ark of the Catho­lick Church after that rare Table of M [...]saic in S. Peters of Giotto, &c.

Phillippus Thomasinus labours are worthy of eternity, so excellent was his choice, so accurate his graver; witnesse the fall of Lucifer, the universal judgement, the ship we but now mention'd; the seven works of mercy; B. Felix, the Miracles of the Capucines, the Statues of Rome in little; the labours of many famous persons; the bap­tisme of our Saviour, after Salviati; St. John the Evangelist in the boyling Oyle; St. Stevens Lapidation after Ant. Pomarancio; the Magi of Zuccharo; Mary presented in the Temple, of Barroccio; the life of St. Ca­tharine; Fama, divers sea Monsters after Ber­nardino Passero; and some things of Vanni; not to omit his Camea collected from seve­ral curious Achates and other precious stones, besides Shields, Trophies, Gordian Knots, with variety of instruments and other works too long here to recite minutely.

Chrispinus de Pas and his sister Magdalen (whither French or Dutch) have engraven many excellent things after Breugle; espe­cially Landskips; the persecution of the Prophets and Apostles, with several more: [Page 88] But that Liberum Belgium by Simon de Pas his Father, or Brother (I know not whi­ther) dedicated to Prince Maurice of Naus­saw is a very rare cut.

Who has not beheld with admiration the incomparable Burine of Claudius Melan, celebrated by the great Gassendus, and em­ploy [...]d by the most noble and learned Perieskius? The Sudarium of St. Veronica, where he has formed a head as big as the life it self with one only line, beginning at the point of the Nose, and so by a spiral turning of the Graver finishing at the utmost hair, is a prodigy of his rare Art and invention; because it is wholly new, and perform'd with admirable dex­terity: Nor has he lesse merited for his St. Francis, St. Bruno; the pointed Magda­len, Pope Urbane the VIII. and divers others to the life, especially those of the Illustri­ous Justiniani, Perieskius, and the several frontispieces to those truly Royal works, Po­ets, and other Authors printed at the Loure.

Mauperch has published some pretty Landskips; La Poutre many most usefull varieties and Ornaments for Architects, and other Workmen; Florid, and full of Fansie; especially the ceremonies at the Co­ronation of the present French King.

[Page 89] Morine, has left us a St. Bernard, a S [...]ul, his great Crucifix; some rare Heads; es­pecially that representing our B. Saviour and other things in A. Fortis, perform'd with singular Art, and tendernesse; as al­so some rare Landskips and Ruines after P [...]lemburch and others.

N. Chaperon has etched the Xystus or Gallery of Raphael in the Vatican, with in­comparable successe, as to the true draught: and so has that excellent painter the late

Francis Perier those Statues and Bass-re­lievos of Rome, preferrable to any that are yet extant.

Adrans St. Catharine after Titian who is not ravish'd with?

Couvay has engraven the three devout Captive Knights, and what may appear very extraordinary, ut quae celant nomina cae­latura aperiat, the first part of Despauteri­us's Grammar in picture, or Hieroglyphic for the Duke of Anjou the now Monsieur.

Perel has discovered a particular talent for Landskips, if not a little exceeded in the darknesse of his shades: but his ruines of Rome are very rare: he has likewise a son that graves.

The excellency of invention in the Ro­mances, and Histories adorn'd by the hand [Page 90] of Chauveau is not to be passed by; espe­cially those things which he has done in the Entretienne de Beaux Esprits of Monsieur De Marests, and in several others.

But the pieces which Poilly has set forth, may be ranked (as they truly merit) a­mongst the greatest Masters we have hi­therto celebrated: such as (for instance in a few) That admirable Theses with the Portraict of Cardinal Richlieu; and in emu­lation with the formerly named Natalis, (besides the St. Catharine of Bourdon) those things which he hath graved after Migniar, which are really incomparable, also divers Histories after le Brun, &c.

But we should never have done with the Artists of this fruitful and inventive Country as Heince, Begnon, Huret, Ber­nard, Rognesson, Rouslet, a rare workman, witnesse his Frontispiece to the French Polyglotta Bible design'd by Bourdon and lately put forth; Bellange, Richet,l' Alman, Quesuel, Soulet, Bunel, the laudable Bou­cher, Briot, Boulauge, Bois, Champagne, Charpignon, Corneille, Caron, Claud de Lo­rain, Andran, Moutier, Rabel, Denisot, L'aune, Dela Rame [...] Hayes, Herbin, Da­vid de Bie, Villemont, Marot excellent for his buildings and Architecture; Toutin, [Page 91] Grand-homme, Cereau, Trochel, Langot du Loir, L' Enfant Disciple of Melan; Gaul­tier, D' Origni, Prevost, De Son, Perei, Nacret, Perret, Daret, Scalberge, Vibert; Ragot who has graved some things well af­ter Rubens, Boissart, Terelin, De leu; Be­sides Mauperche for Histories, L' Asne who has grav'd above 300 Portraicts to the life, and is a rare Artist: Huret, full of rich invention; not omitting the famous Gravers of Letters and Calligraphers, such as are Le Gagneur, Lucas Materot, Frisius, Duret, Pauce, Le Beaugran, Beaulieu, Gou­genot, Moulin, Raveneau, Jea, Jaques de His, Moreau, Limosin, La Be, Vignon, Barbe'd Or and a world of others whose works we have not had the fortune to see: For as heretofore; so especially at present, there is no country of Europe which may contend with France for the numbers of such as it daily produces, that excel in the art of Chalcography, and triumph with the Burine.

La Hyre has Etched many things af­ter the Antique, as Bacchanalia's and seve­ral other.

Goyrand is second to none for those Towns and Ruines, which he has publish'd, especi­ally what he has performed in Aedibus Barberini.

[Page 92] Colignon no lesse excellent in his gravings after Lincler.

And Cochin in those large Charts and sieges of Townes after the Ingeneer Beau­lieu: But

Israel Sylvester is the Hollar of France: For there is hardly a Town, Castle, Noble­mans house, Garden or Prospect in all that vast and goodly Kingdom which he has not set forth in AF. besides divers parts and views of Italy: above all in those which are etched after the designes of Monsieur Lincler (whilst he lived my worthy Friend) as the City of Rome in Profile; a morcel of St. Peters by it self; and that prospect of the Loure, which last doth far transcend the rest of his works, and may be esteem'd one of the best of that kind which the World has extant, for the many perfections that assemble in it.

There is at present Robert Nanteuil an ingenious person, and my particular friend, whose Burine renders him famous through the World: I have had the happinesse to have my Portraict engraven by his rare Bu­rine; and it is therefore estimable, though unworthy of the honour of being placed a­mongst the rest of those Illustrious persons, whom his hand has render'd immortal. [Page 93] For such are the French King, the Queens of Poland and Sweden; Cardinal Mazerin, whose Effigies he has graven no less then nine times to the life: The Duke of Longue­ville; D. of Boullion, Mantoa, Marishal, Thurene; President Jeannin, Molle, Telier, Ormesson, the Archbishop of Tours, Bishop of S. Malo: L'Abbe Fouquet, and divers o­thers of the long Robe: Also Monsieur Hesselin, Menage, Scuderi, Chaplain, Marol­les, and the rest of the wits; in summe, al­most all the great persons of note in France.

But that we may conclude this Recen­sion with such as have most excell'd in this Art, and give the utmost Reputation it is capable of. Jaques Callot, a Gentleman of Lorrain, (if ever any) a [...]tain'd to its sublimity, and beyond which it seems not possible for humane industry to reach; es­pecially, for Figures in little; though he have likewise published some in great as boldly, and masterly perform'd as can pos­sibly be imagin'd: what a losse it has been to the Virtuosi, that he did not more delight in those of a greater Volume; such as once he graved at Florence, do sufficient­ly testifie, and which likewise have exalt­ed his incomparable Talent to the supream­est point: It might not seem requisite to [Page 94] minute the works which he has published; because they are so universally excellent, that a curious Person should have the whole Collection, (and be carefull that he be not impos'd upon by the copies which are frequently vended under his name; espe­cially those which Monsieur Bosse has pub­lished, and which nearest approach him) were it not highly injurious to his merit, not to mention some of the Principal; Such are his St. Paul, Ecce homo; the De­moniac cured, after Andrea Boscoli; a Ma­don [...] after Andrea del Sarto; the four Co­maedians, all these of the larger Volumne, and some of them with the Burine. Also the passage of the Israelites: St. Lukes Fair dedicated to Cosmo di Medices, a most stu­pendious work consider'd in all its Cir­cumstances, and encounters: so full of spi­rit and invention, that upon several attempts to do the like, it is said, he could never ap­proach it; so much (it seems) he did in that piece exceed even himself.

This is also well Copied: the History of the B. Virgin in 14 leaves, the Apostles in great, the murder of the holy Innocents, an incomparable work, and almost exceeding our description, as to the smalness, life, per­ [...]ection and multitude of Figures expres­sed [Page 95] in it. The story of the Prodigal: the life and death of our Saviour in 20 small Ovals very rarely perform'd. The Mar­tyrdom of the Apostles in 16 leaves wor­thy of admiration: The passion of our Sa­viour in 7 larger cuts: St. Anthonies tempta­tion, prodigious for the fancy and inventi­on: St. Mansuetus raising a dead Prince, a Bishop preaching in a wood: Divers books of Landskips and sea pieces: Especially those admirable cuts of his in a book intitu­led Trattato di terra Santa, wherein most of the Religious Places of Jerusalem, Temples, Prospects &c. about the Holy Land are grav­ed to the life by the hand of this excellent Master; The Book is very rare and never to be encountr'd amongst the collection of his Prints. The Duke of Lorrains Palace and Garden at Nancy: also another paper of a Tournament there, both of them most rare things: Military exercises; The miseries of war in 18 leaves very choice: The battail of Theseus, Combat at the Barriere, entrance of the great Duke with all the Scenes and re­presentations at the Duke of Florences nu­ptials: the Catafalco errected at the Emp. Matthias's death: the famous Seige at Ro­chel a very large print: also the night piece of the Cheats and Wenches at play: [Page 96] Mascarades, Gobbi, Beggars, Gypsyes, Balli and Dances, Fantasies, Capriccios, Jubilatio Triumphi B. Virginis, which was it seems grav'd for a Thesis; and finally the Cabaret; or meeting of Debauchees, which (being the last plate that ever he grav'd) had not the Aqua [...]ortis given it 'till after his decease: And thus we have in brief posted over the stupendious works of this inimitable Master, whose point and manner of etching was nothing inferiour, nay sometimes even ex­ceeded the most skilful Burine. But at length Sit pudor & finis, I desist, and shall here conclude the recital of the French Chalco­graphers so many for their numbers, labo­rious in their works, and luxurious of their inventions, after we have done reason to Monsieur Bosse, who has made him self so well known by his most accurate imitation of Callot, besides the many rare things he has himself published. It were altogether unpardonable, that such as would accom­plish themselves in Etching, should be de­stitute of his entire work; especially those of his latter manner perform'd in single and masterly stroaks, without decussations and cross hatchings, in emulation of the Graver. Those Vignets, Fleurons, capital letters, Puti, and Compartiments made to a­dorn [Page 97] the Royal impressions at the Loure are worthy of celebration; because it is im­possible for the nea [...]est Burine to excell his points and Eschoppes; and for that it is to him that we have been chiefly obliged for a Treatise which we had prepared of the practical, and Mechanical part of this Art of Chalcography, whereof I have already given accompt elsewhere: it is to the same Mon­sieur du Bosse that the world is beholden for his ingenuity in publishing many other rare and usefull Arts assistant to Architecture, Dyalling, squaring of stones, and encountring the difficulties of the Free-Mason, besides, those excellent Treatis [...]s of perspeocti [...]e, which from the dictates of Monsieur des Argues, he has so laudably communicated: This, and much more we owe to this honest Mans [...]ame and particular friendship.

And lastly, the excellent Chart-Gra [...]ers may not be totally excluded of this Cata­logue; because it is a particular address, and, of late, infinitely improv'd by the care of l'avernier, Sa [...]son, the Jes [...]it Briets, de la Rue, d [...] Val, graven by Co [...]dier, Ri [...]iers Peroni and others; not forgetting the most industrious Bleau of Amsterdam, who have published the Atlas's, and other pieces which celebrate their names to posterity, and [Page 98] such an undertaking has the Ingeneere Gom­boust perform'd in his Ichnographical plan of Paris lately set forth, being the result of near a five years continual labour of mea­suring, plotting, and observing, to render it the most accomplish'd, and testifie to what use, and perfection this no­ble Art is arriv'd: This we the more readi­ly mention, that thereby we may stimu­late and encourage the lovers of their Country, freely to contribute to the like at­tempt of the above mention'd Mr. Hollar, and enable him to proceed with what is now under his hand, for the honour of our imperial City.

And now it is certainly time that we should think of home a little, and celebrate likewise some of our own Country-men, who have worthily merited with their Graver. And although we may not yet boast of such multitudes by reason of the late unhappy differences, which have di­sturb'd the whole Nation, endeavouring to level Princes, and lay the Mecaenas's of This, and all other Arts in the dust; yet had we a Paine for his Ship, some heads to the life, especially that of Dr. Alabaster, Sir Ben. Rudyard, and several other things, A Caecil, and a Wright little inferiour to any [Page 99] we have enumerated for the excellency of their Burines and happy design; as at pre­sent we have Mr. Faithorne, Mr. Barlow, Gay­wood, Loggan and others who have done ex­cellently both with the Graver, and in Aqua fortis, especially in those birds and beasts which adorne the Apologues of Aesope published by Mr. Oglebie; and of Mr. Fai­thorne, we have that Christ after Raphael from some excellent Master, as big as the life: a Madona, Chr. Joseph and a Lamb after La Hyre a very good painter; The Effigies of my Lord Viscount Mordaunt, Sir W. Paston, and his Lady, with several o­thers after Van dyke, Honiman, &c.

Lightfoot [...]ath a very curious Graver, and special talent for the neatnesse of his stroak, little inferiour to Wrex; and has published two or three Madonas with much applause: Also Glover divers heads; as at present J. Fellian Disciple of Mr. Faithorne, who is a hopeful young man: Lastly, for Medails and Intaglias we have Mr. Symonds, Rawlius, Re­strick, Johns [...]n and some others, whose works in that kind have hardly been exceeded in these later times; not omitting the industri­ous Mr. Coker, Gery, Gething, Billingly, &c. who in what they have published for Letters and Flourishes are comparable to any of those [Page 100] Masters whom we have so much celebrated amongst the Italians and French for Calli­graphy and fair writting: We have like­wise Switzer for cutting in Wood, the son of a Father who sufficiently discover'd his dexterity in the He [...]bals set forth by Mr. Parkinson, Lobel, and divers other works with due commendation, not to mention the rest, as yet unknown to us by their names, from whose industry we are yet to hope for excellent progresse.

We do therefore here make it our suite to them, as what would extreamly gratifie the curious, and Virtuosi universally, that they would endeavour to publish such ex­ [...]ent things as both his Majesty and di­vers of the Noblesse of this Nation have in their possession; and to which there is no ingenious person that will be deny'd access; since if there Collections were well en­gr [...]ven and dispers'd about the World, it would not only exceedingly advance their profit, and reputation; but bring them likewise into a good manner of Designing, which is the very life of this Art, and rend [...]r our Nation famous abroad, for the many excellent things which it has once again (by the blessing of God, and the Ge [...]ius of our most Illustrious Prince) re­cover'd; [Page 101] Especially, if joyned to this, such as exceed in the talent, would ent [...]rtain us with more Land [...]kips, and views of the Envi­rons, Approches and Prospects of our nobly situated Metropolis, Gree [...]rich, [...] and other Parts upon the goodly T [...]ames; and in which (as we said) Mr. Hollar has so worthily m [...]rited, and other Countries a­bound with, to the immense refreshment of the Curious, and Honour of the in­dustrious Artist: and such we farther wish, might now and then be encourag'd to travail into the Levantine parts; Indies East and West; from whose hands we might hope to receive innumerable, and true Designes drawn after the life, of those surprising Landskips, memorable Places, Cities, Isles, Trees, Plants, Flowers, and Animals, &c. which are now so lamely, and so wretchedly presented, and obt [...]u­ded upon us by the Ignorant, and for want of abilities to reforme them.

And thus we have (as briefly as the subject would admit) finish [...]d what we had to offer concerning the original and Progress of this noble Art: Not, but that there may have been many excellent Masters omitted by us, whose names were worthy of Re­cord; But because they did not occur, [Page 102] at the writing hereof, and that we have already introduc'd a competent, and suffi­cient number to give reputation to the Art, and verifie our Institution. For the rest, if we have somewhat exceeded the limits of a Chapter (comparing it with those which did pr [...]ceed) it has not been without Pro­spect had to the benefit of such as will be glad of instruction how to direct their choice in collecting of what is curious, worthy their procuring, and as the Italian calls them, di buon gusto: For we are far from opining with those, who fly at all without judgement or election. In summe, it were to be wished, that all our good painters would enrich our collections with more of their Studies and Ordonances, and not de­spise the putting of their hands now and then to the Graver: We have given in­stances of great Masters who excell'd in both; and the Draught, if it be good, does sufficiently commute for the other defects, or what it may seem to want in the neatnesse, and accurate conducting of the Hatches; since by this means, we should be stored with many rare Designes, Touches, and Inventions, which for being only in Crayone, are casual, and more obnoxious to accidents; and can be communicated but [Page 103] to those few, who have the good fortune to obtain their Papers; and (which is yet more rare) the happinesse to understand, as well as to talk of them.

AS the Rules of Measure and Proportion have an universal influence upon all the Actions of our lives; it was a memora­ble, and noble saying of a great Person of our Nation, discoursing to us once concern­ing the dignity of Painting, and the arts which attend it: Thomas Earl of [...] l. Matth. of Eng­land. That one who co [...]ld not De­signe a little, would never make an honest man: How that observation succeeds in the ge­neral, we have not made it much our ob­servation; but this we are bold to pro­nounce. That he shall never attain to the excellency of a good Chalcographer, who is not more then ordinarily skill'd in the fa­culty and art of Drawing; a thing so high­ly necessary, that Donatellus was wont to tell his Disciples (discoursing sometimes [Page 104] concerning the accomplishment of this Art) that to de [...]ver it in a single word, he would say, DESIGNE; because it was the very Bans and Foundation, not only of this, but even of all those free and noble Scien­ces of Fortification, Architecture, Perspe­ [...]ive, and whatsoever also pretended to any affinity with the Mathematicks, as really leading the Van, and perfective of them all.

But to treat Methodically of this, or as we have already enlarged in the History and Progresse of Chalcography, and the sur­viving labours of the most renowned Ma­sters, would require no lesse time and pains: It were indeed a noble, curious, and useful work, but almost impossible to accomplish; because the Original Drawings of the great Masters, being dispersed amongst the hands of the greatest Princes, and men of Science only, are preserved with jealousie, and est [...]em'd, as so many Jewels of greater value, then those of Pearles and Diamonds. For some of them being the very last workes, though but imperfect draughts of so Excellent Artists; they have for the most part been in greater esteem, then even those of larger bulke and more fi­nished; as Pliny instances in the Iris of Aris [...]ides, the Medea of Timomachus, and [Page 105] some others; because (as he there speaks) such touches did even expresse the very thoughts and prime conception of the Workman, as well as the Lineaments which he presents us; and that there is a certain compassion in our Natures, which indears them to us, so as we cannot but love, and desire the hands which perished in the midst of such famous pieces: Add to this, their inimitable Antiquity, then which (according to Q [...]intilian) nothing do's more recommend things to us, from a certain Authority which it universally car­ries with it; [...] so as we seem to review what they did of old in this kind; as if (with Liba [...]ius) the Gods had imparted some­thing of extraordinary to the Masters of the Ages past, which the nature of man is not now capable of attaining.

These difficulties therefore consider'd, it will not be required of us in this Chapter, which pretends to celebrate and promote the Art of Drawing, and Designe, only as it has relation, and is an absolute requisite to that of Chalcography, and to prescribe some directions and encouragements, which may prepare and fit the hand with a com­petent address [...] therein.

Whether Design, and Drawing, were [Page 106] the production of Chance or Excogitation, we determine not; certain it is that pra­ctise and experience was its Nurse and per­ficient; by some thus defin'd to be A visi­ble expression of the Hand resembling the conception of the mind: By which Definition there are who distinguish it from Drawing both as to its Original, and Formality; For Design (say they) is of things not yet ap­pearing; being but the picture of Ideas on­ly; whereas Drawing, relates more to Copies, and things already extant: In sum, as the Historian differs from the Poet, and Horace has well expressed it,

We could easily admit this Art to have been the most antient, and with Philostratus, [...], of kin even to Nature her self: But to take it some what lower, there goes a tradition, that some ingeni­ous Shepheard was the inventor of it, who espying the shadow of one of his sheep on the Ground (interpos'd between him and the culminating, or declining sun) did with the end of his crook, trace out the Profile upon the dust: and truly some such vulgar accident (for chance has been a fruitful Mother) might first probably intro­duce [Page 107] it; however afterwards subtiliz'd upon and cultivated, till it at length arriv'd to that degree of excellency and esteem, which it has happily gained, and so long continu'd.

But to quit these nicer investigations, and proceed to some thing of use, as it con­cernes the Title of this chapter: The first and principal manner of Drawing is that with the pen; the next with Crayon, whither black, white, red or any of the intermedial co­lours, upon paper either white or colour'd: We will not say much concerning wash­ing with the pencil, or [...]ubbing in the shades with [...] and dry Compositi­ons, because it is not t [...]l our Disciple be a consummat Artist, that he can be edified with designes of this nature, and, after which, they are of excellent use and effect.

The pen is theref [...]re both the first, and best instructive, and has then (as all the o­ther kinds) attain'd its desired end, when it so deceives the eye by the Magic, and innocent Witch-craft of lights and shades, that elevated, and solid bodies in Nature, may seem swelling, and to be embossed in Plano, by Art.

To arrive at this, you must first draw the exact lineaments, and proportion of the subject you would expresse in prosile, Con­tours [Page 108] and single lines only; and afterwards, by more frequent, and tender hatches in the lighter places, strong, bold, or cross in the deeper.

By Hatching is understood a continual Series, or succession of many lines, shorter, or longer; close, or more separate; ob­lique, or direct, according as the work re­quires, to render it more, or lesse inlightned; and is attain'd by practise with a swift, e­ven and dextrous hand; though sometimes also, by the help of the rule and compass; e­very man being not an A [...]elles or Pyrgote­les to work without them. Now the best expedient to gain a mastery in this Address, will be to imitate such prints, and cuts, as are most celebrated for this perfection: Such (amongst plenty of others) are those of Henry Goltzius: The Sadelers, Harman, Sanredam, Vosterman, and above all, that rare book of Jacomo Palma graven by O­doardo Fialetti: Of the more Modern, the incomparable Natalis, Nanteuil, Poilly, Cor­nel. Blomaert; These for the Burin: For Etching, Callot, Morine and Bosse; especially in those his latter pieces, which have so nearly approach'd the Graver. After these, let our Learner design the several mem­bers of bodies a part, and then united, [Page 109] with intire Figures and Stories, till he be a­ble to compose something of his own, which may support the examination of qualified Judges. But the [...] or first draughts of these; would not be with too great curiosity, and the several minutiae that appear in many Coppies; but with a cer­tain free and judicious negligence, rather aiming at the Original, then paining of your self with overmuch exactnesse: for nocere saepe nimiam diligentiam, was an old observation; and therefore the antient Painters (sayes Phi­lostratus) more esteem'd a certain true and liberal Draught, then the neatness of the Figure, as he expresses it in Amphiaraus's Horse, sweating after the conflict; since Drawings and Designes are not to be like Polycletus's Canon, which took its several parts, from as many perfect bodies, by a studied, and most accurate Symmetrie: It shall suffiice that the prime conceptions of our Artist be perform'd with less constraint; a coal or pensil of black-lead will serve the turn, reserving the stronger, and deeper touches for a second pass of the hand over your work; and last of all, penning the Contours, and out lines with a more even and acute touch, neatly finishing the hatches with a resolute, constant and slowing hand; especially, as it approaches to the [Page 110] fainter shadowes, terminating them in lost and misty extreams, and thwarted (if you will counter-hatch) at equal, and uni­form intervals (but not till the first be dry) or, if with single stroaks (which to us ren­ders the most natural, and agreeable effects) with full, deep hatches, and their due di­minishings.

But it would haply be objected, that these accurate Designes of the pen, were never esteemed among the nobler parts of Drawing, as for the most part appearing to finnicall, stiff and constrain'd: To this, we reply; that the remark is not impertinent, as commonly we find by experience: But it has not proceeded from the least defect in the Instr [...]ment, but from that of the Artist, whose aptitude is not yet arriv'd to that perfection which is requisite, and does infallibly confirme, and dispose the hand to whatever it addresses; affording so great a delight and satisfaction to some excellent Workmen, as that they never desir'd to advance further, then this Tri­umph of the pen, which has celebrated their names, and equaliz'd their renown with that of the most famous Painters: For such were (in this nature) the incom­darable Drawings of Don Giulio Clov [...]o, [Page 111] Albert Durer, Passarotto, yea Titian himself, when the fansie took him: The foremen­tion'd Goltzius, especially, for his Diana sleeping, drawn with a pen on a cloath prim'd in oyl, which was sometimes sold at Amsterdam for 200 pounds; and that labo­rious, and most stupendious work of his, now part of his Majesties collection, where he has drawn with the pen upon an height­ning of Oyl, a Venus Cupid, Satyr, and some other figures, as big as the life it self, with a boldness, and dexterity incompara­ble: and such are some things which we have seen done by Signior Thomaso a Flo­rentine; our ingenious friend Mr. Vander Douse (descended of that noble Janus Dou­sa, whose learning, and courage the great Scaliger, and Grotius have so worthily cele­brated) now in the Court of England. To these we add Rob. Nanteuil at Paris, and of our own Country-men, those eight, or ten Drawings by the pen of Francis, and John Cleyn, two hopefull, (but now desceased) Brothers, after those great Cartoons of Ra­phael, containing the stories of the Acts of the Apostles, where in a fraternal emulation, they have done such work, as was never yet exceeded by mortal men, either of the former, or present Age; and worthy [Page 112] they are of the honour, which his Majest [...] has done their memories, by having pur­chased these excellent things out of Germa­ny, whither they had been transported, or, at least intended: There is likewise one Mr. Francis Carter (now in Italy) not to be forgotten amongst those whose pens deserve to be celebrated: But it is not here that we are to expa [...]iate far on this par­ticular, as designing a Chapter only, much less shall we have leasure to proceed to black, and white Chalke (as they call it) upon coulour'd paper, in which those ma­ny incomparable, and Original Drawings of the old and great Masters are yet ex­tant, wherein a middle Colour wrought upon two extreams, produces (on an in­stant) that wonderfull, and stupendious roundness, and exstancy, which the Pen is so long in doing, though, so infallible a guide to its well doing; that having once attain'd the command of that instrument, all other Drawings whatsoever, will seem most easie and delightfull: Neither shall it then be requisite to continue that exactness, since all Drawing is but as an Hand-maid and Attendant to what you would either Grave or paint.

But by this perfection and dexterity at [Page 113] first, did even those renouned Masters, Julio, Parmegian, and sometimes Polyder, himself (not to insist on Rubens and Van­dyke) proceed, whose Drawings in this kind, when first they made their studies in Italy, were exceedingly curious, and finished; though in all their more recent, and ma [...]u­rer Designes, rather judicious then exact, because of that time which such minute fi­nishings did usually take up; and, that when all is done, it is still but a Drawing, which indeed conduces to the making of profitable things, but is it self none.

Yet so highly neceslary is this of Draw­ing to all who pretend to these noble, and refined Arts; that for the securing of this Foundation, and the promotion and en­couragement of it, the greatest Princes of Europe, have erected Academies, furnished with all conveniencies, for the exercise, and improvement of the Virtuosi: Such illustri­ous and noble Genius's were Cosimo di Me­dices, Francis the First, Carlo Borr [...]meo, and others, who built, or appointed for them, Stately Appartiments even in their own Palaces, and under the same Roofe: procuring Models, and endowing them with Charters, Enfranchisements, and ample Honoraries; by which they attracted to [Page 114] their Courts, and Countries most of the resin'd, and extraordinary spirits in all the Arts and Sciences that were then celebrated throughout the World.

Nor it seems has it been the sole glory of those illustrious Princes to cherish and eno­ble men of Art: the Greek and Roman of old had them in special veneration; but in none of their Courts, were men of Science carressed to that degree, as in that we have read of the Emperours of Japons at present, who does not only entertain, and nobly accommodate them, but never stirs abroad without their company. These great men sayes my * Authour (meaning Physitians, Painters, Descrip. Reg. [...]. Sculptors, Musitians, &c. quos proprio nomine appellant Contubernium Caesa­ris) march before the King whither he go forth in Litter or on Horseback; and being elected of Persons of the greatest birth in his Dominions, they alwayes continue at his Court, richly appointed with sallaries; but otherwise, to bear no office whatsoever which may in the least importune them, eo solum electi, ut Imperatori ad voluptatem & delecta [...]ionem consortium praestent, as being therefore only chosen, to recreate and di­vert the Prince with their excellent conver­sation: These being men of the rarest parts, [Page 115] and endowments in his Empire, have pre-eminence in all places next the King; then come the Guards in the reere, which consist of a more inferiour Nobility: Thus farr the Historian: We know not how this Instance may in these dayes be inter­preted; but certainly the Courts of Princes were in former Ages, compos'd of men of the greatest virtue and talents above the rest, and such as possess'd something of ex­traordinary (besides the wearing of fine cloaths, and making the bone mine) to re­commend them. We insist not on Sculp­tors, and painters only, especially, as such men are now for the most part Vitious, or else of poor and mechanick spirits; but as those Antient and Noble Genius's were heretofore accomplish'd; and such as of late were Raphael, Durer, Leon Alberti, Da Vinci, Rubens, and at present, Cavalier Ber­nini, &c. persons of most excellent endow­ments, and universally learned, which ren­dred their Fautors and Protectors famous, by leaving such marks of their admired Virtue, as did eternize their merits to after Ages.

Thus it was, that Myron, Polycletus▪ Phydias, Lysippus and others of the Antient, procured such lasting names by their divine labours: They wrought for Kings, great Cities and Noble Citi­zens: [Page 116] whereas others, on the contrary, (Men haply of no lesse industry and science) had little or no notice taken of them; be­cause they received no such encourage­ments, were poor and neglected, which did utterly eclipse and suppress their fame; such as those whereof Vitruvius does in the Preface to his third book make mention, where he speaks of Chiron the Corinthian, Hellas of Athens, Myagrus of Phocia, Pha­rax the Ephesian, besides Aristomenes, Poly­cles, Nichomachus, and several others, who being excellent Masters and rarely en­dow'd, perish'd in obscurity, and without any regard, from the unequal hand and di­stribution of fortune, and for want of be­ing cherished by Princes and great men: But to return;

In these places had they books of Drawings of all the old, and Renowned Masters, Rounds, Busts, Relievos and entire Figures, cast off from the best of the An­tique Statues and Monuments, Greek and Roman; There was to be seen, the Lao­con, Cleopatra, Antinous, Flora, Hercules, Commodus, Venus, Meleager, Niobe, &c. whereof the Originals are still extant at Rome: There were likewise divers rare and excel­lent Statues, both of brass and marble; Modells and divers fragments of Bases, Colomns, [Page 117] Capitals, Freezes, Cornishes and other pieces moulded from the most authentique re­mains of the antient famous buildings, besides a universal collection of Medaills, things Artificial and natural.

But to recover our Drawing again, as it concernes the Art of Chalcography, we have already mentioned such of the most accomplish'd Gravers, whose labours and works were proposed for exemplars and imitation: Nor let the most supercilious painter despise what we have here alledg­ed; or imagine it any diminution to his Art, that he now and then put his hand to the pen, and draw even after some of those Masters we have so much celebrated: wha [...] Andrea del Sarto has taken out of the prints of Albert Durer, improving, and reducing them to his manner (not for want of in­vention, and plagiary like, as all that have any knowledge of his works can justifie) has no way eclipsed, but rather aug­mented his glory; as on the other side, that divine piece of his, the Christus mor­tuus, which he gave to be cut by Augusti­no Venetiano; The Triumphs, Vas [...]s, and Anatomies of old Rosso, by whomsoever en­graven, and those other things of his af­ter Domenico Barbieri: Paulo Veroneze did [Page 118] much study the prints of Durer, and that incomparable painter Antonio Vassalacci, (call'd otherwise Aliense) made notable use of that his prodigious collection of Stamps of the most rare hands: not to recapi­tulate what were published by Raphael him­self, and infinite others; by which they have sufficiently made appear, the value they attributed to this Art; by desiring (as much as in them lay) to render their works famous to posterity, by thus com­municating them to the World, though many times, through the hands, but of ve­ry vulgar, and ordinary Gravers.

And here we should have put a period to this Essay, and the present chapter, as having abundantly vindicated the necessity and worthiness of Designe and Drawing, as it is praevious, and introducto­ry to the Art of Chalcography; had not one curiosity more prevented us; which be­cause it so much concernes the conducting of Hatches and stroaks, whither with pen, point, or Graver; pretending (at least very ingeniously hinting) to a method, how by a constant, and regular certitude, one may express to the eye, the Sensation of the Relievo, or extancie of objects, be it by one, or more hatches, cross and counter, [Page 119] we think not impertinent here to re­cite, as briefly as the demonstration will permit.

The principal end of a Graver that would coppy a Design, or piece compos'd of one, or more Objects, is, to render it correct both in relation to the Draught, Contours and other particularities, as to the Lights and shades on the Front, flying or turning, in bold, or faint touches; so as may best express the Reliefe; in which Gravers have hitherto, for the most part, rather imita­ted one another, then improved, or re­fined upon Nature; some with more, some with fewer stroaks: having never yet found out a certain and uniforme guide to follow in this work; so as to car­ry their stroaks with assurance, as know­ing where they are to determine, with­out manifestly offending the due rules of perspective.

If in truth Nakeds, and other polite Bodies were so formed, as that we might detect the course, and inclination of the Threads, Fibers, and Grain, so as we per­ceive it in Stuffs, Cloth, Linnen and o­ther Draperies; nothing would appear more facile; for let them assume wh [...] phy they will, it does not at all concern [Page 120] the tissue, Tenor or range of the Threads and Wales (as they call them) which is easily imitated, both as to their inclinations, and distances from the point of sight.

But since we are much at a loss, and can perceive no such direction or clue in Nu­dities, and other smooth surfaces, it were haply worth the while, to find out some expedient which should assist the imagina­tion in this affair, and that might encoun­ter the difficulty upon other terse and e­ven objects, by forming such stroaks, and directors upon them in our Imagination; observing, that there are some parts in them commonly to be distinguished from the Mass in gross; for example, the hairs in men, eyes, teeth, nails, &c. that as one would conceive such lines, or hatches on those Masses, others may likewise be as well fanci'd upon those lesser, and more de­licate members:

To effect this, the following Ichonisme is thus explained.

[Page]

[Page 122] Suppose, in the upmost Figure of this plate, the object ( O) to be the representation in perspective of the portion of a Bowle, ex­pos'd to the beams of the Sun; and the let­ters e. s. r. t. a Frame, or square of Wood barr'd and strung in even and straight lines, parallel inter se.

Then another Thread, viz. m. n. crossing them in perpendicular. The frame in the mean time suppos'd to incline towards the Bowle, O. 'twixt it, and the Sun, which represents to you all these threads project­ing their shadowes upon the Bowle, and the surface where it is situate.

Suppose now the same upon the Relie­vo or Mass it self; it is evident, that these Threads, in whatever manner you interpose the said Frame 'twixt the Bowle and the Sun, that they will perpetually cast their shadowes parallel inter se, cutting it as it were, into several plains, uniforme, and pa­rallel also.

You see likewise in this very Figure, that the oblique, and direct shades o u x y are caused by the cathetus m t n, and the pointed curved lines upon the Bowle O, viz. o z n 12. &c. are formed by the parallels which intersect the perpendicular.

But the same frame posited between the [Page 123] Sun and a Head in Relievo of white marble, or the like (as in the inferiour example) will not render the shadow of the threads alike upon all the parts parallel inter se (as in the former) though the same were sup­pos'd to be cut by like plain, and mutual Parallels as was the Bowle O. However, so shall they appear, as to hint the tracing of parallels on the Relievo, or assist the ima­gination of them there, and consequently, how to designe them upon objects made [...]fter the same Ordonance in perspective pa­ [...]allel, as one may conceive them upon the Relievo of an Ordonance in Geometrical paral­ [...]el, viz. as in the Figure O. or to speak more distinctly, supposing them the same on the irregular, as one the regular.

Consider then upon the Head, the con­course of those imaginary parallels in per­spective, shaded with the pointed lines; and how the intercurrent hatches, which they comprehend, pursue the same course and tenor, or perspective parallelisine.

From these instances now, it will not be difficult how to apply the same upon all the sorts of bodies representable by Graving, and to comprehend in one's imagination, the concurrency and uniforme tenor of the particles, as we may so call them; Only, [Page 124] there is this particular to be observed, tha [...] the projecture of the threads will not ap­pear alike perspicuous in the deep, an [...] shady parts of Relievos, as upon the illu­minated, being lost in the dark: But thi [...] is easily supplyed by the imagination, [...] by holding a loose thread parallel to th [...] shaded, neer to the body of the Figure by which the course of the rest may be wel [...] conceived. And this may serve to giv [...] great light to him that shall either grave i [...] Copper, or draw with the pen, for th [...] Symmetrically conducting of his hatches [...] determinatively, and with certitude, b [...] thus imagining them to be Geometricall [...] marked upon the Relievo, or embossemen [...] of the Natural, whereever he encounter i [...] and after this conception, to trace them out upon his Plate, or Draught in perspective.

And indeed, that which is chiefly consi­derable and ingenious in this, is, that of their Perspective; since the shades of the lines (in the foremention'd example) which were upon the parts more, or lesse turn'd, appear to our eye accordingly, with more or less force, which renders clear a different effect, as to the swelling and extancies of the parts, then we find it in works where this method has not been observed; so as truly, this may [Page 125] [...]eem to be the most certain expedient of expressing by hatches, the Relievo of objects, whether with the Pen, or Burine. And this [...]s the sence of a much larger discourse, which Monsieur du Bosse has proposed, treating of the practise of Perspective upon irregular Surfaces, and we have thought fit to insert into this Chapter; not only because it is new and pretty; but, for that (to us) it appears to be of good use, and as may be seen in some of the late heads graven by the incomparable Nanteuille, who had been the sole occasion of this ingenious consideration, about the time of our last being at Pa­ris.

But if this (like the diligence of Mecho­panes, which Pliny affirmes, none was able to understand but an Artist only) seem to be a disquisition more refin'd then useful; for that few of our Gravers work off from the Round, upon whichalone the observation is practicable; yet shall it be necessary to admonish, that shadowes over dark, too deep and suddain, are not com­mendable in these works, as seldom so ap­pearing in the life; and therefore hatch­ings express'd by single stroaks, are ever the most graceful and natural; though of grea­ter difficulty to execute; especialy, being [Page 126] any wayes oblique; because they will [...] ­quire to be made broader, and fuller [...] the middle, then either at their entranc [...] or exit; an addresse much more easie wit [...] the Burin, and the Pen, then with the point▪ Though Monsieur Bosse's invention of the Eschoppe, does render the making of thi [...] Sulcus, much more facile: But to attain this Masterly, and with assurance of hand, our Workmen may do well to imitate the Gravings of the Sadelers, Villamena, Sauanneburg, Gaultier; but especially Clau­dius Mellan, Natalis, Poisly, Nanteuill, Cornelius Blomar, H. Gaultzius▪ And for the Etchers in Aqua Fortis, Callot, and Du Bosse in some of their last cuts, es­pecially; Though even the counter hatch­ings also, coming tenderly off, and well conducted, (so as 'tis to be seen in some of the prints of M. Antonio's, C. Cort. Aug. Carracio and other Masters) render both an admirable and stupendious effect: For it is in this well placing of White and black, wherein all this Art, and even that of paint­ing does consist: Thus Aglaphontes us [...]d but one Colour, no more did Nitia the Athenian Painter; and it was this Relievo also for which the famous Zeuxis became so re­noun'd: not to insist on Heredices the Co­rinthian, [Page 127] and Thelophanes the Sicyonian, who were both of them but Monochromists; and, 'till Cleophanes came amongst them, no dissemblers, as owning no other Co­lours but those eminent Contraries; that is, the lights and the shades, in the true managing whereof, so many wonders are to be produc'd by this Art, and even a certain splendor, and beauty in the touches of the Burin, so as the very Union and co­louring it self may be conceiv'd without a­ny force upon the imagination, as we have before observed in these excellent Gra­vings of Natalis, Rouslet, and Poisly, after Bourdon, and in what Greuter, Blomart, and some others have done after Monsieur Poussin, Guido Rhene, Cortoon, &c.

But here by the way, let no man think we mean by this Coloree (as they term it) in Drawing and Graving, such a position of the Hatches as the Chevalier Wolson has invented, Theatre d' honeur. Testes a Gentil. and Pietro Santo the Jesuite has follow'd, to distinguish their Bla­zons by: But a certain admirable effect, e­merging from the former union of Lights, and shadowes; such as the Antients would expresse by Tonus, or the Pythagoreans in their Proportions, and imitated in this Art, where the shades of the Hatches intend, [Page 128] and remit to the best resemblance of painting, the Commissures of the light and dark parts, imperceptably united, or at least so sweetly conducted, as that the alteration could no more certainly be de­fin'd, then the Semitons, or Harmoge in mu­sick, which though indeed differing; yet it is so gentle, and so agreeable, as even ra­vishes our senses, by a secret kind of charme not to be expressed in words, or discerned by the ignorant. And this it is, which has rendred it so difficult to coppy after De­signes and Painting; and to give the true heightnings, where there are no hatchings to express them, unless he, that Copies, Design perfectly himself, and possess more then the ordinary talent and judge­ment of Gravers, or can himself manage the Pencil. But to return to Prints again, we are to understand, that what the Ar­tists do many times call excellent, does not alwayes signifie to the advantage of the Graver; but more frequently, the De­sign, consisting in the lineaments, proportion and ordonance, if these be well, and ma­sterly perform'd, and for which we have so recommended the practise of this Art to our English Painters in chap. IV. Though, to speak of an accomplish'd piece indeed, [Page 129] it is the result of integrall causes only, and where they universally encounter.

We do farther add, that for this reason, copies are in Prints much more easily de­tected, then in paintings, and by conse­quence, more facile also to imitate, as u­sing all one kind of Instrument, and fewer wayes of expression: But if there be a difficulty in it, those which are Etched in A. F. make it most conspicuous; both be­cause the nature of the plates, and quality of the Waters, and their operations, may sometimes fall out to be so very unlike: But, to discern an Original prtnt from a Copy print (not to speak of such plates as have been retouch'd, and therefore of little value) is a knack very easily attain'd; because 'tis almost impossible to imitate e­very hatch, and to make the stroaks of ex­act and equal dimensions, where every the least defect, or flaw in the Copper it self, is sufficient to detect and betray the Imposture, as in that little Desce [...] from the cross of Hanibal Carraccio (already mention'd) is perspicuous, and which it were absolutely impossible to conterfeit. In the mean time, such as are profound, and well knowing, do establish their Judgments upon other particulars of the Art, and the very handling it self.

[Page 130] Lastly, that A. F. gives a tenderness to Landskips, Trees and Buildings superiour to that of the Burine (though that exceed infinitely in Figures) may be seen in that of Israels view of the Louvre before recited, and in some other works where there is an industrious and studied mixture, as in that second manner of Vosterman's which did so much please Rubens and Vandyke, e­ven in the Portraicts which that excellent Graver published after those great mens paintings.

It was in the former Chapter that we made rehearsal of the most renowned Gravers and their works; not that we had no more to add to that number; but be­cause we would not mingle these illustrious names and qualities there, which we pur­posely reserved for the crown of this dis­course; we did therefore forbear to menti­on what his Highness Prince Ruperts own hands have contributed to the dignity of that Art; performing things in Graving (of which some enrich our collection) comparable to the greatest Masters; such a spirit and address there appears in all that he touches, and especially in that of the Mezzo Tinto, of which we shall speak here­after more at large, having first enumerated [Page 131] those incomparable gravings of that his new, and inimitable S [...]ile, in both the great, and little decollations of St. John Baptist, the Souldier holding a Spear and lean [...]ng his hand on a Shield, the two Mary Magdalens, the Old-mans head, that of Titian, &c. after the same Titian, Georgioon and others. We have also seen a plate Etched by the present French King, and other great persons; the Right Honourable the Earl of Sandwich sometimes (as we are told) diverting himself with the Burine, and herein imitating those Antient and renown'd Heros, whose names are loud in the Trumpet of Fame, for their skill, and particular affection to these Arts: For such of old, were Lucius Ma­nilius, and Fabius, Noble Romans: Pacuvius the Tragick Poet nephew to Ennius; So­crates the wisest of men, and Plato him­self. Metrodorus, and Pyrrhus the Philoso­pher did both design and paint; and so did Valentinian, Adrian and Severus, Emp [...]: so as the great Paulus Aemilius, esteem'd it of such high importance, that he would needs have his son to be instructed in it, as in one of the most worthy and excel­lent accomplishments belonging to a Prince. For the Art of graving Quintilian likewise celebrates Euphranor, a Polite and [Page 132] rarely endow'd person; and Pliny in that Chapter where he treats of the same Art, observes, that there was never any one fa­mous in it; but who was by birth or edu­cation a Gentleman: therefore He, and Ga­len in their recension of the Liberal Arts, mention that of Graving in particular a­mongst the most permanent; and in the same Catal [...]gue numbers it with Rhetorick, Geometry, Logic, Astronomie, yea Grammar it self; because there is in these Arts say they, more of fancy, and invention, then strength of hand; more of the Spirit, then of the Body. Hence Aristotle informes us that the Grecians did universally institute their Children in the Art of painting and Drawing, Polit. l. 8. [...]. 3. for an Oeconomique reason, there signified, as well as to produce propor­tions in the Mind: Varro makes it part of the Ladies Education that they might the better skill in the works of Embrodery, &c. and for this cause is his Daughter Martia celebrated amongst those of her fair Sex: We have already mention'd the Learned Anna Schurman; but the Princess Louise has done wonders of this kind, and is famous throughout Europe for the many pieces which inrich our Cabinets, exam­ples sufficient to vindicate its dignity, and [Page 133] the value that has been set upon it; since both Emperours, Kings and Phil [...]sophers, the great and the wise, have not disdain­ed to cultivate, and cherish this honoura­ble quality; of old so nobly reputed, that amongst the Greeks, a Slave might not be taught it: How passionately does Pereski­us, that admirable and universal Genius de­plore his want of dexterity in this Art! Baptista Alberti, Aldus, Pomponius Guaricus, Durer, and Rubens were politely learned and knowing men; and it is hardly to be imagin'd of how great use, and conducible, a competent address in this Art of Drawing and Designing is to the several advantages which occur; and especially, to the more Noble Mathematical Sciences, as we have already instanc'd in the Lunary works of Hevelius, and are no less obliged to ce­lebrate some of our own Country-men famous for their dexterity in this incompa­rable Art; such was that Blagrave, who himself cut those Diagramms in his Ma­thematical Jewel; and such at present, is that rare and early prodigy of universal science, Dr. Chr. Wren, our worthy and accomplish'd friend. For, if the study of Eloquence and Rhetorick were cultivated by the greatest Genius's and Heroic persons [Page 134] which the World has produc'd; and that by the suffrage of the most knowing, to be a perfect Orator, a man ought to be uni­versally instructed; a quality so becoming and usefull, should never be neglected. Quin [...]il. inst. l. 2. Omnium enim Artium peritus erit Orator, si de Omnibus ei dicendum est: He that would speak well upon all subjects, should be ig­norant of none: It was Cicero that taught Quintilian the importance of it, where he tells us, that in his opinion, no man could pretend to be Omni laude cumu­latus Orator, De Orat. 1. a perfect and accomplish'd O­rator indeed, nisi erit omnium reram mag­narum atque Artium scientiam consecutus. It is the sentence of that great Man, and therefore to be embraced by us, especially on this occasion; because it was imme­diately after he had expresly instanc'd in Caelatura & Sculptura, that of cutting and Engraving: for it is worth the observati­on, that the Ages which did most excell in Eloquence, did also flourish most in these Arts, as in the time of Demosthenes and the same Cicero; and as they appear'd, so they commonly vanish'd together; and this remark is universal.

But now for close of all, and to verifie the admirable use which may be deriv'd [Page 135] from this incomparable Art above the rest, let us hear what the learned Abbot of Villeloin, Monsieur de Marolles has le [...]t upon Record in the Memoires of his own life, Anno 1644. after he had made a ve­ry handsome discourse (which we recom­mend to all good Roman Catholiques) con­cerning Images, upon occasion of a super­stitious frequenting of a certain renown­ed Shrine, pretended to have done Mira­cles at Paris, but was detected to be an imposture: The passage is thus,

[Page 138] But it leads us yet farther, when we seriously reflect, how capable this Art is above all other whatsoever, to insinuate all sorts of Notions and things into Children, and be made an Instrument of Educati­on superiour to all those Abstracted termes, and secondary intentions where with Masters commonly torment and weary their ten­der and weak Capacities: And this we have discover'd by much experience, and could here produce examples beyond be­liefe in a Child at present not six years old, who does both know, and perfectly comprehend, such things and Actions as hardly any at sixteen, some at twenty have yet attained, who pursue the com­mon Method of our Grammar Schooles, without these aids, and advantages: For, since Nihil est in Intellectu, quod non prius fuit in sensu; Aristot. and, that as the Poet had well observ'd.

What can there be more likely to in­forme and delight them, dum animus majora non capit, then the pictures and re­presentations of those things, which they [Page 139] are to learn? We did mention before the Hieroglyp [...]ical Grammar published by Dr. Couvay; and it is well known, how Eilhardus Lubinus in an Epistle to the Duke of Stetin, has celebrated and con­triv'd an Institution of youth by this Art: Such as was also the Design of that Prodi­gie of a Man, La Martelay, who had alrea­dy collected and digested such a choice num­ber of cuts, and so universall, as by which he more then pretended (for he really effected it) to reach all the sciences by them alone, and that with as much cer­titude, and infinite more expedition, then by the most accurate method that was ever yet produced: What a speci­men of this Jo. Amos Commenius in his Or­bis sensualium pictus gives us in a Nomen­clator of all the Fundamental things and Actions of Men in the whole World, is publick, and I do boldly affirm it to be a piece of such excellent us [...], as that the like was never extant; however it comes not yet to be perceived: A thousand pitties it is, that in the Edition published by Mr. Hoole, the cuts were so wretchedly engraven: I do therefore heartily wish that this might excite some gallant and publick minded person, to augment and [Page 140] proceed farther upon that most usefull de­sign, which yet comes greatly short of the perfection it is capable of, were some ad­ditions made, and the prints reformed and improved to the utmost, by the skill­full hand of some rare Artist. In the mean time, what a Treasury of excellent things might by this expedient be conveyed, and impressed into the waxen Tables and Ima­ginations of children; seeing, there is nothing more preposterous, then to force those things into the Eare, which are visible, and the pro­per objects of the eye, For picture, is a kind of Universal Language, how diverse soever the tongues and vocal expressions of the se­veral Nations which speak them may appear; Solet enim pictura tacens loqui, maximeque pro­desse, as Nazianzen has it.

So as if ever, by this is that long sought for Art most likely to be accomplish'd: Nor can any words whatever hope to reach those descriptions, which in a numberlesse sort of things, Picture do's immediately, and as it were at one glance, interpret to the meanest of capacities: For instance, in our Herbals, books of Insects, Birds, Beasts, Fishes, Buildings, Monuments, and the rest which make up the Cycle of the Learned Abbot; some of them haply never seen be­fore, [Page 141] or so much as heard of, as Aelian does upon occasion ingenuously acknow­ledge. And what do we find more in re­quest amongst the Antient, then the Ima­ges of their Heros and Illustrious prede­cessors? such as Atticus, and Marcus Varro collected; all which consider'd, we do not doubt to affirm, that by the application of this Art alone, not only Children; but even Stripplings well advanc'd in Age, might receive incredible advantages, pre­paratory to their entrance into the Schoole Intellectual, by an Universal, and choice Collection of prints and cuts well design'd, engraven and dispos'd, much after the man­ner and method of the above nam'd Vil­leloin, which should contain, as it were, a kind of Encyclopaedia of all intelligible, and memorable things that either are, or have ever been in rerum Natura. It is not to be conceived of what advantage this would prove for the Institution of Princes and Noble Persons, who are not to be treated with the ruder difficulties of the vulgar Grammar Schooles only, and abstru­ser Notions of things in the rest of the sci­ences, without these Auxiliaries; but to be allur'd, and courted into knowledge, and the love of it by all such subsidiaries and helps as may best represent it to them in Picture, No­menclator, [Page 142] and the most pleasing descripti­ons of sensual Objects, which naturally slide into their fluid, and tender apprehensions, speedily possessing their memories, and with infinite delight, preparing them for the more profound and solid studies.

Seneca indeed seems to refuse the Graphica [...] sciences those advantages which others of the Philos [...]phers have given to them amongst the most Liberal, as reckoning them somewhat too voluptua [...]y for his Stoical humour: yet did Socrates learn this very Art of Carving of his Father; Diogens drew the picture of Pla [...]o; and the Orator Messalla commends it most highly: But what more concernes out present instance, is, that it was by the appro­bation of the great Augustus himself, that Q. Podius the Mute should be diligently taught it: We could tell you of a person of good Birth in England, who (labouring under the same imperfection) does express many of his conceptions by this Art of Drawing and De­signing: And if (as 'tis observ'd) it furnish us with Maximes to discern of general Defects and Vices, especially, in what relates to the proportions of humane bodies, it is certainly not to be esteem'd so inconsiderable as by many it is. Polygnotus could express the Passi­ons, and Aristides the very interiour motions of the soul, if we will believe what is recor­ded: [Page 143] But whither it advance to that pre­rogative; this we read of for certain, (as to our pretence for the Education of Children) that when L. Paulus demanded of the Con­ [...]ur'd Athenians a Philosopher to instruct his little ones, they prefer'd one Metrodorus an excellent Painter before any of the rest: What Quintilian sayes of Euphranor is suffi­ciently known; and if some great Princes have not disdain'd to take the Pincil in the same hand in which they sway'd the Scepter and the Sword; and that the knowledge of this divine Art was usefull even to the pre­servation of the lise of an Emperor (for such was that Constantinus P [...]r [...]hyrogenitus) it is not without examples sufficient to sup­port the dignity of these Arts, Luit­prand▪ Hist. that we have with so much zeal, recommended them to Princes and Illustrious Persons.

And now we have but one thing more to add before we conclude this Chapter, and it is for caution to those who shall make these Collections for curio [...]ity and ornament on­ly; That where we have said all that we can of This, or any other particular Art, which may recommend it to the favour, and en­dearment of great persons; our intention is not, that it should so far engage them in its pursuit, as to take from the [...]obler parts of life, for which there are more sublime and [Page 144] worthy objects; but, that with this (as wit [...] the rest which are commendable, innocen [...] and excellent Company) they would fill up all such spaces, and opportunities, as too of­ten lye open, expose and betray them to mean complyances, and lesse significant di­versions: For these was Aratus a great Col­lector, nor less knowing in the judgement o [...] Pictures; so was Vindex and many others▪

He allowes himself these relaxations only when he is tyred with the more weighty af­fairs and concernments: Finally, that they would universally contend to do some great thing, as who should most merit of the Sci­ences, by setting their hands to the promote­ment of experimental, & usefull knowledge▪ for the universal benefit, & good of Mankind.

This, this alone, would render them de­servedly honorable indeed; and add a lustre to their Memories, beyond that of their Painted Titles, which (without some solid Virtue) render but their defects the more conspicuous to those who know how to make a right estimate of things, and, by whose Tongues, and Pens only, their Tro­phies and Elogies can ever hope to surmount, and out-last the vicissitudes of fortune.

WE have already advertis'd the Rea­der in one of our Praeliminaries, why we did omit what had been by us pre­par'd for the Accomplishment of the more Mechanical part of the Chalcographical Art: But it was not out of the least Design to abuse him in the Title at the Frontis­piece of this History; since we believed he would most readily commute for the defect of a Mystery so vulgar, to be grati­fied with another altogether Rare, Extra­ordinary, Universally approv'd of, admired by all which have consider'd the effects of it, and, which (as yet) has by none been ever publishd.

Nor may I without extraordinary in­gratitude, conceal that Illustrious Name which did communicate it to me; nor the obligation which the Curious have to that [Page 146] heroic Person who was pleas'd to impart it to the World, though by so incompetent, and unworthy an instrument.

It would appear a Parad [...]x to discourse to you of a Graving without a Graver, Burin, Point, or Aqua Fortis; and yet is This perform'd without the assistance of either: That what gives our most perite and dextrous Artists the greatest trouble, and is longest finishing (for such are the hatches, and deepest shadowes in plates) should be here the least considerable, and the most expeditious; That, on the con­trary, the Lights should be in this the most Laborious, and yet perform [...]d with the greatest facility: That what appears to be effected with so little Curiosity, should yet so accurately resemble what is gene­rally esteem'd the very greatest; viz. that a print should emulate even the best of Drawings, Chiaro e Scuro, or (as the Ita­lians term it) pieces of the Mezzo Tinto, so as nothing either of Vago da Carpi, or any of those other Masters who pursu'd his attempt, and whose works we have al­ready celebrated, have exceeded, or in­deed approch'd; especially, for that of Portraits, Figures, tender Landskips, and History, &c. to which it seems most ap­propriate, and applicable.

[Page 147] This Obligation then we have to his Highness PRINCE RUPERT, Count Palatine of Rhyne, &c. who has been pleas'd to cause the Instruments to be expresly fitted, to shew me with his own hands, how to manage, and conduct them on the plate, that it might produce the effects I have so much magnified, and am here ready to shew the World, in a piece of his own Illustrious touching, which he was pleas'd to honour this Work withall, not as a Venal addition to the price of the Book (though for which alone it is most valuable) but a particular grace, as a Speci­men of what we have alledged, and to a­dorn this present Chapter.

It is likewise to be acknowledged, that his Highness did indulge me the Liberty of publishing the whole manner, and address of this new way of Engraving with a free­dome perfectly generous, and obliging: But, when I had well consider'd it (so much having been already expressed, which may suffice to give the hint to all ingenious Persons how it is to be perform'd) I did not think it necessary that an Art so curi­ous, and (as yet) so little vulgar (and which indeed does not succeed where the Workman is not an accomplished Designer, [Page 148] and has a competent talent in painting likewise) was to be prostituted at so cheap a rate, as the more naked describing of it here, would too soon have expos'd it to.

Upon these considerations then it is, that we leave it thus Aenigmatical; and yet that this may appear no dissingenuous Rodo­montade in me, or invidious excuse, I profess my self to be alwayes most ready ( sub si­gillo, and by his Highnesse's permission) to gratifie any curious, and worthy Per­son, with as full, and perfect a Demon­stration of the entire Art, as my talent, and addresse will reach to; if what I am now praeparing to be reserv'd in the Archives of the ROYAL SOCIETY concerning it, be not sufficiently instructive.