FINE ARTS
NE
1760
544
1770
PAUL JOSEPH SACHS
ra
SI QURRISPENINSULAMAMENAM
UNIVERSITY OF MICHIGAN
LIBRARY
1817
ARTES
SCIENTIA
VERITAS
OF THE
FURIOUS Dave
TIEBOR
CIRCUMSPICE
SUSPAUNAW.WW.W.
1988
Sculptura Hiſtorico-Technica :
OR, THE
HISTORY AND ART
0 F
ENGRAVING.
CONTAINING,
I. The Riſe and Progreſs of ENGRÁVING.
II. OF ENGRAVING in general,
III. OF ENGRAVING, ETCHING, and. SCRAPING
on COPPER, as now practiſed.
IV. An Idea of a Fine Collection of PRINTS.
Ñ. The REPERTORIUM; or, A COLLECTION
of various MARKS and CYPHERS, with
Additions.
To which is now added,
A Chronological and Hiſtorical Series of the
Painters from the Eleventh Century.
Extracted from
BALDINUCCI, Florent Le Compte,FAIRTHORNE,
the ABECEDARIO PITTORICO, and other Authors.
With COPPER-PLATES.
The FOUR TH EDITION.
LONDON:
Printed for J. MARKS, in St. Martin's Lane.
M DCC LXX,
Sculptura Hiſtorico-Technica :
OR, THE
HISTORY AND ART
OF
ENGRAVING.
CONTAINING,
I. The Riſe and Progreſs of ENGRAVING.
II. OF ENGRAVING in general,
III. OF ENGRAVING, ETCHING, and, SCRAPING
on COPPER, as now practiſed.
IV. An Idea of a Fine Collection of PRINTS.
F. The REPERTORIUM; or, A COLLECTION
of various MARKS and CYPHERS, with
Additions.
:.
To which is now added,
A Chronological and Hiſtorical Series of the
PAINTERS from the Eleventh Century.
Extracted from
BALDINUCCI, FLORENT LE COMPTE,FAIRT HORNE,
the ABECEDARIO PITTORICO, and other Authors.
With COPPER-PLATES.
The FOUR TH EDITION.
LONDON:
Printed for J. MAR K s, in St. Martin's Lane.
M DCC LXX,
Fine Arts
NE
1760
5 44
1770
c
19-57153
Ferieflector
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2 2 2 2 2 2
Skok ke she se ke dhe
S S M
EVADESAVO VYRO 65 1966/6
22
Τ Η Ε
2-/4-57
P R E F A C E.
T
O render a Treatiſe on any Art
or Science acceptable to every
Reader, it ſhould certainly be calculated
to inſtruct as well as entertain ; and in
order to fulfil this Intention, it is ne-
ceſſary that Ideas_ſhould be preſent-
ed to us in ſuch a Manner, as to
make a ſtrong and laſting Impreſſion
upon our Minds: I flatter myſelf that
proper Attention has been paid to both
theſe Circumſtances in the following
Treatiſe, which has hitherto been re-
ceived as an uſeful as well as an agree-
able Work.
Every
A 2
iy
The P R E FACE.
Every curious Enquirer muſt receive
infinite Satisfaction, in tracing the various
Improvements of any of the Arts from
their primary Sources, and obſerving
with Care the Difficulties they encoun-
ter in their Progreſs towards Perfection:
But, his Labour will be conſiderably di-
miniſhed, if he ſhould be aſſiſted in the
Proſecution of his Enquiries by the In-
ſtry and Attention of others who have
before treated on the Subject; for by this
Means much Light will be thrown upon
the Point in Queſtion, and he will be
prevented from falling into thoſe Errors
which he probably would not have
eſcaped, had he been left to his own
Conjectures.
The Antients are generally allowed
to have excelled in the Art of Painting ;
though very few of their Works have
been handed down to us, as it was im-
poſſible
}
*
:
The PRE FACE.
poſſible to preſerve them from the In-
juries of Time and other Accidents
Engraving however, ſtepped in with
its Affiſtance, and eſtabliſhed a laſting
Memorial of its Uſefulneſs, by the Pre-
ſervation of many beautiful Pieces in
Painting, as well as in Sculpture, Ar-
chitecture &c. the Originals of which
have been deſtroyed : Painters and other
Artiſts therefore, are as much obliged to
the Invention as the Public; for with-
out it, many of their moſt capital
and valuable Performances would have
been loſt. It may indeed be objected,
that Deſigning could have anſwered
theſe Purpoſes; but let it be conſidered,
that Drawings as well as Paintings are
generally confined to a few Poffeffors;
whereas by the Art of Engraving, a
Number of Impreſſions may be taken
from one Plate, without the least Devi-
ation of a ſingle Line.
The
sin
A3
.
:
vi
The P R E F A C E.
The Reader will be led from the
Riſe of this Art through its various
Stages to that Degree of Perfection
which it has acquired in the preſent
Age: The Hiſtorical Part comes firſt;
Secondly, the Art in general; Thirdly,
Etching; Fourthly, Metzotinto; and
Fifthly, an Idea of a fine Collection of
Prints; which part deſerves particular
attention, as the Gentleman will here
have proper Rules to affiſt him in the
choice and diſpoſition of his Collection,
which, when properly arranged, will
afford him a Fund of rational Amuſe-
ment for his leiſure Hours. Sixthly,
the Characters, or Marks and Cyphers
uſed by Engravers &c. with their ex-
planation ; Seventhly, the Initials uſed
by ſome Artiſts inſtead of Marks or
Cyphers, or by the ſame at other Times
Eighthly, will be given a Chronological
and Hiſtorical Series of Painters from
the
;
The P R E F A C E.
vi
1
the eleventh Century to the preſent
Time; Ninthly, the Student will be
furniſhed with an Alphabetical Index
of the Chriſtian and Surnames &c.
and laſtly, with an Alphabetical Liſt
of the Surnames before the Chriftian
Names.
This Edition is rendered more com-
plete by the inſertion of ſeveral Marks
omitted in the former, together with the
Chronological Series; the whole being
diſpoſed in a regular Manner, the fe-
veral Parts following each other as the
Subject leads, which Method I hope
will be moſt agreeable to the Reader.
FUT TOT
Τ Η Ε
he
&
K
th
********
******
*
Beton
Τ Η Ε
CO N T E N T S.
I
TH
20
21
22
Page
HE Hiſtory of the Art of Engraving.
Of Engraving in General.
15
Of the Quality of Copper requiſite for Plates. · 17
Directions for conducting the Strokes, or Cuts ?
*s}
of the Graver.
for Engraving the Hair of Mcx
and Beaſts, and the Beard.
Sculpture.
Stuffs.
23
Architetture.
24
Landſkips.
25
Strokes or Cuts of the Graver. 26
Water.
27
Clouds.
28
Preſerving an Equality and
}
Harmony in the Wirk.
The Art of Engraving with Aqua Fortis, and
to make the hard Varniſh.
47
To make the Compoſition of Tallow and Oil, to
cover thoſe Places in the Plate, where you
would not have the Aqua Fortis cat in.
TO
§ 29
48
X
The C O oni
N T E N T S.
1
Page
E
To prepare the ingredients for making the
49
Aqua Fortis for the hard Varnik. --
To make the Aqua Fortis.
50
To know good Copper from bad.
51
To planiſh and poliſ the: Plate.
52
To apply the hard Varniſh, and make it black. 55
To dry and harden the hard Varniſh on the Plate. 57
To chooſe the Needles to make the Tools to etch
with.. Plate 3
"}
58
To whet the Points of the Needles.
-59
To preſerve the Varniſh on the Plate.
60
To Etch.
61
To guide the Needles on the Plate.
62
To uſe the Oval-Points, to make large Strokes
in etching or graving with Aqua Fortis.
To prepare the Plate for receiving the 68
It make a Trough and Frame to hold the Plate
* when you would pour the Aqua Fortis
111
64
Plate 5
69
on it.
71
The Manner of caſting the Aqua Fortis on
the Plate, and to cover the Places that
are fainteft, and moſt remote from the
Eye,
with the fore-mentioned Mixture, as
Occaſion requires.
To take the Ground or Varnils from the Plate,
after the Aqua Fortis" has done it's
79
Operation.
Of Soft Varniſh. To make it, and its Uſes.
The Manner of laying the ſoft Ground, or }
Varniſh, on the Plate.
To border the Plate that it may contain the } 88
The
82
83
The CO N T E N T S. xi
Page
}
1
95
The Manner to lay a white Ground on the 92
hard or ſoft Varniſh.
Another Way to lay a White on the Varniſh.
The Manner after the Plates are eat in by
the Aqua Fortis, to touch, or re-grave
that which had been forgot or Mould be
mended.
The ſeveral Ways of Drawing the Deſign
} 99
on thPlate.
The Forms of Graving-Tools, and the Manner
of whetting. the Graver.
The Manner of holding the Graver, with
other Particulars,
104
The Manner of governing the Hand, &c. 106
96
}
I02
Plate 9.
"}
Of Mezzotinto
, called Scraping or Burniſhing} 109
IIO
An Idea of a fine ColleEtion of Prints.
Repertorium, or Marks and Cyphers of
137
Engravers and Painters, &c.
The Initials uſed by Engravers, for their
Marks.
§ 179
A Chronological and Hiſtorical Series of the
moſt eminent Painters from the Eleventh 192
Century, &c.
An Alphabetical Index of the Chriſtian Names
and Surnames of the Painters and En-
226
gravers, with their Places of Abode, and
when they fouriſhed, &c.
An Alphabetical Liſt of the Surnames, before
the Chriſtian Names, of Painters, En 250
gravers and Sculptors.
THE
THE
H I S T O RY
OF THE
ART of ENGRAVING.
O
F all the Arts which are deſcended
from Deſigning, none, except Ar-
chitecture, Painting, and Sculp-
ture, has given ſo much Pleaſure, or has
been of more Uſe, to all Lovers and Pro-
feffors of the Liberal Sciences, than that
of Engraving ; whether on Copper, or
Wood : for, by this Means, all the cele-
brated Performances and Inventions of the
moſt eminent Maſters, are exceedingly well
imicated, and reduced to ſo ſmall a Size,
as to be conimunicable to the whole
World. 'Tis by the Aſiſtance of this
Art, thoſe who have never croſſed the Seas,
are acquainted with the magnificent Struc-
tures, beautiful Statues, inimitable Paint-
ings, &c. with which the Cities, Churches
and Palaces of other Countries, and parti-
cularly Italy, are adorned: Which is a
fingular Pleaſure to the Lovers of thoſe
Arts, and of no leſs Uſe to thoſe who
B
profeſs
2 :
The HISTORY of the
profeſs them ; for, as it is an evident
Truth, that we have no Ideas but what
ariſe from Senſation, fo conſequently the
readieſt Way to form them, is by con-
templating the noble Works of others.
This Art, which by the beſt Authors is
placed among the novox pauclos, was acci.
dentally diſcovered in the fourteenth Cen-
tury, by one Mafo Finiguerra, an inge-
nious Goldſmith and Sculptor of Florence;
who was fanious not only for deſigning
and emboſſing Figures on Gold and other
Metals, but alſo for engraving, and after-
wards inlaying them with Metals of other
Colours; which he did in the following
Manner. Having deſigned and engraved
his Figures, he uſed, before he inlayed
them, to fill the Engraving with Earth,
and caſt melted. Sulphur on it, which gave
it a Sort of an Olive Colour; after which,
preſſing a piece of damp Paper on it,
with a ſmooth wooden Roller, the En-
graving on the Metal remained imprinted
on the Paper, juſt as if it had been de-
ſigned with a Pen. Baccio Baldini, ano-
ther Gold and Silver-Smith of the fame
City, began to do the ſame; but as he
underſtood very little of Deſigning him-
ſelf, he employed Sandro Botticelli to alift
him in moſt of his Performances: Some
of which being ſeen by Antonio del Pol-
)
laiolo,
1
ART of ENGRAVING.
3
!
laiolò, a celebrated Deſigner of the fame
Cicy alſo; who had ſtudied' Anatomy to
learn the Situation and Action of the Muf-
cles of the human Body; he engraved ſome
of his own Deſigns on Copper, and amongſt
the reſt a fine Repreſentation of a Battle.
This new Manner of Deſigning began
now to be the Subject of Converſation, and
Andrew Mantegna, who was then at Rome,
having ſeen ſome of theſe Prints, was ſo
exceedingly pleaſed with them, that he ap:
plied himfelf with the greateſt Diligence to
engraving his Triumphs; which being pro-
bably the firſt Prints that appeared in Pub-
lick, met with univerſal Applauſe, and ob-
tained him great Part of that Glory, which
was due to the firſt Inventors of this Art,
becauſe he, by great Study and Applica-
tion, brought it to a tolerable Degree of
Perfection. But if Mantegna, after what
he did, had boaſted that he had perfected
this Art; his Vanity would have deſerved
as juftly to be laughed at, as old Palæmon's
Tears, who lamented bitterly, believing
the World by his Death would loſe the
Uſe of Letters : For whoever rightly con-
fiders, will ſee very clearly, that this fine
Art of Engraving, firſt with the Graver,
and afterwards with Aqua Fortis, in the
Courſe of about 280 Years, ſince Menn
tegna's Death, ' has made fuch Progreſs,
)
The HISTORY of the
and is arrived at fuch Perfection, that it is
not only, as I have ſaid, of great Uſe to
the Profeſſors of Architecture, Painting,
Sculpture, 63.c. by communicating to then
the noble Inventions of others; but to all
Mankind in general, by acquainting them
with whatever is worthy of Obfervation,
even in the moſt diſtant Parts of the Globe.
However, we muſt do this Juſtice to Man-
tegna's Memory, to acknowledge, that
what he did, excited others, after his Ex-
ample, to apply themſelves to this. Art;
ſince in 1490, Germany produced Il Te-
deſco, and Iſrael Martin, who firſt fewed
an uncommon Diligence in their Works,
and gave this Art to the renowned Albert
Durer, their Diſciple, Lucas of Leyden,
Aldegrave, and others, who afterwards be-
came much abler Artiſts than their Maſters,
And indeed, to ſay the Truth, from this
Time, the Graver would have begun to
rival the. Pencil, had not their Prints, imi-
tating the Dryneſs of the Paintings of thoſe
Countries, which want much of the Mel-
lowneſs and Delicacy of the Italian, been
leſs beautiful than they would otherwiſe
have been; which was not a little aug.
mented by the Variety of Invention, dit-
ferent Air of the Heads, and particular
new Manner of cloathing Figures, intro-
duced into the Art of Painting by the emi-
nent
ART of ENGRAWING: 5
nent Italian Maſters, among which are
reckoned Baccbiacca,. James. of Pantormo,
and laſtly, Andrew del Sartoz, all Florentines,
who were continually adding ſomething
new and graceful to their works.
In the fifteenth Century, and Time of
Raphael, Italy produced the celebrated
Mark Antonio Raimondi, to whom this Art
is very much indebted, as he was the firſt
who began to reduce it to ſo fine a Man-
ner, that even Raphael himſelf was ſo much
pleaſed with it, as to deſire him not only to
engrave many of his beft Paintings, buc
alſo a great Number of his Deſigns and
fine Inventions, which 'till then had never
been ſeen in Rome, or elſewhere. His
Diſciples and Imitators were Auguſtin of
Venice, Sylveſter and Mark of Ravenna,
who, between the Years 1535 and 1560,
engraved almoſt all Raphael's Paintings,
Deſigns, and Inventions; as alſo thoſe
of Julio Romano, his favourite Diſciple,
from his and Raphael's own Deſigns. We
have of Auguſtin's Engraving, the fine Print
of Anatomy, the Slaughter of the Inno-
cents, and naked Men, who are torment-
ing the Martyr. Saint Laurence with Fire;
all done from the beautiful Deſigns of
Baccia Bandinelli, a famous Sculptor of
Florence : The laſt Piece of which had the
Reputation of exceeding the original De-
ſign.
1
B. 3.
:6 The History of the
ſign. John James Coraglio, of Verona, alſo
imitated Raimondi, and engraved moſt of
Rolo's Works, with many Deſigns of Pe-
rin del Vaga, Parmigianino, and Titian. ·
After theſe, Lamberto Suave applied him-
ſelf diligently to engraving, as may be ſeen
by his thirteen Prints of our bleſſed Saviour,
and his twelve Apoſtles; the fine Piece of
Saint Paul ſitting and writing, and the
Story of the Reſurrection of Lazarus.
John Baptiſta, of Mantua, a Diſciple of
Julio Romano, beſides many Prints of Por-
traits, with a Sort of antique Creſts, pub-
liſhed two fine Pieces of the Burning of
Troy. There was alſo Æneas Vico, of
Parma, who engraved the Works and De-
ſigns of Rojo, Bandinelli, and Salviati,
with many Books of ancient Medals, re-
preſenting the Effigies of the Emperors, and
their Wives, with their Reverſes; and alſo
the Genealogical Tables of the Emperors,
and of the Family of Eſte. Julio Bonafone
engraved the Inventions of Raphael, Julio
Romano, Parmigianino, and others; and
Baptiſta Franco publiſhed many Prints of
other Maſters; and Girolamo Cock, a Fle-
ming, engraved the fine Works of Martin
Hemskirk, his own Inventions, and thoſe
of many other Maſters, which it would be
tedious to mention.
And
ÅRT of ENGRAVING.
7
!
And as it is the particular Property
of
the human Underſtanding to be always in-
venting fomething, and as every Body has
an innate Deſire to furpaſs the reſt of Man-
kind by ſome peculiar Excellency; it was
not long before Hugo of Carpi, a Painter
of no great Renown in other Reſpects, be-
gan to publiſh wooden Plates of two diffe-
rent Impreſſions, the firſt of which ſhew-
ed the Shade, juit as Copper Plates do ;
and the ſecond, the Light; for the Wood
being cut away very deep, left the White
of the Paper, wherever there was Occaſion
of Light; ſo that the Prints appeared as if
they had been illuminated with Spaniſh
White. He afterwards invented another
Manner of Engraving, by which he made
his Prints of three Impreſſions; that is to
fay, of the deepeſt Shade, the lighteſt, and
of a middling one, making the Lights ap-
pear in the White of the Leaf. He en-
graved many of Raphael's Works after this
Manner, and was the Occaſion, that Bala
thazar Peruzzi, Francis Parmigiano, An-
thony of Trent, John Nicholas of Vicenza,
and Dominico Beccafumi, afterwards engra-
ved many more of them in the ſame Man-
ner, which ſucceeded ſo well, as to pleaſe
the Lovers of this fine Art very much, and
alſo be of great Ufe to them; but thoſe
moſt
B 4
8 The HISTORY of the
moſt of all, that came from the Hand of
Beccafumi.
Cornelius Cort, a Fleming, ſucceeded
theſe, and engraved the Landſkips, and
other fine Works of Girolamo Muriano,
Frederick and Taddeo Zucchero, Frederick
Barrocio, Marcellus Venufto of Mantua, Ca-
ravaggio, and the inimitable Picture of the
Transfiguration, by Raphael. There was
alſo Anthony Tempeſta, who etched many
Pieces of Battles, Huntings, and all Sorts
of Animals, as I ſhall obſerve in his
Life ; Martin Rota, who engraved the ce-
lebrated laſt Judgment of Michael Angelo,
in two Plates, one of a greater, and the
other of a lefſer Size, and ſeveral others
from the Works of Raphael and Frederico ;
Cherubino Alberti, who did many of Poli-
doro's Inventions; and the never enough
to be commended Auguſtin Caracci, whoſe
moſt beautiful Prints are ſo well known to
the Lovers.cf this Art, who were all eminent
Mafters. Villamena of Ali, alſo a free,
taſy Engraver, and good Deſigner, pub-
liſhed his Labours, amongſt which, the
Fine Print, of the Preſentation of our Sa-
viour in the Temple, from the famous Pic-
ture of Paul Veroneſe, is very much efteem-
ed. In the Time of the Emperor Rodolph,
John and Raphael Sadalaer, fouriſhed in
Germany,
ART of ENGRAVING, 9.
1
Germany, and gave great Proofs of their
Abilities by the many fine Plates which
they publiſhed of the Works and Inven-
tions of Martin de Vos, Baſſan, Titian, Ja-
ſeph of Arpino, and other Maſters. Their
School produced Egidius Sadalaer, their
Nephew, who was univerſally allowed to
be the beſt Engraver of his Age, and led
the Way to that fine Manner, which was
copied by the beſt Maſters of the fucceed-
ing one. There was alſo Raphael Guidi, a
Tuſcan, who engraved many fine Plates
from the Works of Joſeph of Arpino ; Har.
man Myler, a very bold and free Engraver;
and the ingenious Henry Goltius, a Hollan-
der, who had the Talent of imitating the
Stile of many preceding Maſters; Philip
Tomaſini, who engraved at Ronie the Fall of
Lucifer, the laſt Judgment, the Diſpute of
our Saviour with the Doctors in the Tem-
ple, and the School of Athens, by Raphael,
with many Inventions of other Maſters;
Matthew Greuter, a Native of Straſbourg,
who, beſides engraving many Plates of his
own Invencion, retouched ſome of Tem-
peſta's Plates of Hunting Pieces, and ſome
of other Engravers.; and Theodore Crager,
whoſe finę Plate of the laſt Supper, from a
famous Painting in Freſco, by Andreres del
Sarto, is preferved in the Grand Duke. of
Tuſcany's
B 5
Io The History of the
Tuſcany's Wardrobe. We cannot behold
without Aſtoniſhment, the beautiful Prints
of Saenredam, and of the celebrated Swan-
burg, who engraved the Deſigns of Rubens
and Bloemaert, with extraordinary Delicacy.
The next, who became eminent, were
James Callot, who, for ſmall Figures, ex-
celled all his Predeceffors in this Art; and
the renowned Stephen della Bella, a Floren-
tine. Peter Tempeſta, a good Painter, etch-
ed about the ſame Time his fine Inven-
tions; and Salvator Roſa, a Neapolitan, and
celebrated Landſkip Painter, publiſhed
many of his comical Conceits; in which
the Trees and Herbage are touched with
ſurprizing Freedom; and after him, that
excellent Painter, and worthy Prieſt, Peter
Aquila, who etched the admirable antique
Statuies, and beautiful Paintings of Hanni-
bal Caracci, in the Gallery of the Farneſe
Palace; and alſo the fine Works of Lan-
franco in the Villa Borgheſe; thoſe of Peter
of Cortona, in the Sachetti Palace; and
fome of Ciro Ferri's; with the noble In-
ventions of Carlo Maratti, and ſome of his
own.
Some time after this, France boaſted of
her Melan, who invented a Sort of Engra-
ving, by which he gave his Figures both
Light and Shade, with ſingle Strokes only,
without
Art of ENGRAVING.
II
without ever croſſing them': He was alſo a
Painter, and engraved chiefly his own
Works. There was alſo Mr. Lane, who
engraved Hiſtory and Portraits almoſt after
Villamena's Manner; and M. Rouſſellet,
who engraved the Labours of Hercules from
Guido Reni for the French King's Cabinet,
in a very beautiful and expreſſive Stile, pe-
culiar to himſelf; M. Anthony Bos, who
both etched and engraved in a Stile of his
own, did not fucceed ſo well; we have of
his Engraving the Figures in all the Books
of M. Defargue's Works, who was a Ma-
thematician, Geometrician, and Profeſſor
of Perſpective in the Academy at Parisg.
and in a printed Volume of his Lectures.
In the Time of Bos, the famous Nanteuil
began to engrave Portraits in a moſt beau-
tiful Manner of his own Invention ; and
Francis Poilly made himſelf eminent by en-
graving, with great Sweetneſs an infinite
Number of Pieces of Devotion, from the
Works of Raphael, Caracci, Guido Reni,
and others; whilft Cornelius Bloemaert gain-
ed great Reputation at Rome, by engraving
many of the Works of Peter of Cortona,
and other Maſters, in the moſt ſoft and de-
licate Stile, that was, perhaps, ever ſeen
'till his Time; and excited that celebrated
Engraver, Francis Spierre, to apply himſelf
B: 6
to
I 2 The HISTORY of the
to imitate his fine Manner in the beautiful
Prints which he publiſhed; the Out-lines
of which are exceedingly fine, but the En-
graving is not ſo ſoft and delicate as Bloe-
maert's. M. Rulet afterwards engraved at
Rome many beautiful Prints, with the Allis-
tance of Ciro Ferri, from his Deſigns, and
was followed by M. Bodet, who engraved
in the ſame Stile, at Paris, for the King's
Cabinet, the four Pictures of Albano, which
are in the Falconieri Palace at Rome. There
was alſo M. Vanſculp, who did many Hiſ-
tory Pieces and Portraits with great Sweet-
nefs; and M. Maſon, who, with Mignard's
Affiftance, engraved the Portrait of the
Count of Harcourt from one of his Paint-
ings. After this, Madam Claudia Stella
etched at Paris many very fine Prints, by
which ſhe not only acquired great Renown,
but almoſt put the Male Sex to Shame;
and, among others, this ingenious Lady
did a beautiful one of Mount Calvary, from
a celebrated Painting of the famous Pouſin,
which ſhe preſerved with more Care than
her choiceft Jewels. Laſtly, M. Edelink,
a Fleming, with the Afiftance of M. Charles
le Brun, firſt Painter of Louis the XIV. en-
graved his works in a Stile ſomething dif-
ferent from that which M. Rouffellet prac-
tiſed at Rome, but more bold, expreſſive,
and
Art of ENGRAVING. 13
+
and harmonious: We have alſo of his En-
graving, the Family of Darius, a Print very
much eſteemed in the World, and a Ma-
donna, from a Painting of Raphael, which
is preſerved in the French King's Cabinet
of Pictures.
I have here given you an Epitome of the
uſeful Art of Engraving, from its firſt Dif-
covery at Florence, 'till through a Series of
many Years, it was gradually brought to a
State of Perfection by the fucceffive united
Labours of the great Maſters I have enu-
merated; as any ingenious Lover of this
Art may eaſily perceive, by examining and
comparing their Works : And therefore,
though moſt Countries in Europe have pro-
duced many eminent Men of this Profeſſion,
ſince the Time of Edelink, ſhall, to avoid
Prolixity, omit then, becauſe few of the
Curious can be unacquainted with their Per-
formances, which have introduced into the
World a noble Emulation between the
Graver and the Pencil, inaſmuch as the Ex-
cellencies, Requiſites and Prerogatives of
theſe fine Arts, are nearly the lame, that
is to ſay, Deſign, Relief, Expreſſion of the
Paſſions, Multiplicity of the Objects, near
and diſtant Proſpects of the Country and
Buildings, Delicacy of the Out-lines, and,
I might almoſt fay, Colouring itſelf. This,
I believe,
14 The HISTORY of, &c.
OTTATINIAI
I believe, will evidently appear to all, who
attentively exarine and reflect on the Works,
which theſe Maſters have publiſhed, hav-
ing a due Regard to the Time and Place
they lived in, from the Beginning of this
Art, to its Perfection, by their united En-
deavours, to the common Advantage of
all Mankind.
1
Of
in GENERAL. .
15
!
Of ENGRAVING in General.
MY
Y Intention, in treating of this no-
ble and uſeful Art, is not ſo much
to inſtruct the Maſters of this Profeſſion, as
to inform the Lovers of it, what are the
Sentiments of the moſt eminent Engravers
of the Academy at Paris, with regard to
it, and endeavour to inſpire the Publick
with a Love for it, by giving them fome
ſhort, eaſy and uſeful Directions, how to
judge with Certainty of Performances in
this Art.
The Principles, on which this Art is
founded, are the ſame as thoſe of Painting,
viz. Deſign, which an Engraver ought to
be a perfect Maſter of, becauſe, without
it, he will never be able to imitate a Pic-
ture, or Deſign, with any tolerable Degree
of Perfection ; they may indeed be finely
engraved, but will want both the Juſtneſs
of the Out-lines, and beautiful Expreſſion
of the Originals.
I ſhall paſs over in Silence the Manner
in which an Engraver ought to deſign, be-
cauſe it ſhould be the ſame in which a
Painter does, and only obſerve, that he
ſhould diligently apply himſelf to deſign
Hands and Feet from the antique Statues,
Nature,
16 Of ENGRAVING
Nature, and the Paintings of the beſt Maf-
ters, and that he ought particularly to ſtudy
the Prints of Auguſtin Caraaci and Villa-
mena, who have deſigned thoſe Extremi-
ties with great Eaſe and Perfection : This
I ſay, that the Engraver may acquire a Fa-
cility of doing them with a good Gait, and
be able to correct Errors, when he engraves
froin the Works of Painters or Deſigners,
who were not perfect in this Branch of
their Profeflion.
But when he is to copy the Paintings of
eminent Maſters, then he ought entirely to
lay aſide any particular Manner of Deſign-
ing he has acquired, and conform himſelf
to that of the Works he would imitate, in
order to preſerve that Character, which diſ-
tinguiſhes the Siile of one Maſter from ano-
ther; and to this End, he ſhould deſign
from the Paintings of Raphael, Caracci,
Dominichino, Pouſin, and others; and if
he has only an Opportunity of ſeeing them,
and not 'Time to copy them, he ſhould re-
mark all their particular Beauties, and their
different Manners of forming the Out-lines
of their Figures.
Ic is very neceſſary alſo, that an En-
graver ſhould underſtand Perſpective and
Architetture.
Perſpective, by the Degradations of ſtrong
and faint, enables him with Eaſe to throw
backwards
in GENERAL
17
backwards the Figures and other Objects of
the Picture, or Deſign, he would imitate ;
and Archite&ture, to preſerve the due Pro-
portion of its ſeveral Orders, which good
Painters very often do not give themſelves
the Trouble of doing in their Deſigns,
which are only done by the Glance of the
Eye, and commonly left to the Diſcretion
of the Engraver.
Of the quality of Copper requiſite for
PLATES.
TH
HE Red is the beſt, and moſt fre-
quently made Uſe of, becauſe it is
the tougheſt, and adheres moſt to the Gra-
ver; many deceive themſelves, when they.
heat it to foften it; on the contrary, 'tis
better it ſhould be a little hard, provided
it is not brittle: To prevent which, they
need only give Directions to thoſe, who
prepare the Plates, to hammer them a little
cold, and take Care, that they are made
perfectly ſmooth, without Cavities or Flaws,
and of equal Strength throughout.
Before the Engraver begins to trace any
Thing on them, although they appear very
well poliſhed, it will not be improper to
take a Burniſher, and rub them well with
it, in order to clear them of what the Stone
and Fire may have left, which frequently
renders
18 Of ENGRAVING
renders the Bottom of the Engraving fouf
and tarniſhed. As to the Gravers, all Ar-
tiſts know, that they ought to be made of
the beſt and pureſt Steel, withouť any
Vixture of Iron, and wel} tempered ;
their Form 'tis needleſs to ſpeak of, be-
cauſe moſt Engravers chuſe them according
to their Fancy; however, thoſe are beſt,
that are of a moderate Length, almoſt
ſquare, and ſmaller at the Point, but Care
muſt be taken that they be not too thin,
that they may be able to reſiſt the Work,
without bending or breaking: and the En-
graver ought to take particular Care, that
his Inſtrument is very ſharp, and a little
turned up at the Point, that he may the
more eaſily diſengage it from the Plate ;
and never engrave any Thing with a blunt
Inſtrument, if he deſires his Work ſhould
be neat and fine, for if he does, it will ap-
pear as if it was only ſcratched.
There are ſome who ſhew great Facility
in their Engraving, others great Labour ;
and ſome who affect, in croſſing their
Strokes, to form acute Angles, others,
perfect Squares.
Thoſe, who have the Facility' I ſpeak of,
are Goltzius, Muler, Lucas, Kilian, and
fome others; whoſe principal View in many
of their Performances ſeems to have been
to ſhew the World, by the winding Cuts
of
>
in GENERAL.
19
of their Gravers, that they were Maſters of
them; without giving themſelves any Con-
cern about the Juſtneſs of the Out-lines,
the Expreſſion, or the Effects of the Light
and Shade, that were in the Picture or De-
ſign they would repreſent.
The Manner of Engraving, which ap-
pears to me to be done with great Labour,
is that which has an infinite Number of
Strokes and Points, confounded together
without any Order, which make it look
more like a Deſign than Engraving.
An Engraver ſhould never, in croſſing
the firſt Strokes with the ſecond, make
very acute Angles, particularly in repre-
ſenting Fleſh; becauſe it forms a very diſ-
agreeable Piece of Taby-like Lattice-Work,
which deprives the Eye of that agreeable
Repoſe, with which it defires to view all
Sorts of Objects.
The Squares made by croſſing the
Strokes ſhould never have very acuté An-
gles, except in the Repreſentation of ſome
Clouds, in Tempeſts, and the Waves of
the Sea, as alfo in reprefenting the Skins of
hairy Animals, and the Leaves of Trees.
The Medium, between Square and A-
cute, feems to me the beſt and moſt agree-
able to the Eye; as 'tis alſo the moſt diffi-
cult to do, becauſe the Irregularity of the
Strokes is moſt perceptible : However,
they
20 OF ENGRAVING
they muſt not be quite Square, becauſe that
reſembles Stone too much.
DIRECTIONS for conducting the STROKES
or Cuts of the GRAVER.
F.
IRST, the Engraver ſhould obſerve
the Action of the Figures, and of all
their Parts, with their Out-lines ; remark
how they advance towards, or recede from
his Sight, and conduct his Graver accord--
ing to the Riſings or Cavities of the Muf-
cles, or Folds, widening the Strokes in the
Lights, and contracting them in the Shades,
as alſo at the Extremity of the Out-lines,
to which he ought to conduct the Cuts of
his Graver, that the. Figures or Objects
repreſented may not appear as if they were
gnawn; and lightning his Hand, that the
Out-lines may be perfectly formed without
ſeeming ſtiff or cut*. And although he
break off his Strokes at the Place where
a Muſcle begins, either out of Neceſſity to
form it, or to give it greater Expreſſion;
yet they ought always to have a certain
Connection with each other, ſo that the
firſt Stroke ſhould often ſerve to make the
fecond; becauſe this ſhews a Freedom of
the Graver, and all Engraving is more or
leſs beautiful, in Proportion as it ſeems
* The ingenious Rouffellet excelled in this Reſpect.
free
1
in GENERAL.
21
free and eaſy. He ought, however, to take
Care, that they always flow freely and na-
turally, and avoid all odd fantaſtical Wind-
ings, which proceed rather from Caprice
than Neceſſity; and yet not run into the
contrary Extreme, and like many young
Artiſts, who, when they have a Mind to
engrave finely, make none but ſtrait Strokes,
becauſe 'cis eaſier to do ſo, than conduct
the Graver with Judgment, according to
the various Riſings and cavities of the
Muſcles, which they do not well under-
ſtand, becauſe they are ignorant of Ana-
tomy and Deſign.
DIRECTIONS for engraving the HAIR of
Men and Beasts, and the BEARD.
TI
HE Engraver ſhould begin theſe by
making the Out-lines of the princi-
pal Locks, and afterwards ſketch out the
principal Shades, omitting the great Lights,
becauſe they may be covered at Pleaſure,
as he finiſhes them, to the very. Extremi-
ties. They ſhould be fketched out, as it
were, in a careleſs Manner, that is to ſay,
with a few careleſs, free, and at the ſame
Time, unequal Strokes, to have Room as
he finiſhes them, to throw into the void
Spaces, which proceed from theſe Inequa-
lities, ſome finer and thinner Strokes.
When
Of ENGRAVING
When Hair is engraved in this Manner, it
appears much more free and natural, than
when done otherwiſe; and indeed, it
fhould be expreffed, as far as poſible, pár-
ticularly when the Figures are not very
large, by fingle Strokes only; for which
Reaſon the Engraver ſhould not attempt
to throw in any Strokes, when 'tis well ex-
preffed without them; and if he does ſlip
in any on the ſhady Side, to mix and
unite it the better with the Fleſh, they
muſt be exceedingly ſmall and fine.
For SCULPTURE.
I
;
F he has a Mind to repreſent Sculpture,
he ſhould never make his Work very
dark, becauſe, as Statues, &c. are com-
monly made of white Marble, or Stone
the Colour reflecting on all Sides does not
produce ſuch dark Shades as other Mat-
ters do. Neither ſhould he make Balls in
che Eyes of his Figures, as if he had copied
a Painting; or the Hair of the Head and
Beard, as it is naturally, which ſhews us
ſome Hairs detached from the reſt, and
flying in the Air; for it would be repre-
ſenting Things contrary to Truth, becauſe
Sculpture cannot do this.
For
in GENERAL.
23
For STUFFS.
L
1
Innen ſhould be engraved finer and
thicker than other Stuffs, it may be
with one ſingle Stroke, and if they do uſe
two, it muſt be only in ſome fmall Places,
and the Shades; to give it a Sameneſs, and
prevent that Harſhneſs it would otherwiſe
have, when oppoſed to, or layed on Dra-
pery and other darker Bodies, which are
croſſed with many Strokes. If it is white
Cloth, it ſhould be engraved with Strokes,
large or ſmall, proportionable to the Fine-
neſs or Coarſeneſs of the Stuff repreſented,
but with two Strokes only. It may be ob-
jected, there are Inſtances where 'tis en-
graved with three; to which I anſwer,
thoſe who have done ſo, fought to be ex-
peditious, and that if the Diverſity of Stuffs
can be repreſented by Engraving, it makes
the Piece more agreable, but then the La-,
bour is much greater, and more fatiguing.
It ought to be obſerved, that on all Occa-
ſions, when there is a Neceffity of croſſing
the Strokes, the ſecond ſhould be finer
than the firſt, and the third than the ſecond ;
becauſe it makes the Work more ſoft aud
mellow.
1
Stuffs
.
24
OF ENGRAVING
Stuffs that have a Luftre ought to be
engraved with ſtronger and ſtraiter Strokes
than others; becauſe, as they are com-
monly of Silk, they produce flat and broken
Folds, particularly if it is Sattin, which is
ftiff on Account of its Gum: Theſe being
expreſſed by one or two Strokes, according
to the Lightneſs or Darkneſs of their Co-
Tours, ſhould have finer ones between
them.
Velvet and Plush are expreſſed in the ſame
Manner, by fine Strokes between others,
only with this Difference; the firſt Strokes
ought to be much ſtronger than for Stuffs,
and the finer ones between them, ſhould
hold the ſame Proportion to them, as thoſe
in Stuffs have.
Metals, as Veliels of Gold and Copper,
or Armour of poliſh'd Steel, are to be en-
graved in the ſame Manner, with fine
Strokes between ſtrong ones; it is the Op-
poſition of Light to Shade, that cauſes the
Luſtre.
For ARCHITECTURE.
P
Erſpective ſhews us, that the Strokes
which form receding Objects, tend
to the point of View; if a Piece to be en-
graved contain any entire Columns, it will
be proper to repreſent them, as far as can
poſſibly
in GENERAL
25
poffibly be done, by perpendicular Lines ;
becauſe in croſſing thein according to their
Roundneſs, thoſe Strokes which are near
their Capitals, being oppoſed to thoſe which
are near their Baſis, produce an Effect very
diſagreeable to the Sight, unleſs they are
ſuppoſed to be at: a very great Diſtance;
which renders the Objects almoft parallel.
For LANDSKIPS.
TO
THOSE, who practiſe Etching, may
form the Out-lines by it; particular-
ly of the Leaves of Trees; this is fome
thing more expeditious than Engraving,
and does as well, provided it be done with
Diſcretion, and not too ſtrong, and that
Care be taken in finiſhing it with the Grai
ver, that the. Etching be not perceptible,
becauſe it has not the Softneſs of Engraving:
I think an Engraver cannot do better than
conform himſelf to Auguſtin Caracci's Man-
ner, who etched exceedingly well, but may
finiſh higher, as Occaſion requires ; Villa
mena alſo, and John Sadalaer, etched very
well, as likewife Cornelius Cort, who did
ſome Pieces from Mutian, which are very
fine, and may ſerve as Guides to him.
1
с
For
26
OF ENGRAVING
1
For the STROKES or Cuts of the
GRAVER.
IS
N the Repreſentation of Objects that
are steep, the firſt Strokes ſhould be
frequently interrupted and broken off; the
ſecond ſtrait, cutting the others with acute
Angles, and accompanied with ſome long
Points. If Rocks are repreſented, the ſe-
cond Strokes ſhould not form the Angles
fo acute, as for other Things; becauſe
Flints and Pebbles commonly ſhine more
than other Matters.
The Objects receding towards the Ho-
rizon ought to be touched very lightly,
and charged with very little Shade, though
the Mals ſhould appear dark, as it may
happen from fome Shades, ſuppoſed to
proceed from Clouds intercepting the Rays
of the Sun, inaſmuch as theſe Shades,
however ſtrong they may appear, are al-
ways faint, compared to thoſe which are
on the Figures and other Bodies in the
Fore-part of the Piece, on Account of the
Diſtance and Air that intervenes between
the Objects.
For
in GENERAL.
27
For WATER
A
LL Waters are either calm, or agi-
tated with Waves like the Sea ; or
by Caſcades and rapid Currents, like Rivers,
EC.
As for the calm, they are repreſented by
ſtrait Strokes, running parallel with the
Horizon, with finer ones between them,
which are to be omitted in ſome Places, to
make that ſhining Reflection which pro-
ceeds from the Water. By the ſame ſecond
Strokes alſo, made more or leſs ſtrong, ac-
cording as the Nature of Things requires;
and ſometimes by perpendicular ones, the
Forms of Objects, either reflected on the
Surface of the Water, or advanced at a
Diſtance on its Banks, are repreſented: ob-
ſerving that they are to be repreſented
ſtrongly or faintly, in Proportion as they
approach to, or recede from the Fore-part
of the Piece; and if Trees are to be repre-
fented, it ſhould be with Out-lines, parti-
cularly if they are in the Fore-part of the
Piece, and the Water clear, becauſe they
are naturally ſo repreſented by the Reflec-
tion of the Water:
Thoſe which are agitated, as are the
Waves of the Sea, are repreſented by
Strokes, bending according to the Agita-
tion
C 2
28 Of ENGRAVING
i
ition of the Water, with finer ones between
"them, cutting them with very acute An-
gles.
Laſtly, thoſe which fall with Rapidity
from Rocks or Precipices, are to be ex-
preſſed by, firſt Strokes, according to the
Nature of the Fall, with finer ones 'be-
tween them, leaving the Lights formed by
the Light or Beams of the Sun, falling di-
rectly on them, very bright, and the more
fo, as they approach the Fore-part of the
Piece.
For. C'LO U.D.S.
HEN the Clouds appear thick and
agitated, the Graver ought to be
turned about, according to their Form and
Agitation, and if they produce any dark
Shades, which require double Strokes, the
fecond ſhould cut the firſt with more acute
Angles than in Figures, becauſe it gives a
certain Tranſparency very proper for thoſe
Bodies, which are only Vapours; but then
the firſt Strokes ought to be ſtronger than
the ſecond.
Flat Clouds, loſing themſelves inſenſi-
bly with the Sky, muſt be formed by
Strokes parallel with the Horizon, waved
a little, according as they appear more or
Jeſs thick, and if it be neceſſary to uſe ſe-
cond
1
in GENERAL
29
cond Strokes, they ſhould cut the firft
with rather acuter Angles than in the for-
mer, and the Extremities of them ſhould
be done with fo light a Hand, as not to
form any Out-line. .
The calm, ferene. Sky ſhould be expreſſed
by parallel Strokes,: very ſtrait, without
any Winding.
For preſerving an EQUALITY and
HARMONY in the. WORK.
3
TI
.
HE principal objects of a Piece
ſhould be wholly ſketched out, be-
fore any Parrs of them are finiſhed ; as for
Example, if "tis an hiſtorical Piece, con-
taining Groupes of Figures, two or three
of the principal ones ſhould be ſo perfectly
deſigned, that their Expreſſion ſhould be
as viſible as if they were only intended for
Sketches: For if the Engraver waits to per-
fect the Deſigning as he finiſhes them, he
will frequently miſtake; and ſometimes not
be able to recover himfelf, without defa-
cing the whole, and beginning again, which
many will not do, for Fear of ſpoiling the
Neatneſs of their Engraving, in which they
have exerted their utmoſt Abilities, think-
ing the whole Merit of an Engraver conſiſts
in that; which is the Reaſon one ſees Abun-
dance of Plates finely engraved, but with-
C 3
out
>
30
Of ENGRAVING
out Expreſſion. If any one objects to this,
that it is then uſeleſs to engrave neatly; }
anſwer, an Engraver ought, as far as he
can, to join Correctneſs and Juſtneſs of
Deſign, with Neatneſs of Engraving; but
not neglect the former, and place his whole
Merit in the enticing. Allurements of the
latter, which frequently render his Works
inſipid and lifeleſs. On the contrary, I
would not have him run into the other
Extreme, and make his works faint, but
would have them ſtrong and bold; for the
Force of a Print does not conſiſt in its
Darkneſs, but in the juſt Degradations of
Light and Shade, which ought to be more
or leſs ſtrong, according as they approach
to, or recede from the Sight,
If we examine the Works of eminent
Maſters, we ſhall find they are not darkę
unleſs they are become ſo through Length
of Time; they have perfectly imitated
Nature, which is not ſo, particularly in
Fleſh, except in Night Pieces, where the
Objects are repreſented enlightened by Tor-
ches or Lamps.
Small Works require finer Engraving
than large ones, and in croſſing, the
Strokes ſhould form more acute Angles,
that the Engraving may not appear ſtiff and
dry, notwithſtanding the. Figures are ſmall.
If the Work requires to be highly finiſhed,
it
in GENERAL.
3. TT
it ought not for that Reaſon to be over la-
boured, but engraved fo artfully, as to ap-
pear done with Eaſe and Expedition, al-
though it has coft great. Labour and Pains.
Large Works, I mean when the Figures
and Objects are large and bold, require
Atrong, firm, and bold Strokes, and con-
tinued as much as can be; that is to ſay,
never broken off, but when the Muſcles or
Folds abfolutely demand it: and the En-
graver, as I have ſaid before, in theſe, as
well as ſmall Works, ought to endeavour
to perſuade the Spectator, that they were
done with Facility and little Labour.
If it is neceſſary to croſs the Strokes (as
it often, is, particularly, in the Shades, to
expreſs well the Force and Harmony of a
Painting) they ſhould be croſſed the con-
trary Way to that they were ſketched, and
the Angles formed by the ſecond Strokes
ſhould be more acute; this contributes
much to the Neatneſs and Life of a Print.
There ſhould never be too much En-
graving on the Lights, but they ſhould be
lightly paſſed over, and with few Strokes;
I mean they ſhould be unconfined, and
that the half Shadings, if the Engraver de
fires to finiſh to Perfection, ſhould be very
bright; becauſe, if they are very dark,
they deſtroy and hinder the Effect intended
by: them,, as it will be difficult to find are
Darks
C4
1
ů
32 Of ENGRAVING
Darkneſs in the Shades fufficient to give
them Life and Roundneſs: and if the En-
graving is from a Deſign taken from a
Painting, the Lights and Shades ought to
be rather larger than in the Original ; be-
cauſe, though it be finished ever ſo highly,
it is never to exactly done, as the Paint-
ing; which for that Reaſon requires more
Labour and Trouble, on Account of its
Colours.
Some may perhaps ſay, 'tis impoſſible to
imitate Colours by. Engraving, becauſe we
have only White and Black; when I ſpeak
of imitating them, I do not pretend to
make a Diſtinction between Blue and Green,
Red and Yellow, and the fame of other
Colours ; but only to imitate their Males,
as Voftermans, Bolfwert, and fome others
have done in their Engravings from Ru-
bens : and it is certain, that thoſe Works,
in which this is done by an ingenious En-
graver, will be much more agreeable, and
produce a much better Effect. A good
Engraver muſt therefore, as I have ſaid, be
a very ingenious Man, becauſe he will
ſometimes meet, with bright colours, one
upon another, which produce no Effect,
but by their Difference, and cauſe what is
called a pierced Body; an Accident, which
ought to be carefully avoided, becauſe it
deſtroys the Intelligence of Light and
Shade.
>
in GENERAL
33
Shade. Care iniuft allfo be taken not to
fpoil the principal Lights, by affecting to
imitate Colours too much, and particularly
of the Figures in the Fore-part of the
Piece, becauſe this would prevent their ad-
vancing, and entirely thwart the Painter's
Intention.
But as Etching, or Engraving with Aqua
Fortis, is at preſent fo much in Vogue, I
find myfelf obliged to tell you, it was never
carried to ſuch Perfection, as at this Time.
In this, a ſtrong Expreffion of the Paſſions,
a fine: Underſtanding of Light and Shade,
and beautiful Manner of Engraving, are
equally conjoyned, when it comes from the
Hand of an ingenious Artiſt, who is able
ro exprefs himfelf with equal Force and
Fudgment in all the different Parts of his
Profeſſion. I mean that Etching which
cannot be fine without the Aid of the
Graver, which gives it all the Perfection
that can be deſired ; and which the An-
cients have not ſhewn in their Performances
of this Kind, becauſe they did not ſo well
underſtand the various Graces proper for
Painting and Engraving,' as the Moderns.
However, it will be neceſſary to ſpecify the
Properties peculiar to this Art, to enable
the Reader to judge of its Merit. By the
Means of Aqua Fortis, all Subjects are
carried even beyond Nature, it acts with
C5
ſuch
1
34 Of ENGRAVING
ſuch Quickneſs, that it equals the Expedi-
tion of the Pencil, and enables an Artiſt,
almoſt inſtantly, to expreſs the Productions
of his Genius with all its Vivacity and
Force ; for which Reaſon, as 'tis much
more expeditious than the Graver, and its
Manner eaſily known, we ſee many apply
themſelves to Engraving with it, becauſe
they can expreſs the Sprightlineſs of their
Fancy, with more Freedom, and Expe-
dition than with the Graver.
Having treated ºf the Art of Engraving
in general, I think it will not be improper:
in this place to endeavour to obviate fome.
Prejudices, which certain Criticks entertain.
with regard to it.
The Firſt is, That 'tis eaſy to diſtinguiſh:
thoſe Prints that have been engraved by
the Painters themſelves, or by other Pain-
ters from their Works.
The Second, That an Engraver by Pro--
feſſion can never acquire a Painter's Stile of,
Engraving; ſo that they pretend to be able
to know by a Print, whether it was engra-
ved by a Painter, or an Engraver by Pro-
feffion.
The Third and Laſt, That the modern
Engravers cannot poſſibly expreſs the Works
of the ancient Painters, ſo well, as thoſe
have done, who were their Contempora-
Ties, becauſe, ſay they, every Engraver,
engraves
1
in GENERAL.
3:52
engraves according to the Guſto of the
Time he lives in, and therefore 'tis impof-
ſible for a modern Engraver to expreſs the
Works of Raphael, in the fame Manner as:
Mark. Antonio, Auguſtin of Venice, , Sylveſter:
of Ravenna, &c. have done.
After having diligently examined thefe
three Opinions, and the Prints in Diſpute,
it appears to me, that there is more of
Prejudice than Reality in them.
For Example,, with regard to the firſt
Opinion, I have found there are ſome Prints
engraved by Simon Cantarini from Guido and
Louis Caracci, that are preferable to many
that were inconteſtably engraved by. Guido
himſelf. And as theſe Gentlemen are at.
Variance amongſt themſelves; concerning
many of Guido's Prints, which * ſome of
them affirm were engraved by. Guido him-
ſelf; and others, by other Hands; I think
this Diverſity of Sentiments ſufficiently,
proves, that their Opinion deſerves to be
very little relied on.
In Oppoſition to the ſecond Opinion, viz.
That an Engraver by Profeſion can never ac-
quire a Painter's Stile of Engraving ::There are
many Pieces engraved by Gerard Audran,
* Amongſt others, a Print from Louis Caracci,
engraved by Simon Cantarini, repreſenting a Man
poſſeſſed by an evil Spirit, which noft of theſe Critics
believe was engraved by Guido himſelber.
C.6
which,
36 Of ENGRAVING
which, I am perfuaded, if theſe Gentlemen
had feen without knowing they were done
by him, they would rather have thought
them the Productions of a Painter than an
Engraver; for they are touched with fo
much Life and Judgment, that I much
queſtion whether any Painter could have
exceeded them. To be convinced of this,
they need only look on the Judges in the
Print of the Martyrdom of St. Laurence,
from Lee Seur; on the Pyrrhus faved, from
Pouſhin; the Rape of Truth, from the ſame;
on the Paſage of the Red Sea, from Ver-
dier, &c. 'Tis true it may be objected,
that the Figures in the Fore-part of theſe
Prints have a Boldneſs and Strength of En-
graving, which you do not find in any
Piece engraved by Painters; but this is a
Perfection their works have not, and no
Way invalidates my Opinion : which is,
that theſe Prints have as much Life and
Force, and even more than are to be found
in many Prints engraved by Painters them-
felves.
To remove this Prejudice, the famous
Bernard Picart choſe ſeveral Deſigns which
had never been engraved ; and having pri-
vately engraved them, and printed ſome
Copies on dirty Paper, he diſperſed them
under-hand, and had the Satisfaction to
find, that not one of theſe Criticks ever
ſuſpected
-
in GÉNERAL.
37
fufpected they were not Prints, which had
been engraved and printed in Italy. One
of theſe Pieces was from Poulin, and only
ſketched out, as ’if with a Pen, which
many People took for a Deſign, another
was a ſmall Holy Virgin, in an Oval, from
Carlo Maratti, which had been engraved
before at Paris, almoſt as large as the Life,
by his Father Stephen Picart. Thoſe, who
had never ſeen the large Print, thought
the ſmall one the Work of one of Guido's
Diſciples, from Guido ; and thoſe, who
had ſeen it, took the ſmall one for an Ori-
ginal, engraved by Carlo Maratti himſelf.
There was alſo a Print of Rebecca, which
they did him the Honour to attribute, both
for the Invention and Engraving, to Carlo
Maratti. Three other Prints, the one a
Jefuit; another, a St. Jerom; and the
third, a Holy Virgin on the Clouds : Some
thought were done by Guido himſelf, and
others, by ſome of his Diſciples.
With regard to the third Opinion,
That the modern Engravers cannot attain the
Stiles of the ancient Painters, becauſe they
live in another Age, and every Age has, as
they pretend, a peculiar Manner Theſe
Gentlemen do not obſerve, that they con-
found the Manner of Engraving, they are
uſed to fee, in theſe old Prints, with the
Stile of the Painter ; ſo that when they fee
a Print
;
38
Of ENGRAVING
Prints, but value then as much as any:
a Print of one of Raphael's Compoſitions;
with all the Qur-lines traced with an equal
black Stroke, and with a fine and faint En-
graving, without Degradation of Light and
Sbade, or Roundneſs of the Figures, as all.
the Engravings of that Time are; they ap-
prove of it, as if it was Raphael's Manner,
which is abſolutely.falſe. Thoſe, who have
it in their Power, have nothing to do, buti
compare Mark Antonio's, or any other En-
graver's Prints of that Age, with the ori-
ginal Deſigns, as I have done, with re-
gard to many of them ; and, they will fee,
that they have been far from imitating them
exactly. They have even taken the Liber--
ty to make Grounds to ſome Deſigns that
had none, and finiſh fome l'arts, that were
but lightly touched, according to their own
Fancy. I do not deſign to diminiſh the
Efteem, that is due to the Merit of thoſe
Body, and eſteem thoſe who engraved
them, on two. Accounts; firſt, becauſe
they have preſerved us many fine Works,
the Originals of which are either loft, or
cannot be ſeen by, every Body ; and ſe-
condly, becauſe we ought to regard them
as the Inventors.of Engraving ;. and there-
fore ought to admire, that they were able
to carry the Art to ſuch Perfection as they
did, particularly Mark. Antonio, and thoſe
w.ho
!
in GENERAI.
.
who are called les petits Maitres, whom
we ought to uſe with great Indulgence.
It would be ridiculous to expect from
the Inventors of any Art, all the Perfec-
tion it acquires in a Series of Years; and
it is no leſs ridiculous, in admiring their
Works, to ſhut our Eyes againſt the Dif-.
coveries that have been made, ſince their
Time. I think it very reaſonable, that.
their Prints ſhould bear a better Price than
the fine modern ones, not becauſe they
are better, but becauſe they are very
ſcarce, there being but few. good Copies of
them extant , but am perſuaded, if one of
the fine modern Prints was as rare, and
as ancient as thoſe of the firſt Maſters, it
not only would, but ought to bear a. bet-
ter Price than they do. For Example,
the ancient Print of Raphael's Holy Family,
taken from a Painting in the French King's.
Cabinetz, is, in my Opinion, infinitely in-
ferior to that. engraved by Mr. Edelink
and yet there are Virtuoſi, who have the
ancient one, and diſdain to look on Mr.
Edelink's, out of meer Obſtinacy, becauſe
they will eſteem nothing but what is ancient
and ſcarce.
Gentlemen, who know the intrinſick
Value of Works, can hardly conceive.
that Prejudice can go ſo far; and indeed.
the Dealers in Prints themſelves are to be
chiefly
40 Of ENGRAVING
chiefly blamed for it; for as very few Lo-
vers of Prints are competent Judges of
them, and therefore rely on what they
fay, they out of a mercenary View inſpire
them with a Contempt for modern Prints,
becauſe they are eagly to be had, and are
continually filling their Ears with the Me-
rit of thoſe Pieces, which are very rare,
and conſequently not always to be pur-
chaſed. Mr. Picart gives us an Instance
of this, which I will relate in his own
Words : « One Peſne, an excellent Deſigner
on Paper, but very indifferent Engraver,
engraved the Seven Sacraments of Pouſin,
each on two Plates. After a certain
Number of them had been work'd off,
and diſperfed in the World, Gerard Au-
dran, having bought the Plates, with
Pefne's Deſigns of them, retouched, and
mended them from the ſaid Deſigns, and
made them incomparably better than they
were before. Gerard Audran's Merit is
ſo well known, that it needs no Re-
commendation; Qeverthelefs, a Dealer
in Prints. (at Puris) had the Affurance one
Day, offering to fell me one of the firſt
Copies, to ſay; Theſe are fine, theſe are
not those that were retouched by Andran.
And thus it is theſe mercenary Wretches
prepoffeſs the Minds of young Gentle-
men, who by frequenting the Company
of
is
in GENERAL.
41
of others, who have been imbued with
the ſame Prejudices, are ſo confirmed'in
them, that they are not afterwards to be
undeceived, even though a more equita-
ble Connoiſſeur, ſhould undertake to do it ;.
becauſe they think it a Sort of Shame to
abandon an Opinion, which they have for
many Years believed true, and defended."
But this is no new Prejudice, we find,
as I have remarked in the Life of Henry
Goltzius, there were fome Criticks in his
Time, who laboured under it, and were
not leſs mortified, when they found them-
felves impoſed on, by that great Maſter's
Imitation of the Stiles of Albert Durer, Lu
cas of Leyden, &c. than thoſe were, whom
Bernard Picart deceived in the following
Manner, which I will alſo give you in his
own Words :.“ To undeceive ſome who
were prepoſſeſſed with an Opinion, that the
modern Engravers could not repreſent the
Works of Raphael fo well as thoſe did,
who were his Contemporaries, I was ob-
liged to engrave fome Prints, which had
been engraved before by ſome of the an-
cient Mafters, as by Mark Antonio, or
ſome other ; but the Difficulty was to
find the Originals, from whence they had
engraved them : At laſt, by Accident, I
had the good fortune to meet with two
of them, and after having examined and
compared
1
Of ENGRAVING
compared them with the Prints, which
had been formerly made from them,
found ſo great a Difference between them,
that I did not think myſelf incapable of
fucceeding better, and accordingly re-en-
graved them, to ſee if I could not ap-
proach, nearer the original Deligns, than-
my Predeceſſors had done."
The Firſt was a Venus, who touches one
of Cupid's Arrows, and Mews, that. Soe feels
the Effects of the Toucb at ber Heart: This
I engraved exactly like the Deſign, with-
out Ground, or any Addition,
The Second was a Bacchanal, which had
been formerly engraved by Auguſtin of Ve
nice. The Deſign, from whence I did it,
is certainly the ſame from which Auguſtin
of Venice engraved it ;: the Strokes are the
ſame, the Size the ſame, and one fees that
the Out-lines of the Figures are exactly the
fame, but the Muſcles within. are quite
different.
The Satyrs have Crowns of
Ivy on their Heads, which, in the old
Print, are like Cuttings or Slips;. the an-
cient Engraver has made ſmall wbite Leaves,
all of the ſame Form, ranged on a Ground
equally dark; whereas, in the Deſign,
they are Leavis careleſly diſpoſed, which
form a Maſs. of Light; on a Light. There
is a Child, the back Part of whoſe Head
you fee,, the. Hair of which reſembles. little
Iron!
in GENERAL.
43
Iron Hooks ranged round it. The Hair of
the Head, Skin. and Beard, are all extreme-
ly ſtiff, and equally black, which are not ſo
in the Deſign, where the Maffes of Light
and Shade are obſerved. For Examples
the Belly of Şilenus, in the old Print, has
Wrinkles as dark as poflible, and between
his Paps are three or four Things that
look like Laces to tie them together,
which one knows not what to make of.
Laſtly, if any one will give himſelf the
Trouble to examine the whole, Part by
Part, he will find there is not one of them
exact. Nay, even without having the
Original before him, he need only have a.
juft Idea of the Conſtruction of the human
Body, to judge, that Raphael could never
have acquired the Reputation he juſtly has,
if his works were like thoſe ancient Prints ;
becauſe he would have been inferior to
many Painters, who are much inferior to
him. I cannot then comprehend, how
theſe Gentlemen will perſuade us this is
the true Stile of Raphael; and that it is.
impoſſible to engrave his. Works at preſent,
as the ancient Engravers did. For, ſup-
poſing a modern Engraver is a Maſter of
the Art of Engraving, and can give Fi-
gures Roundneſs, and the Degradations of
Light, and Shade ;, why cannot he expreſs a
Picture, or Deſign, where all theſe are ob-.
ſerved,
44 OF ENGRAVING
ferved, I do not fay as well, but better
than the ancient Engravers, who had nei-
ther that Freedom of Hand, which the
good modern ones have, nor underſtood
how to give Figures Roundneſs, or the
Degradations of Light and Shade? Thoſe
Engravers might poſlibly underſtand; De-
figning on Paper very well; but admitting
that, it is ſtill certain, they had not Free-
dom of Hand enough to trace with the
Graver what they would on Copper; and
that nigthing hinders the modern Engravers
from being as good Mafters of Design as
they were. And 'tis to no Purpoſe to al-
ledge, that all Ages do not produce great
Genius's ; for it does not require a fuperior
Genius, as it does to compoſe, or produce
Things of their own Invention : Every
Body knows, that all Ages have produced
very good Copiers ; and that is all is re-
quiſite in the preſent Cafe.
But theſe Gentlemen's Prejudices do
not only extend to the Prints from Ra-
pael's Works; they pretend alſo to draw
Conſequences from them, for thoſe from
Rubens. It cannot be denied, but that
they are in this Reſpect, in Part, much
more in the Right"; for the Prints of
Bollwert, Voftermans, Pontius, and Soutman,
are ſo well engraved, and have ſo much
of the Painter's Stile in them, that I do
not
i
in GENERAL.
45
A
not think they can be exceeded; and in
this, Rubens has been more happy than
Raphael. But there are many other Prints
engraved from the Works of Rubens by
other Engravers of that Age, which are
very ill done, and which theſe Gentlemen
hunt after, whilft they deſpiſe others en-
graved by Maſters of this Age, though in-
finitely more in the Stile of Rubens. In
this they are to blame; for, I believe, there
are Engravers now living, who can copy
his Works as well as the beſt of his Time,
and much better than the others.
The Reaſons I have here aſſigned, I
think fufficient to convince thoſe, who are
deſirous to be undeceived; but if not, I
ſhall not defiſt from my Opinion; being
perſuaded it proceeds more from my In-
capacity to eſtabliſh it, than from the Fal-
fity of my Maxims, which I leave to ſome
other more ingenious Artiſt to juſtify.
THE
( 47 )
}
HOME
THE
Art of ENGRAVING
WITH
1
A
AQUA FORTIS.
********************************
SECT. I.
To make the hard Varniſh for engraving with
Aqua Fortis.
T
AKE five Ounces of Greek
Pitch, or (for Want of that) Bur-
gundy Pitch, five Ounces of Ro-
ſin of Tyre, or Colofonium, or (for Want of
that) ordinary Roſin.: Melt them together
over a gentle Fire in a very clean new
earthen Pot, well varniſhed, or leaded.
Theſe two Things being firſt melt-
ed, and well mixt together, put into them
four Ounces of the beſt Nut Oil; mix
them
2
48 The Art of ENGRAVING
them well together over the ſame Fire
for a full half Hour, and let them
boil well; then l'et this Mixture cool a lit-
tle over a gentle Fire ; and afterwards,
touching it with the End of your Finger,
it will rope (if it be boiled enough) like a
glewy Syrup. Then take the Por from
the Fire, and (the Varniſh being a little
more cooled) ſtrain it though a fine Lin-
nen Cloth, or Taffata, into a well var-
niſhed earthen Pot; or elſe put it into a
thick Glaſs Bottle, or any other Thing that
will not drink it up, and ſtop it well. Var-
niſh thus made will laſt twenty Years, and
it will be the better the longer it is kept.
SECT. II.
To make the Compoſition of Tallow and Oil,
to cover thoſe Places in the Plate, where
you would not have the Aqua Fortis to
eat in.
TA
AKE a well glazed earthen Pip-
kin, that will hold about a Pint,
put into it half a
it half a Pound of hard
Tallow, a Wine Glaſs of Olive Oil, togea
ther with a Spoonful of Lamp Black, fet
it on the Fire, and, as the Tallow diffolves,
keep ſtirring it with a ſmall Stick, that the
Lamp Black and Oil may the better incor-
porate;
with AQUA FORTIS. 49
porate ; let it boil the Space of ten or
twelve Minutes, then take a Pencil and
dip it in, and let a Drop or two fall on
a Plate, or any cold hard Thing; and if
the Drops be a little hardened and firm, it
ſhewech' that the Mixture is well made.
If it is too liquid, 'tis becauſe there is too
much Oil; and then you muſt put in more
Tallow ; and for the ſame Reaſon, if too
hard, you muſt put in more Oil.
The Reaſon why you melt the Oil and
the Tallow together, is to make the Tal-
low more liquid, and not cool too faſt o
For ſhould you melt the Tallow alone,
you ſhall no ſooner take it up with the
Point of your Pencil to carry it to the
Place where you would uſe it, but it will
grow cold.
Put in a greater Quantity of Oil in Win-
ter, than in Summer.
S E C T. III.
To prepare the. Ingredients for making the
Aqua Fortis for the hard Varniſh.
HE Aqua Fortis is made of Vinegar,
T ,
de Griz.
A
D
The
1
1
50
The ART of ENGRAVING
1
The Vinegar muſt be of the beft
Sort of White-wine; but if diſtilled, it
is the better, and not ſo ſubject to break
up the Varniſh.
The Salt Armoniack muſt be clear,
tranſparent, white, pure, and clean.
The Bay-Salt muſt be alſo pure and
clean,
The Vert de Griz muſt be clean, and
free from any Scrapings of Braſs.
The Salt Armoniack, and Vert de Griz,
are commonly ſold at the Druggifts.
SECT. IV.
To make the Aqua Fortis.
T
AKE three Pints of Vinegar, fix
Ounces of Salt Armoniack, fix
Ounces of Bay-Salt, and four Ounces of
Vert de Griz; or of each according to this
Proportion, as you will make your Quan-
tity more or leſs; put them all together in
an earthen Pot well varniſhed, large e-
nough, that it inay not boil over: Cover
the Pot, and fet it over a quick Fire, and
let it boil up or three Times,
and no more : When you perceive it
ready to boil, and not before,
cover the Pot, and ſtir it with a little Stick
ſometimes, and take heed that it do not
boil
up two
un-
. ر
with AQUA Fortis.
51
boil over : Having let it boil up two or
three Times, take the Pot from off the
Fire, and let it cool ; but keep the Pot
covered, and when it is cold, pour it into
a Glaſs Bottle, and let it ſtand topped a
Day or two before you uſe it ; and if you.
ſhall find it too ſtrong in the Etching,
pour into it a Glafs or two of the ſame
Vinegar you made it of.
SECT. V.
To know good Copper from bad.
C , ,
Braſs, either with a Graver, or Aqua
Fortis ; becauſe Braſs is too brittle. That
Copper is beſt, which is free from Flaws,
and not too hard, which you may per-
ceive by its yellowish Colour, almoſt like
Braſs; and if it be too ſoft, you may eaſily
perceive it by its too great Pliableneſs in
Bending. When you make uſe of it, you
will perceive in that which is good) a
firm, yet eaſy Force in the Entring of
your Graver, on the Backſide of
Backſide of your
Plate ; and that Copper which is beſt for
graving, is alſo beſt for etching.
D2
SECT.
52
The ART of ENGRAVING
SECT. VI.
H.
To planiſh and poliſh the Platt.
ÉRE in England you muſt buy
your Copper ready forged from the
Brafiers. If in London, there are People
nho term themſelves Copperfmiths, and
prepare the Plates for immediate Uſe,
either large or ſmall, at a fix'd Price per
Pound.
It is not neceſſary, that they, who
deſire to engrave, ſhould forge and poliſh
their Copper Plates themſelves ; but becauſe
in divers Places they cannot conveniently
be had ready poliſhed, I have thought
fit to fet down the Manner how they may
be done.
Thofe Plates, which you intend to forge
and planiſh, muſt be full as thick as an
Half-Crown, becauſe in their forging and
planiſhing they will become ſomewhat thin-
You muſt planiſh your Copper cold,
as the Silverſmiths do their Plate : And the
more it is beaten, or planiſhed with a
Hammer, the firmer it is, and leſs ſubject
to Holes or Flaws.
Your Plate being well planiſhed, make
choice of the ſmootheſt Side for poliſhing:
Before you begin to poliſh it, fix it upon
a Board
ner.
}
4
with AQUA FOR T'I S. 53
1
3
a Board ; and when you poliſh it, let your
Board (to which the Plate is fixed) ftand
a little ſloping
To polish your Plate, take a piece of a
Grinding-ſtone about the Bigneſs of your
Fift, and fair Water rub it firm,
and even all over ; and in your Rubbing
throw Water often on it, and continue fo
doing, till you cannot perceive any Dents,
Flawsy
or Marks of the Hammer :
Then waſh it clean with Water. After-
wards take a good Pumice-Stone, and ſome
Water, and rub the Plate with it till there
appears none of the rough Strokes, or
Marks of the Stone : Then waſh it clean
with Water, as you did before.
Again, do the fame Thing with a fine
fmooth Hone and Water, till all the Marks
of the Pumice-Stone are quite rubbed out %
This done, waſh it clean with fair Water.
Theo chooſe out a ſmooth Charcoal,
without any Knots, or rough Grain, and
put it in a well-kindled Fire : Let it be
there, till you perceive it red hot ;
then take it out of the Fire, and
quench it in Water ; then take it out,
and pare off the outermoft Rind, and
rub your Plate with it, and Water, till all
the ſmall Strokes of the Hone are rubbed
If the Coal be bad, it will only
Nide upon the Plate, and not rub out the
D3
Strokes,
out.
1
54
The ART of ENGRAVING
Strokes. This done, dry the Plate ; then
it is requiſite to have it burniſhed over,
which Operation is performed by an
Inſtrument made of well-harden'd po-
liſhed 'Steel, ſomewhat roundiſh, termed a
Burniſher, with which you rub Plate
over, (firft dropping on it fome Drops
of Olive Oil,) whereby the Pores of
the Copper are the better cloſed, and the
Scratches of the Charcoal (as there always
will remain ſome few) effaced:
After the Plate is burniſhed, take a
clean Linnen Rag, and rub off the Oil;
then take fine Powder of Chalk, and lay it
on the plate, and with another Piece of
fine clean Linnen Rag rub it over the
Plate, then bruſh off the Chalk, and with
a third clean Rag rub the Plate over again,
and likewiſe round the Edges, taking Care
there be not the leaſt Appearance of Oil,
or Chalk, leftwhich being done, take a
ſmall Piece of paper, double it in four, as
large as the Chops of your Hand-
vice; the Uſe of it being to prevent
the Teeth of the Hand-vice marking the
Copper ; put the Paper on the Edge of
your Plate, as much above it as below;
then apply your Hand-vice, and take Care
to ſkrew it faſt, that the Plate may not flip;
this done, your Plate is fitly prepared to
lay on your Varniſh.
SECT.
t
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SECT. VII.
To apply the hard Varniſh on the plate, and,
make it black.
AKE your Plate thus cleanſed,
ΤΑ
and lay it on a Chafing-Difh with
a little clear Charcoal Fire in it, and when
take up fome of the Varniſh with a little
Stick, and put a Drop of it on the Top of
one of your fingers, then lightly touch
the Plate with the Top of your finger in
feveral Places at equal Diftances ; as the
uppermoſt Figure in the Plate, marked
with the Letter O, ſhews you"; and Jay
no more on one Plice than on another.
as before, carefully keeping it from Duſt of
Filth. This done (having well wiped the
fleſhy Part of the Palm of your Hand)
tap it upon the Plate, till all the little Spots
of Varniſh are equally ſpread upon élie
Plate.
After this tapping, wipe or ſide your
Hand upon the Varniſh, to make it more
ſmooth and equal ; take great Care that
there be not too much Varniſh upon the
D4
Plate,
.
t
56 The Art of ENGRAVING
Plate, and that your Hand be not ſweaty ;
becauſe the Sweat mixing with the Var-
nith, will cauſe little Bubbles, when it is
applied to the Fire, which will become
little Holes in the Varniſh.
Your Varniſh being thus ſmoothed upon
the Plate, the Way to black it is this.
Take a great Tallow-candle lighted, that
burns clear; let it have but a ſhort
Snuff ; then place your Plate againſt the
Wall, (firſt driving two ſhort Nails for it
to reſt on,) with the varniſhed Side down-
ward, as the lower Figure in the Plate
repreſents it. Take
heed that your
Fingers do not touch the Varniſh ; then
take your Candle; and apply the Flame to
the Varniſh, as cloſe as you can without
touching the Varniſh with the Snuff of the
Candle ; guide the Flame all over, till you
fee it perfectly black; then keep it from
Duft or Filth till it be dried; by ſetting
it on the Ground, the Hand-vice upper.
moft, bearing againſt the Wall, the Boc-
tom of the Plate four or five Inches from
it, and the varniſhed Side innermoft.
SECT
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SECT. VIII.
To dry and harden the Varnifla upon the
Plate..
Indle a Fire in a Chimney with ſuch
Charcoal as is not ſubject to ſparkle,
Square, ſomewhat larger than your Plate,
as the Letter P fhews you, Before you
place your Plate to be dried, hang up a Cloth
in the Chimney to prevent any Soot or Filth
from falling down upon it, as you may ſee by
the Letters BCD. Then take your Plate
and place it in the middle of the Range
upon two low Andirons, as the Letter o
directs: This done, you will ſoon perceive
the Varniſh to ſmoke ; and when you per
ceive the Smoke begins to abate, then take
the Place from off the - Andirons, and with
a Stick (pointed) ſcratch near the side of
your Plate ; and if it eaſily takes off the
Varniſh, you muſt lay. it again upon
the Andirons for a little Time ; take
it off, and touch I again with your pointed
Stick, and if the Varniſh comes not off
cafily, then take it from the Fire, and
der it cool.
D 5
If
58 The Art of ENGRAVING
If the Varniſh do much reſiſt the Point
of the Stick, then preſently throw on ſome
cold Water on the Backſide of the Plate,
to cool it, that the Heat of the Plate
may not cauſe the Varniſh to be too hard
and brittle.
.: If your Plate bę not very large, a Cha-
fing-Diſh, with clear Charcoal in it, will
ſerve to harden your Varniſh, taking care
to keep your Room free from any Duft,
and wrap a Cloth or Paper round your
Hand-vice to prevent the Heat coming to
your Hand: But if your Plate ſhould be
large, the former Manner is beſt, putting
another Hand-vice at the oppoſite End;
always having one to help you.
SE C T. . IX.
To chooſe the Needles, wherewith to make the
Tools to etch with. Plate 3.
C
Hooſe ſome broken Needles of feve-
ral Sizes and Bigneſs, ſuch as break
neat without bending, and of a fine Grain,
Then take round Sticks of a good firm
Wood, not apt to ſplit, of the Length of
half a Foot, little leſs of the
Thickneſs of a good large Quill : At the
Ends of which Sticks fix in your Needles,
ſo that they ſtand out of the Sticks about
or
as
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A.
Oval Ponts
with AQUA Fortis. 59
as much as you ſee in the following Fi-
gure ; or ſtick your Needles in Pieces of
Cane of that Length, taking care to put
them in the Centre, and leaving about half
an Inch out.
i
X.
SECT.
To whet the Points of the Needles.
TI
HERE are two Ways of whetting
your Needles, the one round, the
other Loping.
You muſt have an Oil-ftone with a fine
Grain, to whet. your Needles upon :
Thoſe you would have to be round, you
muſt whec 'their Points ſhort, by rubbing.
them on the Edge of your Oil-ſtones, from
one End of the Hone to the other,
turning them continually round
Figure ſhews you. The other, which
you intend to make -Noping, firſt make
blunt, then holding it firm and ſteady-
whet it ſloping upon one. Side only, till it
come to a ſhort roundiſh Oval; for the.
long Oval is not ſo good to work with.
You will need a ſoft Bruſh-pencil to wipe,
off the Varniſh, which the Strokes of
your Needle raiſe up in working, as is re-
preſented by the Letter A.
as the
D 6
SECT,
60
The ART of ENGRAVING
SEC T. XI.
Yir
To preferve the Varnijih upon the Plate.
OUR Plate being varniſhed, place
it on a large ſquare Board, and raiſe
up
the End from you, ſo that it may form
a Defk, but take care not to raiſe it too
high, left your Plate nide down ; ſome
chufe to lay the Plate fat on a Table :
Lay a Sheet of clean Cartridge Paper
under your Plate, and when you work,
put upon it a cleah Silk or Linnen Hand-
kerchief, or a large Piece of clean Waſh-
leather, to reſt your Hand upon, to keep it
from the Varniſh.
When you have Occafion to uſe your
Ruler, to draw ſtraight Lines, take two
Pieces of clean Writing Paper, folded fe-
veral Times double, about ſix Inches long,
and half an Inch in Breadth ; lay thefe on
your Plate, one at each End, of the Length
of the Lines you intend to draw then
place your Ruler on theſe Pieces of Paper,
and take care that the Inſide of the Ruler
does not touch the Varniſh; if it ſhould,
make your Pieces of Paper thicker,
to prevent your · Ruler's dainaging the
arnish, and take care to keep your Plate free
from
;
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61
from Filth or Duft, by bruſhing it now and
then with a Feather.
1
SECT. XII.
To etcb.
IN
A
N etching, yon will have Occaſion to
make divers Sorts of Lines or' Hatches,
fome bigger, ſome ſmaller, fome ſtraight,
fome crooked. To make theſe, you muſt
uſe ſeveral sorts of Needles, bigger or
fmaller, as the Work requires. The great
Lines are made thefe three feveral Ways.
1. By leaning harder on the Needle, the
Point being ſhort and thick, makes a large
Paſſage; but the Poind being round, it will
not cut the Varniſh clear.
2. By making divers Lines or Hatchesy,
very cloſe one to another, and then by
paſſing them over again with a thicker
Needle; but this Way is both tedious
and difficult.
3. By making the Lines with an indif-
ferent big Needle, and letting the Aqua
Fortis lie ihe longer on it. Thoſe Nee-
dles, which you whet noping wịth an
Oval, are the beſt to make the large Lines.
with, becauſe with their Sides, they cut
what the round Points cannot.
Pl. 4.
SECT.
1
62 The Art of ENGRAVING
SECT. XIII.
1
To guide the Needle on the Plate.
Y
OU may perceive from what is ſaid,
that thoſe Points which you intend to
make uſe of, for graving with Aqua Fortis,
ought to be whetted exactly round, that they
may turn more freely upon the Plate.
Some of thoſe round Points muſt be whetted
very ſharp, that they may cut the Varniſh
and Copper eaſily. If you find that
your Point cuts not freely and ſmoothly,
'tis becauſe it is not whetted exactly round.
If
you
have Occaſion to make your
Lines or Hatches of an equal Bigneſs from
one End to the other, whether they be
ſtraight of crooked, as thoſe two Lines in
the Letters A B repreſent, you muſt, as
Reaſon will tell you, lean on your Point
with an equal Force from one End to the
other.
If you would make your Strokes thicker
at one End than at the other, as the fe-
cond Letters - A B ſhew you, then you
muſt lean on your Point with your Hand
harder at the Beginning, and by Degrees
lighter and lighter towards the End.
If
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P.62
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with AQUA FORTI S.
63
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1
If you would have your Strokes to be
ſuch as are repreſented in the third Figure,
marked alſo a b, that is to ſay, larger in
the Middle chan at either End; you muſt
lean gently at the Beginning, and then
by Degrees harder and harder, till you
come to the Middle, and then again
lighter and lighter till you come to the
End.
Theſe chree Sorts of Lines or Hatches,
may indifferently ſerve for all manner of
hatching your Shadows, in any Deſign
whatſoever, as appears in the Figures,
MN, OP, QGR, TEV; wherein is
manifeſt, that Shadowing is only a Rei-
teration of the ſame Strokes cloſe to one
another.
If you deſire that your ecching with
Aqua Fortis ſhould look as like graving
as may be, you muſt lean hard upon your
Needle in thoſe Places where you would
have the Lines appear deep, and large ; that
is, ſo hard, that the Needle, may make
ſome Impreſſion in the Copper. And for
the ſame Reaſon you are to lean very
light on thoſe Places, which you would have
appear faint and ſmall.
If it happens that you have made fome
Lines, or Hatches too ſmall, and are de,
ſirous to inlarge your Stroke, you muſt
paſs it over again with a round ſhort Point,
of
)
1
64 The Art of ENGRAVING
of ſuch a Thickneſs as you deſire your
Line ſhould be of ; and lean ftrong and
firm on thoſe Parts of the Line, which
you would have large and deep.
If at any Time, by Reaſon of the large
Lines or Hatches, which you were to
make, you have uſed an oval Point (which
is the beft to cut the Varniſh) you muſt af-
terwards, with one of your large Needles
whetted ſhort and round, pafs in the midſt
of the ſaid Strokes firmly and ſtrongly, but
eſpecially in thoſe Places which you would
have large and deep.
SECT. XIV.
To uſe the Oval Points, to make large Strokes,
in etching or graving with Aqua Fortis.
Plate 5.
Y.
OU may ſee in the Figure ABCD
the Form of chofe oyal Points, that
Part next to C deſcribes the End of them,
and B D their Sides. They are held, much
as you hold a Pen, only the flat Side whetted
is uſually held towards the Thumb, as is re-
preſented in Figure iii. Not but that it
may be uſed otherwiſe, with the Face of
the Oval turned towards the middle Finger,
as is hewn in Figure iv. But I have
found
P. 64
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.
:
with AQUA FØ* IS. 65
1
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3
found the other Mapner to be much better,
becauſe you may that Way inforce your
Strokes with more Strength and Firmneſs.
To ſhew you., how to make your
Strokes large and deep, and that theſe oval
Points are the moſt proper for it, take
Notice of the two upper, firſt and ſecond
Figures, which are purpoſely made the
larger, that you may the better apprehend
what ſhall be hereafter ſpoken of them. Your
own Keafon will tell you, that if you lean
lightly in making your Strokes, those
Strokes will accordingly be leſs deep, ſmall-
er, and more faint, for the harder you'
lean, the deeper and larger your Strokes
will be. Of this you have an Example in
the third Figure marked yns; where
leaning lightly at the Beginning, uite r,
and then harder by. Degrees to n, and af-
terwards lighter by Degrees tas, you
make your Stroke bigger or ſmaller ac-
cording to your leaning on it, as you find
repreſented in the ſaid third Figure.
But if you would have your Strokes
come very ſmall and delicate at the End,
then with the Point of your fmall Needle
lengthen out your Stroke, as you find it
repreſented in the two Strokes of the fifth
Figure.
>
Some
66 The ART of ENGRAVING,
1
Some will firſt make their Stroke with a
found Needle, and then paſs it over again
with an oval Point, to inlarge it in thofe
Places, which they would have deeper and
bigger ; but the other is the beſt Way.
They that know how to engrave, after
they have done etching their Lines with
Aquo Fortis, may, with the Affiſtance of
their Graver, make them neater and
deeper.
I think it not amiſs to adviſe you,
that in making your Strokes with your
oval Points, you muſt hold them as up-
right and ſtraight in your Hand as you
can, and accuftom yourſelf to ſtrike your
Strokes firm and bold, for that will con-
tribute very much to their Neatneſs and
Clearneſs. To do this the better, you muſt
be very careful to have your Points al-
ways well whetted:
In thoſe Places which you would have
appear in your Piece by Way of Landt
ſkip, or the furtheft Diſtance from the
Sight, and in thoſe Places which ap-
proach neareſt the Light, you muſt uſe a
very flender Point, leaning ſo lightly with
your Hand, as to make a ſmall faint
Stroke. But when you come to thoſe
Places, which you would have more ſha-
dowed, lean ſo much the harder, that
when you come to eat in with your Aqua
Fortis,
with AQUA FORTIS. 67
Fortis, you may cover moſt of your faint
Places at one and the ſame Time; for you
muſt know that thoſe Strokes, which you
lean lighteſt on, do little more than raiſe
up the Varniſh.
So when you ap-
ply your Aqua Fortis to etch it, it will
appear much fainter, than in thoſe Places
where you have leaned with greater Force,
though the Strokes are done with one and
the ſame Needle. Inſomuch, that when
you ſhall have covered the greateſt part of
your faint Places with your : Mixture,
thoſe Places, whereon you leaned ſtrong-
eft, will appear deepeſt, though they
were all covered at the ſame Time. In
your working be careful to bruſh off all
the Duſt which you make with your
Needles.
You muſt provide yourſelf with fome
good white Picture-Varniſh, keep it cloſe
ſtopp'd in a Vial, and when you have
Occaſion to correct any falſe Stroke, or
alter any ſmall Object, take a fine clean
Camel's-Hair Pencil, dip it into the Var-
niſh, and mix up fome Lamp-Black with
it, on a Piece of Glaſs, or Oyſter-Shell,
(but take care it be not too liquid) which
will withſtand the, Aqua Fortis, and is
much better for ſtopping up ſmall Parts,
than the Tallow ; after it is dry, you
may
1
68 The ART öf ENGRAVING
may work over it, which cannot be done
on the Tallow.
SECT. XV.
To prepare the Plate, to receive the Aqua
Fortis.
YO
1
OUR Plate being finiſhed and ready
for the Aqua Fortis, bruſh off all the
Rubbiſh and Duft that is in the Strokes.
And if there happen to be any Strokes
which you woulet noe have the Aqua Fortis
eat into, or any places where the Varniſh
is rubbid off, then melt your Mixture of
Oil and Greafe which you have made, and
with a Pencil, bigger or fmaller, according
to the Proportion of thoſe Places which
you would mend, cover thöfe Places in-
differently thick, and the Aqua Fortis will
not eat in.
This done, take a Bruſh or Pencil, and
dip it into the ſaid Mixture of Oil and
Greafe, and rub the Back-Side of you
Plate all over, to prevent the Aqua Fortis
from eating any part of it ; but take heed
that your Mixture be not too thin or li-
quid, for if it be, when you pour your
Aqua Fortis on the Plate, it will force it
from thoſe Places whereto you had ap-
plied it.
When
P.69.
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TA
AV
III.1
1
1
'; with AOTA FORTIS. 60
9
When you find the Mixture begia
to grow cold, then put ſome ſmall Quan-
tity of it on your left Hand, thereby
to keep it warm, to be uſed as Occaſion
fhall require.
In the Winter Time eſpecially, when the
Weather is cold and moiſt, before you ap-
ply your Aqua Fortis to the Plate, it will
not be amiſs to warm it gently by the Fire,
- to dry up the Moiſture, which the Plate is
fubject to by Reaſon of the Diſtemperature
of the Weacher. Nay, if it be not warm-
ed, it may likely endanger the breaking up
of the Varniſh, at the firſt pouring of
the Aqua..Fortis upon the Plate.
SECT. XVI.
To make the Trough and Frame to bold the
Pleten
. when you would pour the Aqua
Fortís on it.
1
HE Figure oppoſite hereto, repre-
1 Tents both
fents both Trough and Frame.
The Letter A is one intire Piece of Elm or
Oak, of about four Inches thick, and fix
Inches broad, or may be of ſuch a Length
as you hall think fitteſt for your Uſe.
You muſt cut this piece of Wood into the
Faſhion of a Trough, as the Figure ſhews
you, making it a little deeper in the Mid-
dle,
70
The Art of ENGRAVING
dle, that the Water running thither, may
fall through a Hole made there for that
Purpoſe. Set this upon an Eaſel, 'as the
Figure Mews you.
Under the Hole in the Trough, place
an earthen Pan well leaded on the Inſide,
as you ſee in Figure B; and therein put
your Aqua Fortis, let it not ſtand too much
below the Trough.
The Figure MNOP is one intire
Board, of an indifferent Largeneſs, as you
may judge by the Figure. About both
the sides and Top of this Board, you
muſt faften a Ledge, about two Inches
broad, to keep the Aqua Fortis from run-
ning off from the Sides, when you pour it
in. The Inſide of this Board and Trough
muſt be covered or primed over with a
thick Oil-colour, to hinder the Aqua Fortis
from eating or rotting the Board. Place
the lower End of this Board in the Trough
Noping againſt your Eaſel, and you muſt
fix ſeveral Pegs of Wood or Nails in the
Board, to reſt your Plate on.
The Figure Q defcribes a little earthen
Pot well leaded on both sides, which you
muſt have to take up your Aqua Fortis out
of the Pan, and to pour it on the Plate.
I
SECT.
with AQUA FOR TI'S.
71
SECT. XVII.
The Manner of caſting the Aqua Fortis upon
the Plate; and to cover the Places that are
fainteſt, and moſt remote from the Eye, with
the fore-mentioned Mixture, as Occaſion 16-
quires.
:
H placing the Plate for the receiving
of the Aqua Fortis, there remains only to
conſider the Method you are to follow
in pouring it on, as Occaſion requires ;
for in ſome Works, it will be neceſſary to
pour it on ſeveral Times, for the Reaſons
hereafter mentioned. Having a ſufficient
Quantity of Aqua Fortis in your Pan, fill
your earthen Pot, and pour it upon your
Plate, beginning at the Top, and moving
your Hand equally, ſo that it may run all
over the Plate alike, taking great heed that
the Pot touch not the Plate. Having thus
poured it eight or ten Times, the Plate being
in the Poſture expreſſed in the preceding
Figure, you muſt turn it croſs-ways, as is
repreſented in the upper Part of the follow-
ing Figure, marked C; and pour on it as
it lies that way, ten or twelve Times again,
as before : This done, turn your Plate ſuit-
ably to the Poſture expreffed by the
lower
72 The Art of ENGRAVING
:
lower Part of the aforeſaid Figure,
that is to ſay, corner-ways, and as it lies
ſo, pour thereon eight or ten Times;
pouring the Aqua Fortis thus, at ſeveral
Times, for the Space of half a Quarter of
an Hour, more or leſs, according to the
Strength of the Water, and Nature of the
Copper. For if the Copper be brittle and
hard, there muſt be the leſs Time allowed
for the pouring on the Water ; but if
foft, the more.
By Chance you may not at the firſt
be ſo well aſſured of the Strength of
your Water, and the true Quality of your
Copper; it will therefore not be amiſs to give
you ſome Directions how to know both,
that you may proceed according to the
Strength or Neatneſs, which you expect to
find in your 'Work. For ſome Pieces re-
quire more Force, and others more Tender-
nefs. To know therefore that the Nature
of your Copper, and Strength of your Water,
are ſuch, as the Work you intend requires,
pour the Aqua Fortis on your Plate, for the
Time, as is before mentioned, for the
Space of the fourth Part of a Quarter of an
Hour. Then take away the Plate, and
throw on it a Quantity of fair Water, hold-
ing the Pot at a good Height from the
Plate, to waſh off the Aqua Fortis; for if
it
1
with AQUA FORTIS.
73
V
it be not clean waſhed, the Work will ap-
per green, and conſequently you cannot
to well perceive the Operation of your
Aqua Fortis.
That done, hold your Plate before the
Fire, at ſuch a Diſtance, as that, without
melting the Mixture which may be upon
it, the fair Water may be dried up. Then
take a little piece of Charcoal, and there-
with rub off the Varniſh in-fuch Places
where the Strokes are faint ; and if
you
find that the Aqua Fortis hath eat deep
enough in thoſe faint Places, melt your
Mixture, and having placed your Plate
upon a Deſk or Table, take of the ſaid
Mixture, with a Pencil fit for your Work,
and cover therewith all thoſe Places which
you deſire ſhould be tender, and free from
any further Operation of the Aqua Fortis :
taking great Care that you lay the Mixture
thick enough, on the places which you
would have covered ; that is, that the Mix-
ture may fill up the Strokes. And it is at
this firſt Operation, that you are to cover
all the fainteft and ſweeteſt Places.
Having held your Plate ſo long to the
Fire that the Moiſture is quite taken off (a
Thing only neceſſary in the Winter Time)
put it again upon your Board, and pour.on
your Water as before, for the Space of
about half an Hour, turning your Plate
E
from
1
74. "
upon it.
The ART of ENGRAVING
from Time to Time, according to the
* ſeveral Poftures before expreſſed. That
done, waſh off the Aqua Fortis with fair
Water, as before, and dry your Plate by the
Fire, taking eſpecial Care that you melt
not the Mixture which you had before put
Your Plate being dried, put it upon the
Deſk, or Table, as before, and having
melted your Mixture, cover therewith thoſe
faint Places and Harches that are next in
Point of Faintneſs to thoſe that you had
covered before. For the different Degrees
of Faintneſs in the Hatches, you have feveral
Examples in the following Figure.
You have been before directed how to
guide your Needles and oval Points, and
have been told how you are to lean
strongly and firmly on the Places where you
would have the Strokes be black and
deep, and to flack and lighten your Hand
where you would have them faint and
tender ; a Thing which very much facili-
tates the Operation of the Aqua Fortis.
For Inſtance, when you have the firft
Time with you Mixture covered that Part,
which is incloſed by the Line A B C D,
and makes a kind of an Oval
come at the ſecond time, to cover that
Space which is between the Line A B C,
and the Line EOF; knowing well, that
if
Oval; you
$
A
E
D
B
C
F
1
1
111
in
11
71
12
with AQUA FORTI s. 75
i
if you have fuffered the Aqua Fortis to eat
for the Time requiſite, it will have very
near the Effect which you expected.
At the upper End of the Plate, you
have the Form of a Woman's Arm, where-
in you may perceive, by the Line marked
abcd, as alſo by the other, which lies yet
nearer the Shadow, how the ſmall Hatches
and fainter Places are ordinarily covered
at two ſeveral Operations, as Occaſion
requires ; though, in the forementioned Ex-
ample of the Arm, once covering may
luckily ſerve.
I have alſo thought fit at the Bottom of
the Plate, to ſet down four leveral Pieces
of Ground in Landfkip; the firſt marked
mmm, is the firſt covered, being the
fartheft of all from the Eye; then at ano-
cher Operation that marked #n; then
that marked og0; there being only that
marked p, wherein the Aqua Fortis eats in
full and deep
It may be objected, that the leaning
lightlyor hardly on the Points in their
proper
Places in working, míay make the Strokes
and Hatchings ſo, that the Aqua Fortis
may eat in anſwerably to your Expectation,
without the Trouble of covering any Places
with your Mixture : To this Lanſwer, that
the Work will not altogether have that
Effect,
E 2
1
Hugo The Art of ENGRAVING
Effect, but will be like the ſecond Plate,
which I have purpoſely made after that
Manner: For though you.can lean barder
-on ſome Places, and lighter on others ;
yet the Aqua Fortis being poured equally
all over the Plate, during the whole Time,
it muſt follow, that ſome places will not
be ſo ſweet and tender as they ought, and
will come far ſhort of that beautiful and
lively Continuity, which you perceive in
thoſe Lines and Strokes where you uſe
the Mixture.
If it happen, when you dry your
Plate by the Fire to take off the Moiſture,
as hath been ſaid before, that the Mixture,
for Want of Care, melts and runs into
thoſe Hatches and Strokes where you
would have the Aqua Fortis eat further in;
wipe the Place with a ſoft Cloth, then take
the Crumb of ftale Bread, and rub the
Place therewith, till ſuch Time as you con-
ceive you have taken off all the Greaſineſs.
This Remedy is only applicable in Caſe of
Extremity; for you are to obſerve, that it is
impoflible to take out the Greaſe ſo clearly,
but that it will ſomewhat hinder the Ope-
ration of the Aqua Fortis. And therefore
there muſt be the more Care taken to pre-
Went it.
Having
1
with AQUA FORTIS 77
Having thus covered your Places as
Occaſion requires, for the ſecond Time;
place your Plate on the Board aforeſaid,
and pour your Aqua Fortis on it, for ano-
ther half Hour
That done, waſh it with Water, and
dry it as formerly, and cover the Places
you think require it ; for the third
Time, you muſt know, that the faint Places
are to be proportionable to, that is, more
or leſs, according to the ſeveral Deſigns
and Pieces you work upon. When this
is done, pour your Aqua Fortis upon it;
for the laſt Time, and it is at this: Ope-
ration, that you are to beſtow niore or leſs
Time, than in the former, according to
the Nature of your Work.
For Inſtance, if there be in your Plate
fuch Hatches and Shadows, as require
much Depth and Fulneſs, which conſe-
quently will be very black, you are to
pour on the Aqua Fortis for an Hour
or better at this laſt Operation alone, that
is, proportionably to the former. You
may imagine, that no certain or general
Rule can be given, either for the conve-
nient Covering of the Places, or the ex-
act Space of Time that is to be ob-
ſerved in throwing on the Water: For it
cannot be thought, that Callot pour'd as
much
E 3
27
78 The ART of ENGRAVING
much Water on his little Pieces, as he did
on thoſe which were bigger.
I have told you, how you may rub off
your Varniſh or Ground, as Occaſion re-
quires, with a Charcoal, to ſee whether
the Water hath eat in deep enough :
Then you will judge of the Space of Time,
that you are to employ in pouring on the
to do ; and where I tell you, that you may
veitow an Hour and better on the last
Operation, my Meaning is, in Pieces that
require much Blackneſs. Notwithſtand-
ing which, it is to be conſidered, that all
Copper, or all sorts of Aqua Fortis, have
not the ſame Strength, Nature or Equality;
therefore it muſt be left to Diſcretion.
Having, as before ſaid, poured the Aqua
Forlis upon your Plate for an Hour, more
or lefs, as the Work requires, waſh it
again with fair Water, and dry it as in the
preceding Operations; then put it over the
Fire, till your Mixture is all melted ; and
wipe it very clean on both sides, with a
Linnen Cloth,, till you have quite taken
away all the Mixturé.
il
SECT,
with. AQUA FORTI'S.
79
SE C T.. XVIII.
To take the Ground or Varniſh off the Platen
after the Aqua. Fortis. bas done its
Operation.
1
TA
to
TAKE Charcoal of Willow, or fome
ſuch ſoft-grain’d Wood, and after you
Have taken off the Rind, and poured fair
Water on the Plate, rub it very even
- with the Charcoal, as if you were
poliſh Copper, and it will take off the
Varniſh. Be careful that no Duft or Filth
fall upon the Plate ; and that the Charcoal
be free from Knots and Roughneſs, which
might occaſion ſome ſmall Scratches in the
Plates and would be difficult to get out,
eſpecially in thoſe Places which are moſt
faint and ſweet. Note, you are not to uſe
ſuch a burnt Coal, as you do, to poliſh
withal.
When the Varniſh is taken off, the
Plare is of an unpleaſant Colour, by Reaſon
of the Operation of the Fire and Water
To reduce it therefore to its
proper Colour, take fomé ordinary Aqua
Fortis, to which add two third Parts of
fair Water, and with a little Linnen Rag
dipp'd therein, . rub your Plate all over,
and
upon it.
E A
80
The ART of ENGRAVING
and you will find its Colour' and Beauty
return.
Then immediately take a dry Linnen
Rag, and wipe it all over to take off all
the aforeſaid Water. Hold your Plate to
the Fire, and pour on it a little Sallad Oil,
and with the Brims of an old Beaver roll'd
up, rub your Plate all over with it, and
with a Cloth wipe it dry.
This done, you will plainly perceive
the Places, which require to be touched with
the Graver, as for the moſt part it hap-
pens, eſpecially in thoſe Places, which are
to be blackeſt. For you may judge, that
when there are many Strokes and Hatch-
ings cloſe to one another, there is ſo little
Varniſh between, that the Aqua Fortis com-
monly takes it off, and eats under it.
But if this happens, when you caſt on
your Water, you may preſently.cover thoſe
Places, where you perceive the Varniſh
break up, with the Mixture; it being more
eaſy to touch it afterwards with the Gra-
ver, than when the Aqua Fortis has made
a Pit therein, which, in the Working it
off at the Rolling-Preſs, cauſes a large
black Patch ; but after ſome Copies
are taken off, that Patch becomes white,
becauſe there is not any Thing for the
nk to faſten on.
Having
with Ą QUA FORTIS.
8 IN
Having covered that Part in Time,
you have no more to do, but perfect
thoſe Strokes and' Hatchings, to make
them firm and beautiful; and then your
Plate is ready for the Rolling-Preſs.
brother
1
1
WE
*
E 5
F
82
The ART of ENGRAVING
3
OF
+
SOFT VARNISH.
SECT. XIX.
To make it, and its Ufes.
T
AKE two Ounces of Virgin Wax,
half an Oance of Burgundy Pitch,
half an Ounce of common Pitch, put them
inco a clean and well-glaz'd earthen Pipkin,
and when they are diſſolved, take twoOunces
of Aſphaltum, let it be ground as fine as
poſſible, and ſhake it into the Pipkin, and
with a Stick keep ſtirring it over the Fire,
that the Aſphaltum, and the reſt, may in-
corporate well together, and be întirely
diffolved, which will be done in about
half a Quarter of an Hour; then take
it off the Fire, and let it cool a little,
and pour the ſaid Compoſition into a Bafon
of fair Water; your Hands being very
clean, put them into it, and take out the
ſaid Mixture before it be quite cold, and
having well moulded it, and ſqueezed out
the
with? A QUA: FORT'19.1 83
the Water, roll it up into Pieces about an
Inch Diameter, and two or three Inches
long.
After it is moulded, wrap it up in a
Piece of fine Sarfenet, or Taffata, two of
three, Times double, and ſo uſe it.
There are ſeveral other Compoſitions
of ſoft Varniſh, that may be uſed, but
this I judge the beſt of any I have met
with:
Note, You are not to put in ſo much
Virgin Wax in Summer, as in Winter.
SECT. XX.
The Marner of laying the Soft Ground or
:
Varnijk on the Plate.
HO
AVING your Plate well poliſhed
and cleanſed from Greaſe, take the
loft Varniſh prepared as is before mention-
ed, and put the ſaid Plate over a Chafing-
diſh, wherein a moderate Fire has been
kindled, and let it be ſo heated, that theVar-
niſh may eaſily diſſolve, as it paſſes through
theSarfenet, in which'tis wrapped. The Plate
being thus heated, take the Varniſh cover'd
as aforeſaid, and by applying it to the End
of the Roll, ſpread it upon the Plate whilſt
it is hot, carrying it lightly from one Side
1
E 6
84 The Art of ENGRAVING
to the other, úntil the Plate be covered
thin and equal all over : This being done,
take ſome fine Sarſener, or other fine Silk,
doubled up, put ſome fine Cotton into it,
and let it be about the Bigneſs of an Egg,
when tied up, but make it broad at Boc-
tom, then dab it gently all over your
Plate, where you have laid the Varniſh;
taking Care it be not too thick, for when it
is, your Work cannot be ſo fine and deli-
cate as otherwiſe it would ; if the Plate
ſhould cool, and conſequently the Var-
niſh, you muſt heat it again, that it
may receive the Varniſh, as it paſſes
through the Silk. Alſo take great Care,
for your more eaſily ſpreading of it, that
neither your Plate, nor Varniſh burns ;
which you will eaſily perceive, by ob-
ſerving, that when it is too hot, it caſts
itſelf into little Clots and Bliſters.
As ſoon as you have ſpread your Var-
niſh very even upon your Plate, black it
over with the Flame of a Candle, after the
ſame Manner I mentioned before in the
hard Varniſh; taking Care that the Flame
approach not too near; this is to be done
in one Caſe, rather than in another, that
is, when having black'd it all over, you
perceive, the Smoke hath not entered
within the Varniſh, by Reaſon of its grow-
ing
with AQUA FORTIS.
.85
)
ing cold : Therefore it will be convenient
to put your Plate again over your Chafing-
diſh, and you will fee, as ſoon as the Plate
is hot, the Varniſh will diffolve; and
thereby the Black, which the Smoke hath
left upon the Varniſh, will pierce as far as
the Plate.
In doing this, be very careful to have a
moderate Fire, and continually remove your
Plate, in ſuch a manner, that the. Varniſh
may melt equally all over it, without
Burning.
After that, let your Plate cool, and
when you think fit to work upon it, place
your Deſign in the ſame Manner, as
upon your hard Varniſh, (the Backſide
thereof being rubb'd with the Duſt of Red
Chalk, and Black Lead, mixed together)
excepting only, that you muſt not lean ſo
hard with your Point, in drawing the
Out-lines of your Deſign, left by fo do-
ing, the Needle cutting through the Paper,
ſhould rub the Varniſh.
Next you proceed to work upon your
Plate, with the ſame kind of Points, as
thoſe which are mentioned for hard Var-
niſh, excepting the oval Points, which
thoſe that erch with ſoft Varniſh never
ufe: Nevertheleſs they are very commo-
dious, eſpecially for the working any Piece
of Architecture, or making of large Strokes,
and
86 The Art of ENGRAVING
4
and 'tis left to the choice of thofe that
grave, either to ufe them or not: But one
Thing is to be confidered, which you muft
be very careful of, and'that is, how to keep
the ſoft Varniſh upon the Plate, for it is
very apt to be rubbed off, if any Thing
ſhould happen to touch it. There are
feveral Ways of keeping it unhurt :
For Example, working upon the Plain,
or on à Deſk, place on the sides of
your Plate; 'two little Boards, of what
Thickneſs you pleaſe, or two little Books
of the fame Thicknefs, and lay a thin Board
upon them, fo as not to touch the Plate,
and reft
upon this Board as you
work.
Many work with their Plate laid upon an
Eafel, as a Painter does when he paints;
but all Men cannot fit in this Manner at
Work, although it is very much approved
of, for many Reafons, which hereafter ſhall
be alledged.
To work upon the ſaid foft Varniſh,
you muſt conveniently place your Board
upon a Delk, and lay a Piece of green
Bays upon that, and your Plate upon the
Bays. Afterwards, take a Linnen Cloth
without any kind of Seam, which has
been often put to other Uſes, that it may
be very ſoft. Then double it three or four
Times in Folds, and lay it upon your
Varniſh
your Hand
1
with AQUA FORTIS.
87
Varniſh ; and reſt your Hand on it, as you
do on Sheets of Paper, upon hard Varniſh.
The Reaſon why this Caution is to be ob,
férved is, left the Buttons of your Sleeve
fbould rub off the Varniſh.
Be very careful, that there is no Duſt
or Filth upon your Varniſh; if you ſee
any upon your Plate, wipe it lightly off
with one of your large ſoft Pencils, ob-
ferving, that much more Care is requir-
ed for the preferving of ſoft Varniſh,
than of hard; which made the Author
leave it off, eſpecially in Pieces that required
long Time, and much Pains; it being much
more eaſy to make a firm Winding-Stroke
upon hard Varnifh than upon foft; becauſe
the Hardneſs of the Varniſh holds your
Point, as it were engaged, which makes the
Strokes the deeper, and more like the
Firmneſs and Neatneſs of thoſe of a Graver.
Moreover, when you are at work on ſoft
Varniſh, you muſt have a ſpecial Care, leſt
any other Perſon than a Practitioner of the
Art, touch or meddle with your Plate ;
and if
any
kind of greaſy Matter happens to
drop upon it, your Plate will be incurable :
But if it happens to fall upon hard Varniſh,
you may clean it with a Linnen Cloch, or
Crumbs of Bread.
1
Thoſe
:
88 The Art of ENGRAVING
Thoſe that work upon ſoft Varniſh, if
they put their Plate on a Deſk or Eaſel,
are not in ſo much Danger of rubbing
off their Varniſh, nor need they ſo often
wipe away that which comes off in work-
ing; for the Plate being placed obliquely,
the fuperfluous. Matter falls away of itſelf.
I don't think it neceſſary to deſcribe this
Way of working, by a Plate, becauſe it is
not probable that any who intend to etch
after this Manner, can be ignorant how a
Painter works upon an Eafel, there being
no other Difference, except that a Painter
uſes a Pencil, and a Graver his etching
Tools. The Artiſt muſt take Care to reſt
his Plate very firm, eſpecially when he is
very intent upon the making of any exact
Strokes.
Callot worked upon hard Varniſh, after
the ſame Manner ; but it was more to pre-
ſerve his Health ; fuppoſing that to fic
ſtooping to his Work (though it were never
ſo little) would be hurtful to him.
SECT. XXI.
To border the Plate, that it may contain the
Aqua Fortis.
ET ſoft Wax, either red or green ;
Gif it be in Winter, foften it in warm
Water; in Summer it will be ſufficiently
foft
!
with AQUA FORTIS. 89
over ;
ſoft of itſelf: In the managing of it, put
it round the Brims of your Plate, raiſed
about half an Inch above the Surface of the
Plate, being, as it were, like a little Rant-
part or Wall, (forming at one Corner a
Spout to pour the Aqua Fortis off) in ſuch
Sort, that placing your Plate very level,
and afterwards pouring your Aqua Fortis
upon it, the Water may be retained,
by Means of this Border of Wax,
and equally diffuſed all
but
before you pour it on (to prevent its
ſoaking through, between the Wax and the
Plate) dip your Pencil in your prepared
Tallow, and ſtop the under Part neatly, on
the Inſide of the Wax, ſo that the Aqua
Fortis may not corrode under it.
Having thus fecured your Plate, take
double Aqua Fortis, one Part, Water, two
Parts, mix them in a Glaſs Bottle, or Stone
Mug; then pour it gently upon the
Plate, ſo as that it may remain all
over it, the Thickneſs of half a Finger's
Breadth.
Then you will fee, that the Water will
work, and bubble up in thoſe ſtronger
Hatchings, that are moſt firmly ſtruck;
as for thoſe that are fainter, you will per-
ceive them clear at firſt, and of the Colour
of the Copper, the Water not having, on
1
a ſud-
{
go
The ART of ENGRAVING
a fudden, any other Effect than what appears
to View.
Afterwards, when you have perceiv-
ed the Water operate a ſmall Time,
pour it off from the Plate into ſome Vefjed,
which is moft proper to contain it, as into
an earthen Mug well glazed, or the
like; then throw ſome fair Water upon the
Plate, to extinguiſh and waſh away the
Remainder of the Aqua Fortis, which was
upon its then dry it by the Fire,
as you have been taught before, when we
difcourſed of hard Varniſh ; as to the
ſoft Varniſh, and Aqua Fortis of the
Refiners, be very careful to evapo-
Fate that Moiſture, which, in the Winter
Time, is commonly between the Copper
and the Varniſh, before you lay on your
Aqua Fortis, which being done, take your
Mixture of Oil and Tallow, as is men-
tioned in the Beginning of this Dif-
courſe of hard. Varniſh, and cover thoſe
Places with it, which ought to be moſt
tender and ſweet; or Picture Varniſh, mix'd
with Lamp Black, as mentioned in the
Operation of the hard Varniſh; hav-
ing covered them the firſt Time, lay
again upon your Plate the ſame Aqua Fortis
which you had taken away, and leave it
on for half a Quarter of an Hour, or
longer, according to your Diſcretion ; then
take
/
with AQUA FORTIS. '. 91
take off the Aqua Fortis, and cover with
your Mixture the next Places, as you
ſhall ſee Occaſion: And if you would have
your Lines or Strokes beftill deeper,
then cover the ſweeter Part by De-
grees with your Mixture, that the Aqua
Fortis may lie the longer on the deeper
Strokes.
Laſtly, lay on the aforeſaid Aqua
Fortis again, and leave it on for the Space
of half an Hour, or more, according to
the Strength of the Water, and Nature of
the Work; then take it away, and caft
ſome fair Water upon the Plate again.
This being done, take off your Border
of Wax, and heat your Plate, ſo that the
oily' Mixture, and Varniſh, may thorough-
ly melt; then wipe it well with a Linnen
Cloth, afterwards rub it all over with
Olive Oil, and a piece of old Beaver roll'd
up, then touch it over again with your
Graver, in thofe. Places where it is neceſ-
ſary.
It is neceſſary to obſerve, that whilſt
the Aqua Fortis is upon your Plate, you
muſt take a Feather, and dip it to the Bot-
tom of the ſaid Aqua Fortis, ſweeping it
along, to remove the Froth or Scum, which
gathers upon your Strokes or Hatchings,
whilſt the Water performs its Operation; as
alſo, to give the more Way to the Opera-
tion
9
1
1
ter
92 The Art of ENGRAVING
tion of the Water, and fee if the Varniſh
be not broke up, which the Bubbling of
the Water hinders you from diſcerning.
Take Notice allo, that the Aqua Fortis
of the hard Varniſh, will ferve excellently
well, to eat into the Wörk made by the
aforeſaid ſoft Varniſh, and that the Manner
of applying the oily Mixture, is the ſame
with that of hard Varniſh, and whoever
ufes it may be aſſured; that it is much
better for this Purpoſe, than that of the
Refiners : Moreover, it is not ſo ſubject to
cauſe the Varniſh to break up, nor to many
other Accidents ;: as being hurtful to the
Sight, and Health, as that of the Refiners
is ; nevertheleſs, let every one make uſe of
which Sort he pleaſes.
L
SECT. XXII.
The Manner of laying a white Ground upon
the hard or ſoft Varniſh.
TH
HERE is a Way to whiten your
Varniſhes upon the Plate, inſtead of
making them black with a Candle, which
is thus.
When you have applied your hard Var-
niſh (as has been obſerved) upon the
Plate, harden it over the Fire, without
blacking it, yet in the ſame Manner as if
it
Y
-
with AQUA FORTIS. 93
it were blacked, then let the Plate cool,
and having got white Cerus, put it inco
an earthen Difh well leaded, and a little
Flanders Starch, ſet them over a Fire,
and melt them together, making them
pretty hot; that being done, take up the
white Cerus, (which ought to be pretty
clear) with a Bruſh, or great Pencil of
Hog's Hair, and whiten your Varniſh
with it, laying it as thin and even as you
can, then leave it to dry, laying the Plate
fiat, in ſome convenient Place; if by Chance
in whitening it, the White be dificult to
ſpread, you need only put among the ſaid
white Cerus a Drop or two of the Gall of
an Ox, and mix them together in the
Diſh with your Bruſh. For the ſoft Var-
niſh, you may do the ſame, after you
have laid it upon your Plate, and extended
it very even with the feathered End of
your Quills: Some will ſay, if they
black the Plate, before the White is puc
upon it, when they come to grave, the
Hatchings will be the more black, and
conſequently will appear ſo much the more
diſtinct to the Eye. But to this I an-
ſwer ;
Firſt, When the Plate is blacked, the
White will not touch it, nor muſt they ven-
ture to put ſo much Gall, for Fear of
ſpoiling the Varniſh.
Secondly,
94' The ART of ENGRAVING
Secondly, If the White ſhould ſpread
well, it will not appear otherwife than
grey, by Reaſon of the blacking of the faid
Varniſh, unleſs you lay it ſo thick, as
to ſpoil the whole Work.
The marking of your Deſign upon foft
Varniſh, is performed with the Duft of
red Chalk, (as before mentioned of hard
Varniſh) or by rubbing the Paper well,
or Deſign, with the Duft of black Chalk,
or black Lead, when the Varniſh is made
white : For red Chalk is moſt proper for a
black Ground.
When you have graved what you in-
tend upon the ſoft Varniſh, and are going
to etch your Plate with Aqua Fortis; what
you liave then to do, is to take a little fair
Water, ſomething more than lukewarm, and
caſt it upon the faid Plate : then with a
foftº clean Spunge, or Duck's Wing-Fea-
thers, moiſten the faid white Cerus all
over with it, afterwards waſh the Plate,
to take off the Whiting, and dry it.
Laftly, you may lay on which of the
two Sorts of Aqua Fortis you pleaſe; and
for the preſerving of the ſaid white l'ar-
niſh, whilft you are working, you need
only lay upon it a Piece of ſoft Linnen, or
Damaſk Linnen, inſtead of Paper.
If
}
with AQUA FORTIS. 95
:
If you chooſe rather to take away the
faid Whiting, you muſt take ſome Aqua
Fortis of the Refiners, tempered with fair
Water;. lay. it upon the Plate, diſperſing it
all over, which will ſoak and quickly eat
in; after you have thrown clean fair Water
upon it to take away the Whiting, let the
Water dry up, which remains upon the
Plate, and cauſes it to eat into your Work,
as I ſaid before.
SECT. XXIII.
Another Way to lay a White on the Varniſh.
T
AKE the beſt Cerus, and grind it
very fine upon a Stone, with fair
Water, which being done, take Gum-
Water, and pour a ſmall Quantity of it
upon the Stone, and mix it with the Cerus;
then take a large Pencil of Camel's Hair,
and with that Pencil take it off the Stone,
and ſpread it thin all over your Plate; and
immediately after, take a larger Pencil of
Camel's Hair, and with a very light and
gentle Hand, paſs it all over the Plate, ſo
as to make it lie exactly even in all Parts,
that the Strokes of the former Bruſh, rnay
not appear, then lay your Plate very even,
and let it dry.
If
96
The Art of ENGRAVING
It will be neceſſary to give you this
Notice, that you are not to mix too much
Gum with the White, nor too little; for
if there be too much, it will break and
crack the Varniſh; if there be too little, it
will eaſily rub off: Therefore you muſt be
careful to uſe no more, than will juſt ferve
to bind the White upon the Plate. Like-
wiſe you muſt have a care not to lay it too
thick, for if it be, you cannot work with
the Neatneſs and Curiouſneſs, you may
otherwiſe,
SECT. XXIV.
The Manner, after the Plates are eat in by
the Aqua Fortis, to touch or re-grave that
which you have forgot, or which you would
mend or ſupply.
BE
EFORE I make an End, it is pro-
per to ſhew you the Manner how to
retouch many Things, according as Need
may require, by the Means of Aqua Fortis;
if it happens that you have made upon
your Copper, any thing that does not
pleaſe you, and for this Cauſe having covered
it with your oily Mixture, that the Aqua
Fortis ſhould not perform its Operation, or
that you would add any Ornaments,
either
with AQUA Fortis. 97
alther in Drapery, or any other thing which
may be thought on: In this caſe, take
your Plate, and rub it well over with
Olive Oil in thoſe Places, where there is
any thing graven, in ſuch Manner that
the Blackneſs and Foulneſs, which is like
to be in the Hatchings or Strokes, may
be taken away. Afterwards take out the
Greaſe ſo thoroughly with Crumbs of
Bread, that there may remain none, nor
Filth upon the Plate, or in any of the
Strokes or Hatchings.
Then heat it over a Charcoal Fire,
and ſpread the ſoft Varniſh upon it, as
has been ſaid before. What you are to
take ſpecial Care of, is, that the Hatch-
ings, which you would have remain,
be filled with Varniſh; which being done,
black it, and then you may retouch, or
add what you intend. Laſtly, irake your
Hatchings with your Needles, accord-
ing as the Manner of the Work ſhall
require, being careful, before you put on
the Aqua Fortis, to cover with your oily
Mixture (as is ſaid before) the firſt grav-
ing which was upon your Plate ; for if
the Varniſh ſhould not have entred all
over, that certainly will : Inſomuch that,
if there ſhould happen in fome Places
of the Hatchings to be neither Mixture,
F
1
*
nor
98
The Art of ENGRAVING
TIGRA
nor Varniſh, the, Aqua Fartis will not fail
to enter and ſpoil all. Having cauſed
the Aqua Fortis to eat into your Work,
take away your Varniſh from your Plate
by the Means of Fire, as before faid.
}
00
WS
THE
with AQUA FORTIS.
99
Τ Η Ε
A RT
OF
EN GRAVING.
etieteetetetetoteketietisteketietieteetsetietieto
SE C T. XXV.
The ſeveral Ways of drawing the Deſign
upon the Plate.
B
you
EFORE I ſpeak of the Manner
of managing and whetting your Gra-
ver, I think it will not be amiſs to let
know the Ways that are uſed in drawing
your Deſign upon the Plate ; which muſt
be of the fame Bigneſs the Deſign or Print
is, which you intend to copy.
Put your Plate over the Fire, and let it
heat a little; then take a Piece of the
whiteſt Virgin Wax, and ſpread it thin over
the Plate, and with a ſmooth Feather
gently ſtroke it all over, ſo that it may
lie very even and ſmooth; then let
F 2
it
100 The Art of ENGRAVING
it cool. If you intend to copy a Print,
and would have it to print off the ſame
Way when it is graved, with your
Print; then you muſt place your Print
which you would grave, with the Face
or printed Side next to your Plate, waxed
over as before mentioned.; and having
placed it very true, rub the Backſide of
the Print with a Burniſher (or any. Thing
that is ſmooth and round) and you will
find, that it will ſtick to the Wax which is
upon the Copper : When you have ſo
done, take off the Print, beginning at one
Side or Corner, but be careful you take it
not off too haſtily, for by ſo doing, you
may tear your Print or Deſign; and alſo,
if you put your Wax too thick upon the
Plate, it will be a Means to cauſe the ſame
Inconvenience.
But if you would grave it the ſame Way,
as your Print or Deſign is, then take the
Duſt of black Lead, or black Chalk, and
rub the Backſide of your Drawing or
Print all over therewith, and place it with
that Side blacked towards the Plate fo
waxed, ( as before mentioned) and with
your Needle, or Drawing Point, draw all
the Out-lines of your Deſign, and you
will find all thoſe Lines upon your Plate ;
but if you deſire to preſerve the Backſide
of your Delign from being blacked with
the
with AQUA. FORT 19. IOI
thie Duft aforeſaid ; then take a fine thin
Piece of white Paper of the Bignels of your
Deſign, and inſtead of rubbing the Back-
ſide of your Print or. Deſign, rub one
Side of the ſaid Paper with the Duſt or
Powder of black Chalk, and placing it.
with the Side ſo blacked, next to the
waxed Plate, lay the Backſide of your
Deſign upon the Paper, and fix them .
both firm to your Plate at each Corner with
a little Wax, then draw the Out-lines of
your Deſign : only note, that you muſt
lean ſomewhat harder with your Needle in .
Drawing.
There are other Ways uſed for this
Purpoſe, which it is needleſs to trouble you
with; only take Notice, that in Caſe you
deſire to preſerve your Deſign from being
any Way defaced by the Marks of your
Needle in drawing the Out-lines, take a
fine Piece of white Paper, and having oila
it, hold it by the Fire, ſo that the Oil may
ſooner penetrate it; and having ſo done;
wipe it very dry with a Linnen Rag, and
place the ſaid Paper upon your Deſign,
making it faſt at each Corner, and you
will perfectly diſcern your Deſign through
the Paper; then with a black Lead well.
pointed, draw all the Out-lines of your
Deſign upon the ſaid oiled Paper, which
done,
F 3.
។
102 The ART of ENGRAVING
done, place it upon the Plate in the ſame
Manner as before.
SECT. XXVI.
TH
The Forms of Graving-Tools, and the Manner
of whetting the Graver. Pl. 9.
HE upper Part of this Figure will
ſhew two Sorts of Graving-Tools,
the one formed Square, the other Lozenge :
The Square Graver makes a broad and
ſhallow Stroke, or Hatch; and the Lo-
zenge makes a deep and narrower Stroke.
The Uſe of the Square Graver, is to make
the largeſt Strokes; and the Uſe of the
other, is to make the more delicate and
lively Strokes. But a Graver made of an
indifferent Size between theſe two is beſt,
and will make your Strokes, or Hatches,
Thew with more Life and Vigour ; and
yer with ſufficient Force, if you manage
it properly in your working. The Forms
of thefe Gravers, you will ſee in the Figures
1. and II.
The IIId Figure ſhews you how to
whet the two sides of your Graver, which
is to be done in the following Manner ;
you muſt have a very good Oil-ſtone
ſmooth and fat, and having poured a little
Sallad Oil thereupon, take the Graver,
and
.
P. 102.
IX X
Fig
. 1
1
Fig
. 11
Fig: 1
Ion
3
Figші
13
with AQUA FORTIS. 1.03
and laying that Side of it which you
intend ſhall cut the Copper flat upon the
Stone, whet it very flat and even ; and in
doing this, take particular Care to place
your Fore-finger. very firmly upon the
op-
poſite Side of your Graver ; that you may
carry your Hand ſteadilý, preſs equally on
it, and guide it with the more Exactneſs :
Then turn the next Side of your Graver, ,
and whet that as you did the other ; that
there may be a very ſharp Edge for the
Space of an Inch or better; then turning
uppermoſt that Edge which you have lo
whetted, and ſetting the End of your Gra-
ver obliquely upon the Stone, carry your
Hand exactly even, to the End that it may
be whetted very fat and floping, in the
Form of a Lozenge, making a ſharp Point
to the Edge, as Figure IIII. ſhews you:
It is abſolutely neceſſary, to be very
exact in the Whetting of your Graver
for it is impoſſible you ſhould ever work
with the Neatneſs and Curioſity you deſire,
if your Graver be not very good, and
rightly whetted.
j
F4
SECT.
1
104
The Art of ENGRAVING
S E C T. XXVII.
Tbe Manner of holding the Graver, with other
Particulars.
Y PI
OU may ſee alſo, that the
fee alſo, that the uppermoſt
Part of this Figure deſcribes the Form
of two Gravers to you, with their Handles
fitted for Whetting. They that uſe this
Art, before they uſe them, commonly cut
away that Part of the Knob or Bowl which
is at the End of their Handles, and upon
the ſame Line with the Edge of their Gra-
ver; that it may not obſtruct or hinder
them in their Graving, as Figure II. ſhews
you.
For if you work upon a large Plate,
you will find that part of your Handle
(if it be not cut away) will reſt ſo upon
the Copper, that it will hinder the ſmooth
and even Carriage of your Hand in making
your Strokes or Hatches; and will alſo
make your Graver run into the Copper
in ſuch a manner, that you will not be able
to manage it as you would.
The Third Figure deſcribes the Way
of holding your Graver; which is in
this. Manner. You muſt place the Knob
or Ball of the Handle of your Graver in
the
P.104.
109
2
1
Ult
Fig
: 11
Fig
ITI
with AQUA FORTIS.
105
Plate ;
phie Hollow of your Hand, and having ex-
tended your Fore-finger towards the Point
of your Graver, laying it oppoſite to the
Edge that ſhould cut the Copper, place
your other Fingers on the side of your
Handle, and your Thumb on the other
Side of the Graver, ſo that you may guide
your Graver fat and parallel with the
as you may fee in Figure IIII.
Be careful that your fingers do not in-
terpoſe between the Plate and the Gráver,
for they will be troubleſome, and hinder.
you in carrying your Graver level with the
Plate, ſo that you cannot make your
Strokes with that Freedom and Neatneſs
you otherwiſe may. This I think fit to
give you Notice of in this place, becauſe
you muſt firſt learn to hold your Graver
perfectly well, and be able to practiſe with-
out Pain or Difficulty; or elſe you will
not acquire that Readineſs and Command
of Hand, which is required in an accurate
and ſkilful Engraver.
1
}
F 5
SECT.
1
1
1
106 The ART of ENGRAVING
6 EC T. XXVIII.
x
The Manner of governing the Hand in Graving,
and other Particulars.
H Н
AVING deſcribed the Way of
holding your Graver, the next
Thing is to ſhew you how to guide it
upon the Plate, in making of your Strokes,
either ſtraight or crooked. To work
with the more Eaſe and Convenience, you
muſt have a ſtrong round Leather Cuſhion
filled with Sand, or fine Duſt; let it be
made about half a Foot broad in the Dia-
meter, and three or four Inches deep; lay
this upon a Table which ſtands faſt and
firm; t'ien lay your Plate upon the Cuſhion,
as is ſeen in Figure II. in the former Sec-
tion.
When you make any ſtraight Strokes,
hold your Graver as directed before; and
when your Strokes are to be deeper or
broader in one place than in another,
where you would have them deepeſt, you
muſt preſs your Hand hardeft; but in
making of a ſtraight Stroke, be very care-
ful to hold your Plate firmly upon the
Cuſhion,
When you make any crooked or
winding Strokes, hold your Hand and
Graver
with AQUA FORTIS. 107
Graver ſteadily, and as you work, turn
your Plate againſt your Graver ; otherwiſe
it will be impoſſible for you to make any
crooked or winding Strokes with that Neat-
neſs and Command of Hand, you by this.-
Means may.
If, when you are working, your Graver
happens to break the Point often, it is
too hard tempered; to cure which, take
a red hot Charcoal, and lay the End of
your Graver upon it, and when you per-
ceive it grow yellowiſh, dip it in Tallow : If
your Graver become blunt without break-
ing, it is worth nothing,
It will be convenient for you to have a
Piece of 'Box, or hard Wood, to ſtrike
the Point of your Graver into, after you
have ſharpened it; which will take off all the
Roughneſs about the Point, that was caufed
by whetting it upon the Oil-ftone. After
you have graved Part of your Work, it
will be neceſſary to ſcrape the Plate with the
ſharp Edge of another Graver, carrying it
even upon it, to take off the Roughneſs
of the Strokes ; but in ſo doing, take heed
not to make any new Scratches in your
Work.
That you may the better fee what
is graved, roll up cloſe a Piece of
black Felt or Caſtor, liquored over a
F6
little
108 The Art of ENGRAVING
little with Olive Oil, and rub the graved
Places with it: If you perceive any
Scratches in your Plate, rub them out with
your Burniſher; and if you have graved
any of your Strokes too deep, you may
make them appear fainter by rubbing them
with the fame.
1
MEZZOTINTO,
with AQUA FORTIS.
1og
MEZZOTINTO, called Scraping or Burniſh-
ing on Copper.
TA
1
AKE a well poliſhed Copper Plate,
and make it all over rough one
Way, with a particular Engine deſigned
for that Purpoſe, then croſs it over again
with the ſame Engine, and if there is Oc-
caſion, croſs it over a third Time; till it
be made rough all over alike.
When you have thus roughed the
Plate, then rub Charcoal, black Chalk, or
black Lead over the Plate, and draw your
Deſign with white Chalk on it; then take
a Tracer, made of the Point of a Needle,
blunted round, ſtuck at the End of a Piece
of Cane, and trace out the Out-lines of
the Deſign, which you drew with the white
Chalk : And where you would have the
Light ſtrike the ſtrongeſt, take a Burniſher,
or Scraper, and burniſh thar Part of the
Plate as clean and ſmooth as it was, when
the Plate was firſt poliſhed.
Where you would have the Light fainter,
there you muſt not poliſh it ſo much; and
after this Manner you muſt either increaſe or
diminiſh the Light in your Deſign, by mak-
ing it fainter or ſtronger, as the Neceſſity
of the Work requires.
An
An IDEA of
An Idea of a fine COLLECTION
of Prints.
TH
HIS Collection, which will be very
numerous, may be divided into
three principal. Parts; the Firſt, to con-
tain all Hiſtorical Subjects; the Second, all:
the Subjeets of Morality; and the Third,
every Thing that concerns the Progreſs of
the Arts of Painting, Sculpture and. Engra-
ving ; to which may be added a Fourth,
containing mixed Subjects.
The Hiſtorical Subjects will contain the
Hiſtory of the World, according to its dif-
ferent Ages, Monarchies and Nations ; re-
preſented by many Maps, Battle-Pieces,
Medals, Statues, Baſs-Reliefs, Portraits
and Buildings, Atchievements, and Seals,
Devices, Tombs, and other Monuments of
illuſtrious Perſons.
The Moral Subje£ts will contain a 'great
Number of Emblems, Enigmas and De-
vices, concerning the Religion, Manners
and Politicks of different Nations, with
Repreſentations of the Virtues and Vices.
The Subje&is of the Progreſs of the Arts,
will contain the different Stiles of the Arts ;
by comparing the antique Remains and
Ruins of them, with the Works of the
Gothick
a fine COLLECTION OF Prints. III
Gothick Ages, and of thoſe Maſters who
have Aouriſhed within theſe 250 Years.; in
order, by that Means, to obſerve their
Original, Increaſe and Decay; and laſtly,
their Re-eſtabliſhment in the Perfection and
Beauty we now ſee them.
The mixed Subjects may contain Volumes
of Portraits of eminent Women, Hunting-
Pieces, various comical and groteſque Sub-
jects, &C.
But as theſe three different Sorts of
Subjects deſerve a more accurate Deſcrip-
tion, that the Curious may fee what each
Volume ought to contain, in order to form
a more agreeable Symmetry between them;
I will give an exact Account what each
Volume ſhould be compoſed of.
The firſt ſhould contain what paffed in
the Beginning of the World, according to
the Books of Moſes, Geneſis, Exodus, Le-
viticus, Numbers, and Deuteronomy..
The 2d ought to be a Sequel of the
Sacred Hiſtory, as it is found in the Books
of Hofhua, Judges, Ruth; and Kings.
The 3d ſhould contain the Remainder
of the Hiſtory of the Old Teſtament, ac-
cording to the Books of Eſdras, Tobit,
Judith, Eſther, Job, the Prophets, and the
Maccabees.
The 4th, may ſhew us an Abridgment of
Nature, the Compoſition of the World
according
II2
An IDEA OF
according to the Poets and ancient Heathen
Philoſophers; the four Elements; the
Heavens, the Conſtellations, Planets, and
fixed Stars; the Fire; the Air, Winds,
and Birds; the Water ; the Seas, Rivers,
and Fiſh; the Earth, its ancient Geogra-
phy; ſome uncommon Trees, Flowers,
and other Curioſities of Nature ; Time,
the Hours, the Months, and Seaſons; the
fabulous People and Animals ; Man, his
Creation and Compoſition, his different
Ages, Manners, and Senſes; his Won-
ders, and Inventions in the Liberal and
Mechanick Arts.
The 5th ſhould contain the fabulous
Hiſtory of the Ancients, of Saturn and
Cybele, of Jupiter and Juno, of Neptune
and Amphitrite, of Galatea, and many
other aquatick and marine Deities; of
Pluto and Proferpine, of the infernal Deities
and Torments; of Apollo and Diana ;
which may be confirmed by their different
Medals and Statues.
The 6th, what may ſerve to illuſtrate
the fabulous Hiſtory of Mars, of Vulcan
and Venus, of Cupid and Pſyche, of Miner-
va and the Muſes, of Mercury, Bacchus,
and Hercules.
The 7th, a Series of the Hiſtory of the
Gods, where there will be ſome Fables,
Medals and Statues of the Demi-Deities,
whoſe
1
1
a fine COLLECTION of PRINTS. 113
whoſe Names, becauſe of their great Num-
ber, I ſhall omit.
The 8th may contain the Hiſtory of
what is called the Heroick Times, the
Voyage of the Argonauts, the War of
Tbebes, and alſo Ovid's Metamorphoſes. ;
The gth ſhould ſhew the War of Troy,
the Voyages of Æneas and Ulyſſes, with
the laſt Acts of the Heroick Ages.
In the 1oth, there may be fome Subjects
of the Grecian Hiſtory; the Medals, Por-
traits, and Statues of their illuſtrious Men;
with ſome Pieces relating to Sicily, and
that Part of Italy, which was anciently
called the Greater Greece.
The with ſhould contain ſome Maps
and Actions of the firſt and ſecond Monar-
chies of the Aſyrians and Perfans; with:
ſome other Afiatick, Ægyptian, and Afria
can Hiſtories.
The 12th, the third Monarchy of the
Macedonians, comprehending the Acts of
Alexander the Great, and his Succeffors.
The 13th the Commencement of the
fourth Monarchy of the Romans ; the
Reigns of their ſeven Kings; under Numa
Pompilius may be ranged all thoſe Pieces,
which relate to the Religion, Sacrifices,
Ceremonies, and Burials of the Romans
under Tullus Hoſtilius, every Thing that re-
lates to their Militia; and under Tarquinius
Priſcus,
114
An IDEA of
Priſcus, whatever can give us an Idea of
their Habits, Ornaments, Magnificence,
and Triumphs, with the Pomp. of their
publick Spectacles, Feafts, and Baths..."
· The 14th may contain. Part of the Tranſ-
actions of the Roman Republick, from the
Expulſion of their Kings, under their Con-
fuls and Dictators, 'till the Time of Julius
Cæfar; and to make this Volume com-
pleat, there ſhould be a Collection of Me-
dals, and other Monuments of the ancient
Roman Families..
The 15th, what we have of the Reigns
of their Emperors, Julius Cæfar, and Au-
guftus.
In the 16th, we may ſee the Manner of
making War, of the Greeks, Romans, and
ancient Barbarians. We may here have
ſeveral Plans of the Marches of Armies,
Proſpects of Camps, of Battles, and the
Siegès of Cities, purpoſely omitted in the
preceding Volumes, to aſſemble them
here together, in order to give us an Idea
of the ancient Manner of making War ;
and at the End of this Volume, there
fhould be a Collection of all Sorts of Ship-
ping, ancient and modern..
The 17th will ſhew. us the Subjects of
the Birth, Life, and Miracles of our Sa-
viour, who was born in the 42d Year of
the Roman Empire, under the Reign of
Auguftus ;
a fine COLLECTION of Prints. 115
1
Auguſtus; where the Chriſtian Æra be-
gins.
The 18th may contain the Death and
Sufferings of our Lord and Saviour; and
a Collection of Holy Parables.
The 19th, the Reigns of the Emperors
Tiberius, Caligula, and Claudius ; under
which will be contained the Hiſtory of the
Infant Chriſtian Church.
The 20th, what paſſed under Nero and
his Succeffors, to the End of the Reign of
Trajan; and this with Regard to both ſa-
cred and prophane Hiſtory.
The 21ſt, the Hiſtory of the Dacian
War, as it is repreſented in the Column of
Trajan.
The 22d ſhould comprehend the Ages,
and Reigns of the Emperors, from Adrian,
to the Government of Alexander, the Son
of Mammea.
The 23d, the Emperors from Alexander,
to the Time of Conſtantine the Great.
The 24th, the Empire of Conftantine
and his Children, to the End of Tbeodo-
fius's Reign, which may be called the laſt
Period of the Roman Grandeur; and at the
End of this Volume ſhould be placed
the Ecclefiaftical Geography of the Patri-
archates.
The 25th ſhould contain the Diffipation
and Diviſion of the Roman Empire, which
began
116
AN IDEA OF
began to be uſurped by the barbarous Na-
tions, in the Times of Arcadius and Hono-
rius, and ended in the Eaſt, by the taking
of Conftantinople, in the Year 1453.
The 26th, the diſmal Concluſion of the:
Eaſtern Affairs in Aſia, by the Conqueſts
of Mabomet, and other Ottoman Emperors,
by the Sophies of Perha, and the Kams of
Tartary.
The 27th ſhould be a Series of the Ma-
hometan Princes, and Ægyptian Sultans ;.
the Cheriffs of Morocco, and Kings of Bar-
bary, that have reigned in Africa ; and afa
.
terwards there ſhould be a Collection of
Hiſtorical Pieces relating to this third Part.
of the Globe; the Abyſins, the Kingdoms
of Congo, and ſeveral others.
The 28th ſhould contain the Habits and
Ornaments of the Chriſtian Greeks, and.
other Subjects of the Grand Segnior; with
thoſe of the Turks and. Perſians ; of the
Tartars, and other barbarous Nations; and.
at the End ſhould be a Collection of fome
Cruelties, Executions, and Puniſhments.
The 29th ſhould be the Commence-
ment of the Religious Orders, which were
inftituted in the Eaſt; and amongſt others,
of the Orders of St. Anthony, St. Baſil,, the
Croſs-Bearers, the Jeromites, and the Car-
melites.
Thie
1
a fine COLLECTION OF PRINTS. 117
The 30th, fome Hiſtorical Pieces of the
Knights of Malta, who were alſo inftituted
in the Eaſt, under the Name of Knights
Hoſpitallers of St. John of Jeruſalem.
The gift ſhould contain the Inſtitution
of the Weſtern Religious Orders, and par-
ticularly of thoſe of St. Auguſtin, and St.
Bennet.
The 32d, the different Orders that have
flouriſhed in the Eaſt, ſince St. Bennet, to
the Time of St. Dominick, and St. Francis ;
that is to ſay, of the Carthufians, Premon-
ſtratenſes, of the Shady-Valley, the Mathu-
rins, and of the Order of the Ciſtercians.
The 33d ſhould contain the Order of
the Dominicans, and ſome Hiſtorical Pieces
of the Holy Rofary; and afçerwards a Col-
lection of the Images of the Virgin Mary,
which are held in Veneration by moft Roman
Catholicks.
The 34th, whatever can give us an Idea
of the Life of St. Francis, and of the moſt
remarkable male and female Saints of his
three Orders; and laſtly, there ſhould be a
Deſcription of his Deſert of Averne.
The 35th ſhould be the Sequel of the
Order of Saint Francis, containing ſome
Pieces relating to the Order of the Capu-
chins.
The 36th ſhould contain whatever there
is relating to the Orders and Religious
Confraternities
u8
An Idea of
Confraternities that have ariſen in the
Church of Rome, ſince St. Francis and St.
Dominick, to this preſent Time.
In the 37th there ſhould be a Collection
of all the Habits and Ornaments of Ec-
clefiaftical Perſons, and of all the Orders
of Monks and Nuns.
The 38th ſhould be filled with the
Repreſentations of Religious Ceremonies,
and of the Magnificence of the Court of
Rome.
The 39th, with the Ceremonies and
Pomps practiſed at the Interments of Chri-
ftians, and of the ancient Pagans, and
barbarous Nations.
The 40th and 41ſt ſhould contain various
publick Rejoicings, and Entries, Triumphs,
Tournaments, Fireworks, Comedies, Dances
and Maſquerades.
The 42d, the Chronological Hiſtory of
the Papacy, divided into Centuries, from
the Time of Pope Leo the IIId, to whom
Cherles the Great gave the City of Rome,
to the preſent Pontificate.
The 43d, the. Sequel of the Hiſtory of
the Weſt, containing a particular Deſcription
of the modern City of Rome, its Churches,
Palaces, publick Buildings, Villas, Orna-
ments, and the remaining Monuments of its
ancient Grandeur:
The
a fine COLLECTION OF PRINTS. 119
The 44th, Hiſtorical Subjects relating
to Italy in particular; and firſt of the
Temporal State of the Pope, as it is now
a-days, both within, and out of Italy.
The 45th Tould contain the Sovereign
States of Italy; and in this Volume there
ſhould be a Collection of what relates to
the Republicks of Venice, Genoa, Lucca,
Raguſa, and St. Marino.
The 46th, the Sequel of Italy, con-
taining the Dominions of the Kings of
the Sicilies, and Sardinia, the Grand Duke
of Tuſcany, Duke of Modena, and of the
Houſe of Auſtria, and other Princes in
Italy.
The 47th, the Hiſtorical Subjects re-
lating to the Kingdoms and States of the
King of Spain, in Old Spain.
The 48th, thoſe of the Kingdom of
Portugal; and afterwards thoſe concerning
the Deſcription of both Spains.
The 49th ſhould be a Collection of
Hiſtorical Pieces, relating to the Dominions
of the Houſe of Auſtria, in the Low Coun-
tries:
The goth, a Collection of thoſe relating
to the Dominions of the King of Spain in
the New World; and here ſhould be every
Thing that regards America.
The 51ſt, the Dominions of the King
of Spain in Afia ; under which ſhould be
comprifed
I 20
An Idea of
1
/
compriſed what relates to the Eaſt-Indies,
Chinty. Japang: India Proper, and the reſt
of the Indian Princes.
The 52d ſhould be a Collection of what .
concerns the Republick of the United Pro-
vinces.
The 53d, an Hiſtorical Collection of
whatever regards the Kingdoms of England
and Ireland, to the End of the Reign of
Queen Elizabeth.
The 54th, of what relates to the King-
dom of Scotland; and to the three King
doms of England, Scotland, and Ireland,
since the Union of thoſe Crowns in the
Perſon of King James the VIth of Scotland,
and Ift of England; with a Deſcription of
this Monarchy.
The 55th, of what regards the Northern
States; that is to ſay, Ruſia, Poland,
Sweden, Denmark, and other Northern
Countries.
The 56th ſhould contain the States of
the Kingdoms of Bohemia, and Hungary,
the Arch-Dutchy of Auſtria, the County
of Tirol, and other hereditary Dominions
of the Houſe of Auſtria.
The 57th, the Hiſtorical Subjects con-
cerning the Emperors of Germany, from
Conrad, Duke of Franconia, who tranſ-
ferred the Empire from the French to the
Germans, to the late Emperor.
The
a fine COLLECTION of Prints. 12i
The 58th, what relates to the nine
Electors of the Empire, as well the Eçcle-
fiaſtical as the Secular.
The '5gth, what relates to the other
German Princes, both Eccleſiaſtical and
Secular.
The Goth, what regards the Free Cities
of the Empire.
The 6ift ſhould contain whatever re-
lates to the Republicks of Switzerland, Ge-
Reva, che Grifóns, the Principality of Neuf-
chatel, and the other Allies and Subjects of
the Switzers.
The 62d, what concerns the Dutchies
of Burğundy, Normandy, Lorrain, and Bri-
tary, before they were united to the French
Monarchy.
The 63d ſhould contain the Antiquities
of the Gauls, and the Portraits of their el-
luſtrious Men, before the coming of the
Franks, under their firſt King Pharamond.
The 64th, what regards the Hiſtory of
the French, during the firſt Race of their
Kings, after their Arrival in Gaul, under
the Conduct of Pbaramond.
. The 65th, what regards the ſecond Race
of their Kings, from Pepin, to Louis the
Vth.
The 66th ſhould begin with the third
Race of their Kings, and contain every
Thing that relates to them, from Hugh
G
Cepet,
1
122
An IDEA Of.:
Capet, to the End of the Reign of Charles
the Fair ; where the Right Line of the
eldeſt Branch ended.
The 67th ſhould contain what concerns
their Kings of the third Race, from Philip
of Valois, to the Death of Louis XI.
The 68th, the Reigns of their Kings,
Charles the VIII. Louis the XII. Francis
the I. and Henry, the II.; and as by the
Marriage of Mary. of Burgundy, with
Maximilian, Europe has been ſince divided
into the two Families of Auſtria and Bour-
bon; to avoid Confuſion, thoſe Pieces re-
lating to the foreign Wars of the French,
with the Portraits of the eminent Men,
who have been either their Allies or Ene-
mies, may be put under the Reigns of their
Kings.
The 69th and 70th may contain the
Reigns of their Kings, Francis the II
Charles the IX. and Henry the III.
The 7iit, what relates to the Order of
the Holy Ghoſt, which was inſtituted by
Henry the III. and here may be the Names
and Arms of all the Commanders and
Knights of the Order, from its firſt Inſti-
Tution to the laſt Creation.
The 72d, what relates to the Reign of
Henry the IV.
The 73d may contain the Beginning of
the Reign of Louis the XIII. his Portraits,
thofe
1
1
a fine Collection of PRINTS. 123
thoſe of the Queen, the Princes and Prin-
ceffes of the Blood; with the Arms or
Portraits of the Cardinals, Biſhops, and
great Officers of the Crown, and Houſe-
hold.
The 74th, the Arms and Portraits of
fome Eccleſiaſticks, Religious, and Secu-
lars, of all Conditions, who lived, and
were engraved, during the Reign of Louis
the XIII. to which may alſo be joined Ven-
Dyk's Portraits.
The 75th, fome Pieces of the magnifi-
cent Ceremonies, Rejoicings, and other
Feſtivals, that paſſed in France, in the
Reign of Louis the XIII.
. The 76th, what paſſed of the ſame Kind
in Foreign Countries, during this Reign.
The 77th, the Pieces repreſenting the
warlike Exploits of the French Nation,
from the Beginning of the Reign of Louis
the XIII. to the Year 1629; when all the
cautionary Towns of the Proteſtants were
reduced to his Obedience.
The 78th, the military Actions that
paſſed in Europe, from the Time of Louis
the XIII. to the Rupture of the Peace with
Spain, in the Year 1635.
The 79th, the military Actions, from
the Treaty of Peace at Treves, to the Death
of Louis the XIII.
The
1
G 2
124
An IDE A of
The Soch may contain tlie Habits and
Ornaments of the ancient and modern
French, from the firft Eftabliſhment of that
Monarchy, to the preſent Time ; to which
*may
be added, thoſe of the conquered Pro-
vinces, with the Cries of Paris, Callot's
Beggars, and the Country Sports and Paſ-
times of the French.
The 81ſt, a Series of the military Ac-
tions during the Reign of Louis ché XIV.
the Regency of the Duke of Orleans, and
the Reign of Louis the XV. now living.
The 82d, a Series of the magnificenc
Ceremonies, Feſtivals, publick Rejoicings,
Fireworks, &c. during the ſame Time.
The 83d ſhould be a Geographical De-
ſcription of the French Monarchy, as it is
now divided into Provinces, Parliaments,
Governments, Generalities, Dioceſes, and
Sub-diviſions; to which ſhould be added,
Charts of the Coaſts, Plans, or Profils of
the fortified Towns and Fortreſſes, of the
principal Churches, and publick Buildings,
and of the Royal Palaces, with thoſe of
the Princes of the Blood, Nobility, and
Gentry.
The 84th ſhould contain Maps of the
States and Provinces, with Plan's or Pro-
fils of the principal Towns and Fortreſſes,
which have been added to the French Mo-
narchy,
a fine COLLECTION of. Prints. 125
narchyi, from the Beginning of the Reign
of Louis the XIII. to the preſent Time.
The 85th, the Portraits of all the emai-
nent Men in the Kingdom of France, ei-
ther for Arts or Arms, ſince the Reign of
Louis the XIII to the preſent Time ; to
which may be added, thoſe of Flanders,
and other Countries.
The 86th may be compoſed of the Por-
traits of thoſe People, who ought to be
avoided ; ſuch as, the Authors of different
Sects, of Men noted for Impiety or Liber-
tiniſm, &c. to which may be added the
Repreſentations of Monſters,
The 87th may be conipoſed of the Por-
traits of Saints and Martyrs, and thoſe of
their Perfecutors, with Repreſentations of
the various Tortures that have been inflict-
ed on them, from the Beginning of the
World to this Time.
The Pieces which will illuſtrate the Arts
of Painting, Sculpture, and Engraving, will
alſo compoſe many Volumes.
The ift of which may contain the Orir
ginal of the Art of Painting, in the Ægyp
tian Hieroglyphicks, the Alphabets of dif-
ferent Nations, fome Bas-Reliefs, Trophies,
Rings, Cameos, Vaſes, Urns, Ornaments
of Architecture, and ancient Inſcriptions
and Epitaphs.
The
G 3
3 26 An IDEA of
The 2d, ſome Pieces relating to the an-
cient Hebrews, with a Collection of Feſti-
vals, Medals, and antique Statues.
The 3d may contain the two Books of
the Marquis Juſtiniani's Gallery, which are
full of antique Pieces; and the Trajan Co-
Jumn, which is the moſt entire Piece of
Antiquity extant.
The 4th may fhew us the Decay of
Painting and Sculpture, during 1100 Years
that the Empire was on the Decline; from
Conſtantine, to the End of the fifteenth
Century; and ſhould be compoſed of a
great Number of Pieces in the Grecian,
Ægyptian, and Gothick Stiles, taken from
the old Paintings, Tombs, Medals, Seals,
and Tapeſtry
The 5th may be the Books, intitled,
Roma Subterranea, filled with Pieces, in the
Decline of the Empire, of the Gothick
Stile.
The 6th ſhould be the Sequel of the De-
cay of the Arts, with ſeveral Pieces from
wooden Plates, which ſhew us the Rudenes
of their Deſigns, ſince the Invention of
Printing.
The 7th may be the Original of the Art
of Engraving, about the Year 1490 ; con-
taining many Pieces of the firſt and moſt
ancient Engravers ; as of Iſrael, and Mar
tin Tedeſco, the Maſter of Albert Durer ;
of
a fine Collection of Prints. 12
of Daniet and Jerom Hopfer, and ſeveral
"others:
• The 8th, the Works of Albert Durer,
the Reſtorer of Painting, and great Per-
fecter of Engraving in Germany and the Low-
Countries,, about the Year 1520.
The gth, a Sequel for the Works of the
German and Low-Country Maſters, contain-
ing ſome Pieces of Lucas of Leyden.
The roth may be filled with Pieces en-
graven on Wood, done in Germany, ſince
1500, to this Time, as well by Lucas
Cranisy Jacob Pens, Holbeins, Hanis Schau-
flig, as others.
The 11th may be a Series for Germany
and the Low-Countries, containing ſome
Pieces of thöfe, which are called the Leffer
Maſters"; that is to ſay, of George Pentz,
Aldegraef, Sebalde, John D'bifpanien, his
Brother, of Virgilius Solis, and others, whoſe
Names and Marks are unknown.
The 12th ſhould be compoſed of the
Works of Francis Floris, who is called the
Flemiſh Raphael, and thofe of Martin
Hemſkirk.
The 13th ſhould be a Sequel for Germa-
ny and the Low-Countries, containing fome
Pieces of Lambert Suave, Lambert Lom-
bard, of Peter Brugbel, John Mabuſe, M.
Quintin, George Behan, Gilles Maſart, and
Gilles Coignet, of Otho Venius, Cornelius.
Corting
G4
128
An IDEA of
1
I
Cort, and Theodore Bernard of Amſterdam,
of Francis Klein, a Dane, and of Jobp
$trada.
The 14th ſhould be ſtill a Sequel for
Germany and the Low-Countries, contain
ing ſome Pieces of Charles Mander, and
Francis Pourbus, of Diterlin, and Lambert
Lenoir, H. Utouch, Denis Calvaert, Abra-
bam Janſſens, of Paul Marelſer, Nicholas
Hoey, Geldorp, Goltzius, Hofua of Monpre,
John Hæfnagbel, Gerard of Groning ben,
Cornelius Vanjichem, John Bol, David Van
Boons, and Peter Vander-Borcht.
The 15th ſhould contain ſome of the
Works of Henry Hubert, and James Julius
Goliziys.
The 16th ſhould be the Works of Wit-
liam and Criſpin de Pas, of Magdalen and
Barbara de Pas, and of ſeveral others of
that Name.
The 17th ſhould be ſtill a Suite for Ger-
many and the Low-Countries, compriſing
ſome of the Works of Nicholas de Bruyn,
of Theodore de Bry, and of James de
Gbein.
The 18th ſhould comprehend the Works
of John, Raphael, Juſtus, and Gilles sa-
dalaer, and alſo thoſe of Martin de Vos.
The 19th ſhould be ſtill a Suite for Ger-
many and the Low-Countries, and contain
ſome Pieces of Anthony and Jerom Wierx,
of
1
a fine COLLECTION of Prints. 129
.
of Lucas Volterman, Valdor, John Saenre-
dam, of John and Herman Mulber, James...
Matban, Simon Phrygius, Bartholomew Do-
lende, of Mirevelt, and the Bollwert's, of
Michael Sizyders, Baptift Urintz, Hans Bol,
Peter and Gerard de Sode, of Afuerus Lon-
derſeel, and of Adrian Collaert.
The 20th ſhould be another Suite of
Maſters that flouriſhed in Germany and the
Low-Countries, in the Beginning of the
17th Century ; viz. of Joseph Heinte,,
John of Vingth, John Abbach, John Rottens
bamer, of M. Kager, Peter Candide, and
Dominick Cuftos, of Chriſtopher Schuvartsin,
John Speccard, and Gerard Seghers, of Barry
tbolomew Sprang bers, Abraban Bloemaerk,
Anthony Van Dyck, of Abrabam Browers
Gerard Honthorſt, James Jordaens, and of
Robert Prince Palatine.
The 2ift ſhould be the Works of Sir
Peter Paul Rubens, a famous Painter of the
Low-Countries.
I would fill the 22d with the Repreſen-
tations of Night, and other dark, gloomy
Pieces of various Maſters of all Nations;
as of L. Gouth, 4. Velde, Wittembrouck...
Rembrant, Vanvliet, and others.
The 23d should be a Collection of din
vers Landſkips, done by Maſters of differ
rent Nations, that is to ſay, of Paul and
Mattbew Bril, pf the Sadalaers, Peter Sie
phano,
G5
2
13
An IDEA of
phano, Cornelius Corneli, Roeland Savery, of".
Monperche, Claude ofi Lorrain, of Fouquieresz
Perelles, of Frederick Scalberge, Som, and
the Nains, and ſeveral others ;. to which
may be added: the pieces of Ruins, of
Henry of Cleves, Michael Colyns, and New
land; with ſome Sea-Pieces, and maritime
Proſpects.
The 24th ſhould be ſtill another Suite of
different Landfkips, viz. by Peter and
John Brueghel Londer feel, J. Velda, Tobit.
Verdach, Vandeboons, Merian, and others.
The 25th, in order to ſee the Re-eſta-
bliſhment of the Arts of Sculpture and En
graving, ſhould contain fome Pieces of the
firſt Painters and Engravers, as of Anthony
Pollarolo, Andrew and Benedict Mantegna,
of Dominick Campagnola, John of Breſcia,
and James of Verona ;: as alſo of ſeveral
ancient Engravers, whoſe Pieces are only
known by their Marks; as the Maſters of
the Name of Jeſus, Mercury, the Crab-
Fiſh, the Bird, the Star, and ſeveral
others; to which I would alſo add,
fome Pieces of the firft lialian Painters;
as of Giotto, Ghirlandaio, of Hercules of
Ferrara, of Peter. of Perugia, the Maſter
of Raphael, and of Giorgione, the Maſter
of Titian.
1. The 26th ſhould be a Suite of the Italiap
Maſters, containing only for
fome of the
Works
KL
a-fine COLLECTION of PRINTS. T3'r
.
Works of Raphael of Urbin; and thoſe
engraven only by Mark Antonio, and Au-
guſtin of Venice.
The 27th, a Suite of the Works of
Raphael, engraved by the ancient Maſters,
from 1'530, to 1560 ; that is to ſay, by
Julius Bonaſſone, Sylveſter and Mark of Ra.
venna, Beaitrix of Lorrain, and others.
The 28th ſhould contain ſome Pieces of
Michael Angelo.
The 29th ſhould be another Suite of the
Works of the Italian Maſters, containing
fome Pieces of Anthony of Corregios Francis
Matzuolo, firnamed Parmigiano, and Por
Lydore of Caravagio.
The 30th, the Works of Titian.
The 31ſt ſhould contain the Works of
Julio Romano, the Caracci, and Perin del
Vaga, engraved by John B. of Mantua,
and Diana, his Daughter, as alſo by Tbeo-
dore Ghiſis and George Juliús of Mantua;
The 32d ſhould be compoſed of the
Works of the Painters and Sculptors,
that were Contemporaries of Rapbael and
Michael Angelo, to the End of the 16th
Century, viz. of Baccio Bandinello, the
Salviati, of Balthazar Peruzzi, Dominica
Beccafumi, of Sodam of Sienna, Pordenone,
Marcellus Venuſto, and Baptift, a Monk of
the Order of Camaldoli.
G 6.
'The
I za
An IDEA of
-
The 33d ſhould contain fome Pieces of
Thaddeus and Frederick Zucchero, of Da-
niel of Volaterra, Mark of Sienna, and
Boptiſt Del Moro.
The 34th, fome Pieces of Paul of Ve-
rona, Paul Farinate, the Baſſans, of Tinto-
ret, Baptiſt Franco, of Mutiano, and the
elder and younger Palma.
The 35th, ſome Pieces of thoſe, who
flouriſhed between the Year 1550, and the
End of the 16th Century, viz. of Æneas
Vico, Martin Rota, and Reverdino, of Ca.
millo Proccacini, Baptiſt Fontana, of Cor-
melius Cort, Palfaro, and Sebaſtion of Ve-
nice.
The 36th, a Suite of the Works of the
Italian Engravers, who Aouriſhed towards
the latter End of the Sixteenth, and the
Beginning of the Seventeenth Century:
that is to ſay, of Cherubino Alberto, Villa-
mena, of Raphael Schiaminoſa, and the To.
maſini.
The 37th ſhould contain the Pieces of
Françis Vanius, Ventura, Salembeni, of Cir
voli, Michael Angelo, Caravagio, and the
three Caracci.
The 38th ſhould be a Suite of the Work's
of the Italian Painters of the ſeventeenth
Centuiy, viz. of the Capuchin Friars, Pi-
azzo, and Cofmo of Caftel Franco, of Hip-
politus, Scarzelin, of. Schiavone, Cangiage,
Borgian,
$
a fine COLLECTION of Prints. 133
Borgian, Charles of Venice, Paſqualin of
Verona, Alexander Caſolani, Bernard Caftel-
lo, Vefpafian Strada, Anaftafius Fontebuonly
Francis of Viterbo, Luke Ciamberlani, Ana
drew of Ancona, of Antbony Pomerange, of
Matthetv and Frederick Greuter, of Philip
of Naples,, and Stephen della Bella.
The 39th, a Suite alſo of the Works of
the Painters and Sculptors, that flouriſhed
in Italy, during the ſeventeenth Century;
that is to ſay, of Cavalier Joſepino, Guer-
cino, Cirano, Francis the Fleming, and
Marcel of Provence, the Reſtorer of Mo-
Jaick Painting, of Gentilèque, Valentin, Ed-
ward Fialetti, of Peter Beretino of Cortona,
Dominichino, and Guido Reni.
The 40th ſhould be to ſhew the Re-efta-
bliſhment of Painting in France, and con-
tain fome Pieces of René, King of
Sicily, of Leonard da Vinci, Andrew del
Sario, and Rolo.
The 41ſt ſhould be a Suite of fome of
Primaticcio's Works, engraved by Leo of
Aveſnes, and Anthony Jantus, his Engra-
vers; as alſo ſome Pieces of Jeffery of
Moutiers, Leonard of Limoges, Stepben of
Loſpe, René Boivin,”: Luke Penis, Dominick
of Florence, and Leonard Tbury.,
The 42d may be filled with the Works
of John Goulin, John Genet, of Swiſs, of
Little Bernard, Peter of La Tour, Laurence
the
AN IDEA Of
the Glazier, Juſtus of Egmont, and of reum
veral others, engraved in France, ſince the
Commencement of the fixteenth Century.
The 43d ſhould contain ſome Pieces of
thoſe Maſters, who flouriſhed at the latter
End of the ſixteenth Century, and during
the Reign of Henry the IV. and Mary of
Medicis, viz. of Freminet du Breuil, Bur-
met, Caron, du Bois, Lallemand, Thomas de
Leu, Leonard Gualtier, and others.
The 44th, the Works of thoſe Maſters,
who flouriſhed about the Middle of the
ſeventeenth Century, that is to ſay, of
James Blanchard, de Rabel, Ferdinand,
Haias Fournier, Jobn Lis, Faber and Mat.
Lerac, of Ruelle, Bellange, and James Calloh
The 45th ſhould alſo be compoſed of
the Works of James L'homme, of Little
Francis, Vanmol, Mellin, Queſnel, St. Igny:
Fofelin, Rouſſellet, and Peter Brebiette.
The 46th may be filled with the Works
of the beſt French Engravers, viz. of Clay-
dius Mellan, Gregory Huret, Peter Daret,
Gilles Roufellet, Michael Lafne, and many
others.
The 4th, with the Works of the moſt
eminent French Painters, that is to ſay, of
Simon Voüet, Nicholas Poufin, James Stella,
Champagne, Bourdon, de la Hire, Vignon,
Loir, Charles le Brun, and Peter Mignard,
engraved by the beft Maſters.
..:
The
a fine COLLECTION OF PRINTS. 135
The 48th,.. I would fill with the fineſti
Pieces of the moſt celebrated Engravers of
the ſeventeenth Century.
-: The 49th, 50th, &c. may contain a
Collection of Pieces of different Maſters of
all Nations, who have either been omitted
or forgotten in the preceding Volumes,
or have flouriſhed ſince the End of the
feventeenth Century; as well as of others
now living, whoſe Names I ſhall not ſpecify,
having an equal Veneration for them all.
The Subjects of Morality will alſo form
feveral Volumes, viz.
The iſt may contain ſome Emblems of
the Chriſtian Worſhip:
The ad may be the Repreſentations of
the Virtues and the Vices, with their Sym-
bols.
The 3d may contain a Collection of
different Emblems, Fables and Enigmas.
The 4th, a Collection of the Devices of
Popes, Kings, Prelates, Princes, Noble-
men, and others.
And laſtly, the 5th may be compoſed
of a Collection of Hiſtorical Emblems, De-
vices and Enigmas,, relating to Love and
Death.
-
The Mixed Subjects will alſo compoſe
fome Volumes, viz.
The
136
An Idea of, &c.
ܕܽ
The firſt may be a Collection of the re-
markable Women, mentioned in the old
and New Teſtaments.
The ad of Holy Virgins, Martyrs, Fe-
male Saints, beatified Nuns, &c.
The 3d and 4th may alſo be Collections
of Chriſtian Empreſſes, Queens, and illuſ-
trious Women of different Nations.
The 5th may be the Repreſentations of
Roman Ladies, taken from the antique
Statues, Buſtos, Bas-Reliefs, &c.
The 6th may contain a Collection of the
Goddeſſes of the ancient Pagans; with
ſome illuſtrious Ægyptian, Grecian, sfatick, .
Perſian, and Mabometan Ladies.
The 7th may be filled with the Portraits
of Women, both ancient and modern,
who were either imperfect, mad, or Proſti-
1
tutes.
The 8th may comprehend a Collection
of all Sorts of Hunting, Fishing, and Fow-
ling Pieces; to which may be added, a
Collection of all the Animals that are treat-
ed of in the aforeſaid Pieces.
And laſtly, the ninth may be filled
with a Number cf all Sórts of humorous
land groteſquę Pieces ; to which may be
added, a Collection of all Sorts of Maſque-
rades.
REPER-
1
1
( 137 )
REPERTORIUM
Sculptile-Typicum:
+
OR, A
Complete Collection and Explanation
Of the SEVERAL
Marks and Cyphers
1
OF
ENGRAVERS, &c.
*****
************
1.
HANS Schauflig, that
is, John Schauflig of Nordlingen in Germany.
We find this Mark in a Folio Book, in
which the Paffion, Reſurrection, and Al-
cenſion
2
238 MARK'S and CYPHER'S
çenſion of our Lord are engraved, with
Notes by Ulderic Pinder, printed, at- Norim-
berg in 1507. He engraved in the Manner
of Albert Durer.
2.
M
Stoltzius, he engraved in the
Gothick Tafte.
3.
Michael Coxis, his Mark of
certain Arabian Stories in 6% Plates, dated
different Yeais, one is in 1576.
4. noe8 Noel Garnire, Engřaver of
Groteſques, Ornaments, and Figures, parti.
'culary of Arts in 4& Pieces.
DO
5. ČAP Domenico Campagnola, a Vente
tian, and Scholar to Titian; we meet with
ſome of his Pieces engraved in 1518. His
Brother Julio was alſo an Engraver.
6. Michael
of ENGRAVERS, &c.
1.39
6.M
Michael le Blon, of Frankfort,
died in Amſterdam, Anno 1650.
.
7. B
Renè Boivin, engraved ſeveral
Places of artient Foliages.
8. IBM
1
Jabn Maria da Breſcia; a
Carmelite Friar, in 1502 he engraved .a
Virgin fitting in the Clouds, and under-
neath, three Saints of the Order of the Car-
melites. : He had a: Brother called John
Anthony da. Breſcia, who marked his Places,
with the Letters JO. AN. BX. 5538.
3
1
9
Micarino, an Engraver in the
"Gothick Manner,
10.
Matthew Zagel, engraved
ſeveral Ornaments, and Groteſque Pieces,
per lo traverſo, or with Croſs Strokes ; he
lived in 1500.
11. Gaſpar
140
MARKS and CYPHERS
II. R
or
Gafper Reverding
or Ravenſtein ; his · Pieces are laſcivious,
and two of them reprefent Curtezans ſport-
ing together.
+
12.
T
Dirich-Vander. Starent,
lived in 1500. He marked his Plates with
the Month and Year in which they were
engraved; as in that of the Flood, and
another where the Virgin is aloft, and St.
Bernard at her Feet; 'marked 3d Oa.
1524, and the other marked Anno 1544
He likewife uſed the Letter D in which was
a V. .
1
13.HERM
Hieronymus Ma-
cetus, 'he publiſhed the Refurrection of our
Saviour, and feveral Battles.
14:
Anthony Vuormace, a. Painter
of Cologn, lived Anno 1529. He engraved
the Twelve Apoſtles, in a ftanding Pof-
ture.
+
15. Vuger
1
of ENGRAVER 8, &c. 41
1
IAH
Vuaer Van Hoſſanen,
engraved 12 Round Plates of the Pallion,
and underneath various Symbols of our
Saviour. He likewiſe engraved the Life
of Chriſt in 60 Plates.
16. RT
Philip Adler Paticina
with this Mark marked on S. Chriofaſtnus.
0
Cornelius Sichen,
uſed thefe two Marks in 108 Plates of the
Old Teſtament, 1569.
18.M
An unknown Mark on ſe-
veral Groteſque Pieces. This Mark differs
very little from Number 55, which is alſo
unknown.
19. Vor N Virgilio Sole engra-
or
ved a great many Pieces in Copper and
Wood, in Hiſsin's Tafte. He engraved
the Old and New Teſtaments in 200 Plates ;
the Metamorphoſes of Ovid in 170 ſmall
Plates;
142
MARKS and CYPHER'S
Plates; Hunting-Pieces in great and fmall,
Esc. He fometimes made the Letter Von
one side of the Plate, and S on the other...
See Number 61.
20.
A. D. Bruin, in 1560.
He engraved Six of the Twelve Cæſarsy
and various Ovals in 1579
.
1
21.7899
Lambreckt Hopfer, a Ger-
man, engraved all kinds of Subjects : Some-
times his Mark is a Vaſe of Flowers in the
midſt of the Letters LH, or the perpendi-
cular Stroke of the L in the fecond Stroke
of the H. . He engraved 27 Pieces on the
Paſſion,
22. & AAT Adrian Collaert
Adrian Collaert,
he uſed various Marks, either in the Old
Teſtament, in Ornaments, in Freezes,
Stories, Groteſque Subjects, or Deaths
which are dragging away ſeveral Perſons.
/
23. Cormet
of ENGRAVERS, &c.
143
1
23.
Cormet made this Mark
in Small Subjects of two Figures each,
both Lame, and a Charity with her three
Children
24. NE
· Martin Hemkirk, his Mark
in various Ornaments, in one of which are
feveral Moles or Wants, 1548,
ļ
25. VA
Theſe two Marks are in
various Figures between Niches and Archi-
tecture of Chappels.
26.&
Luke Van Cranogio, or Luke .
Van Craen, Painter to the Duke of Savoy.
His Mark is ſometimes LC, with a winged
Dragon, and the Year 1509. At other
times his Mark is two little Gothick Shields,
or with the Mark in Number 35, or
L. V. C. He engraved in Wood and
Copper.
.
27. A
144
MARKS and CYPHER'S
7.NUM A Mark placed ore
A Mark pláčed over
feveral Ornaments of Gothick Architeéiure.
$
1
28. ABor BorNB
1
or
Nicholas de Bruyn, he uſed three Marks,
in different Times.
:
29. De
Cuerenbert, his Mark in fe-
veral Turkiſh Stories, and various Subjects
invented by Martin Hemkirk.
1
.
30. TT
Albert Durer, of Norimberg,
Painter and Engraver, his Mark : He alſo
uſed the Mark A. F. but in very few
Plates.. John' Burckmayr Auguftano made
uſe of the former Mark and Matthew
Grunevald, of Aſchaffemburgh, who was
Contemporary with Durer; as alſo Mark
Antonio Raimondi, in the Life of Chriſt,
copied from that of Albert Durer, for which
the latter accuſed him before the Senate
of Venice.
31. Hifbel
of ENGRAVERS, &C. 145
>
31. ISB
Hisbel Peun, an Engraver
of Norimberg, called Hisbin : He uſed this
Mark from 1513 to 1549. Hans (or
John) Sebald Bebam alſo uſed the ſame
Mark in his Plates. Some are of Opinion,
that the Mark at Number 141 is Hisbin's
Mark. Others, that there were two En-
gravers, of the fame Name, and that their
Marks differ'd by changing B in P.
See
in the Abcedario Pittorico for Hans Sebald,
Page 220.
32. TGT
Albert Aldegraft, of Weſt-
phalia, a famous Engraver.
33. GB
Hans Breſanck, engraved the
Stories of the New Teſtament, and in
1619, the Twelve Apoſtles, our Saviour,
and St. Paul.
.
34 Port 1.utas Van Leydim, a
0 Lucas Van Leydin, a
celebrated Painter and Engraver, ułed theſe
two Marks; in ſome of his Plates we fee
Part of the Mark at Number 133.
HI
35. Hans
146
MARKI and CYPHERS
35. ISK
Hans Kaldung's Mark,
which alſo was uſed by Luke Van Cranogia,
but for what Reaſon is not known. See
Number 26.
36.HB
Hans Baldunt, or Balduiving
in a Plate repreſenting Horſes, engraved in
1534. The ſame Mark was uſed by Hans
Broſamer, in his Plates of Curtius riding in-
to the Gulph, in his Laocoon, and Solomon
worſhiping the Idol.
Horatio Borgiano
likewife made uſe of the ſame Mark in
his Plates, and ſometimes made an Hand
a B.
37. MB
Hot Ammon, made much
ſuch a Mark.
I
38.com
Cornelius Heviffen.
59. Martin
1
1
of ENGRAVERS, &C.
147
39.
e-Mas Marin de Secu, of
I Martin de Secu, of
Romerfiolaen; he alſo marked his Plates
thus, M.-S.
40. P
Periecouter, his Mark in ſeve-
ral Figures in a ſtanding Poiture, engraved
1
in 1535
41. DIF Daniel Mignot fecir
|
42. M
Peter Mercand.
or
Peter Quaſt, has
two Marks, making a P and Q. At other
Times his Mark was P. Quaft, as in cer-
tain Groteſque Pieces.
44. &
George Pens, Painter and En-
graver of Norimberg, together with Mark
Antonio Raimondi, engraved the Works of
Raphael in Rome. He engraved after Alde-
graft's Manner, his Mark was ſometimes
1
G. P. 1554
H2
45. The
148
MARKS and CYPHERS
45.
The Mark on a Dead
Chriſt, under which is written Jean Lades-
peldrickt invenit. The fame Mark is found
on other Pieces.
46.
☆
Peter Cottart, an Engraver
of Vafes.
i
47. Alor
All Amare part
Andrew An-
dreani of Mantua, he made uſe of thefe
two Marks. He engraved on Wood, a
tre tagli, or three Croſſings in his Shades.
The ſecond Mark is found in the Triumph
of Julius Cæſar in to Sheets, engraved in
1599, and was invented by Andrew Man-
tegna, who alſo engraved on Copper. An-
drew Andreani was called il Piccolo Alberto,
or Little Albert.
48
CB
Cornelius Bus, or Boſs.
49. The
}
of ENGRAVERS, & ci
149
49.1
The Mark of certain
Prints of Satyrs, and naked. Figures under
Trees.
50. NW
-
A Mark under cer-
tain Pieces of Foliages and others, in the
Arabic Taſte, 1535.
51. DW
A Mark under 2
Chriſt ſupported by two Angels, 1555.
52.
A Mark under certain Ana-
romical Figures.
53.
Peter Voeriot of Lorrain,
Engraver of Portraits.
54. Mor K Bes, or Beſibe, ure
or
Boſs, or Boſche, ured
theſe two Marks, different from Cornelius
Boſs.
H 3
55. A
150
MARK $ and CYPHERS
55. Mi
A Mark on the Twelve
Apoftles in a ſtanding Poſture, in large
Sheets. This Mark differs but very little
from Number 18.
56. FUS
A Gothick Mark un-
der Lazarus riſing from the Dead.
57. TPI dçorino Parifino, ufed this
P Agoſtino Pariſino, uſed this
Mark. He engraved the 81 Images de-
ſigned by Florio Macchi, which are found
in a Book, intitled, The Emblems of Paul
Macchi.
58. ISL
Hans Lutenfach, who in
1560 engraved in a Book for the Nuptials
of the Emperor Ferdinand, Tilts, Tourna-
ments, and Rejoicings, in Callot's Manner.
59.
.
A Mark under ſeveral
Landſkips, in one of which is a Man on
Horſeback killing a Dragon ; 'tis alſo
found under fome little Pieces in which
Chriſt's
of ENGRAVERS, &a..
151
Chriſt's Paſſion is engraved. See Num-
ber 154
60.
T
Fobin Schorels Mark under
the Twelve different Labours of Hercules.
61
Virgilio Sole, of Brusſels, un-
der a dead Chriſt, engraved on a large
Plate in 1542. See Number 19..
62. W
The Mark found in an Old.
Teſtament in 50 Sheets, ſome of which are
marked S. F. 'Tis likewiſe found in 105
Plates of the Roman Wars, and in 129 01
different Subjects, with Latin Characters
at Top and Bottom. This Artiſt likewiſe
uſed the Mark I. A.
A Gothick Mark.
63. ISA
64.A
The Mark on a Print re-
preſenting a Satyr piercing a Prieſteſs of
Bacchus with an Arrow.
65. Theodore
H4
152
MARKS and CYPHERS
65. K tbeodore Zagbel, his Mark
Theodore Zaghel, his Mark
in a Woman with her Back towards you.
1
: 66.A
A Mark in an Adam and
Eve.
67.DE
A Mark in a Peaſant, who
endeavours to break a Bough from a Tree.
68. WE
A Mark under the Four
Evangeliſts.
69. AL Reni, óp Renato Locbon,
Renè
under ſeveral Portraits and Works of Poli-
dore, 1651.
70. C Levierd Gauiter
Leonard Gauliier.
!
71. Peter
of ENGRAVERS, &c.
153
Peter Lombardi, he engraved
the Works of Monſieur Sampagna.
71.P
72. A
John Covay, engraved the Works
of Mr. Vovėt, and others.
73.
Francis Cauveau, engraved a
great many Plates.
74.D
Peter Daret, engraved various
Subjects and Portraits.
1
Ý
75. M.
Michal l’Ajne, engraved:
the Rudiments of Deſigning, and other
Plates,
76. F
Francis Pericr, Painter and En-
graver, publiſhed ſeveral Roman Antiquities-
1635, as in the Index of Rofi's Plates.
77. IF
77. AT A Mark in certain Gothick
Pieces dated 1545.
H 5
78,
1154
MARKS and CYPHERS
79. DE
78. R
8064
A
31.com
82. BIR
83.
+
7. F. Zabello, a famous De
figner of Bergamo, 1546.
84.
85. WD
86.18
87.
th
88.
I The Marks, or Characters,
from Number 78 to 88, are found in cer-
tain Gothick Plates.
平
​- 89. Jacinte
1
1
1
of ENGRAVERS, &C.
155
89. &
Jacinto Giminiani, of Piftoją,
Scholar to Peter da Certamata
90. MT
The Mark of a certain Mer»
chant, who bought a great Number of
Copper Plateş, under which he ſometimes
put the Letters A. S. excudit. Anthony
Salamanca likewiſe made uſe of the ſame
Mark.
91. MXÆ Theſe two
&
Theſe two
Marks are in Twelvę Pieces copied from
the Paintings in the Chappel af Fontainbleau ;
on one side is the firſt Mark, ſignifying S.
Martin of Bologna, who was Franceſco Prin
maticcio, called Abbot of S. Martin's; on
the other is the ſecond Mark, which ſtands
for Anthony Guernier the Engraver. The
Reader will hereafter meet with the other
Marks ufed by Abbør Primaticcio.
1
92. IST
Adamo, a Sculptor of Man-
tua, engraved the Angles of Michael An-
gelo Buonaroti, in ſeveral Places, and worked
for other Maſters.
H6
93. Theſe
'
156
1
MARKS, and CYPHERS
93. GMornt. There
Theſe
two Marks were uſed by Giorgio Ghiſi, of
Mantua ; he ſometimes put Ghiy-Mantovan
fecit.
94. 3
Stephen Colbenſtagh So: Romæ ;
he engraved the Paintings of Domenichino.
05:61
Gio. Benedetto Caſtiglioni, of
Genoa, a famous Painter and Engraver of
all Subjects.
>
96. PorP Peter Teßa, of
on
,
Lucca, a Painter and copious Engraver,
uſed theſe two Marks. He was Scholar to
Peter da Cortona.
97.
The Mark of a Nativity, co-
pied from Parmigiano, engraved by Luke
Kilian.
;
:
1
1
1
98. Maria
II Or
Andrew
Mantegna, of Mantua, or Padua, Painter
and
of ENGRAVERS, &c.
157
and Engraver, his Marks : The ſecond
Mark is found in the 10 Plates of the Tri-
umph of Julius Cæfar, engraved by himſelf,
and afterwards cut in Wood in 1599, by
Andrere. Andreani of Mantua, as we ob-
ſerved in Number 47.
More
99
or
Mark Anton
nio Raimondis of Bologna, called of France,
Raphael Urbin's Engraver, his Marks ;
which Pieces he marked with the Letters
R. S. M. F. intimating by the two firſt
Letters, Raphael Sancio, by the two laſt
Marco Francia, or Marco fecit. He likes
wife employed other Marks, į. e. B. S.
fignifying. Bononienſis Sculptor. In his
Plates copied from Buonaroti he put MI.
AG. FLO, 1. e. Michael Angelus Florenti-
nus':; and afterwards for his own Mark hè
employed that' of Mantegna, expreſſed in
Number 98, which in like manner may
alſo ſignify Marcus Antonius fecit. In the
Life of Chriſt engraved by him, and co-
pied from the Plates of Albert Durer, of
Venice, he marked the Leaves with Albert
Durer's Mark.
1
$
100. Che-
158
MARKS and CYPHERS
Borda
I OO
ir r
Chere-
bino Alberli Borghegiano, that is, da Borge
S. Sepolcro, uſed theſe two Marks. He en-
graved the Works of Raphael Michael
Angelo, Polidore, and others.
101. $ Silveſtro da Ravenna,
Mark Antonio's Scholar and Imitator, from
1535 to 1560. He employed himſelf
wholly in engraving the pieces of Raphael
and Julio Romano.
I 02.
The firſt of
thefe Marks is of Bernardo Caſtelli, a Ge-
noefe Painter and Inventor. The ſecond of
Camilto Çoxgio, an Engraver, whoſe Mark
Waş alfo Ç. C. fecit.
1
103. V Leviç Palafio, ef Belag-
na, Painter and Engraver ; his Mark was
alſo VAL.
104. Raphael
of ENGRAVERS, &c.
159
S
IOẠRA
UL
Painter and Engraver.
Raphael Scaminoſi,
105. FF. Odoardo Fialeti fecit
.
1
He was a Painter and Engraver of Bologna.
106. Jorik Two diferent
Two different
Marks uſed by Salvater Roſa, a Neapolitan
Painter and Engraver.
107
A Mark under a St.
Şebaſtian engraved by Michael of Lucca,
after the Manner of Michelagnolefoo, 1550 ;
and we find the fame Mark in a Madona of
Raphael, and after it, ERRY, ex4.
108.& Bernard Paffero, an Engra:
.
ver of all Subjects.
1
109. Martin
160
MARKS and CYPHERS
109. MR Martin Rota Sabinense,
Martin. Rota Şabinenſe,
ſometimes marked with theſe Words, sa-
benzanus fecit.
1
IIO.
Luca Penni Romano, or
Luca P. R. was Raphael Urbin's Scholar,
and Brother to Fattorino ; he invented very
beautiful Subjects, which were engraved by
Giorgio Ghiſi of Mantua in 1556.
1. ICH
III.
I Henry Goltzius : This ce-
lebrated Dutch Engraver imitated the Man-
ner of ſeveral Maſters who lived before
him. He engraved Rephaels Paintings,
and thoſe of other Maſters.
E James Grand Homme, engra
II 2.
James Grand' Homme, engra-
ved the Portraits of the Herefiarchs, and
others after Rembrandt's Manner ; at other
times he marked thus, 7. G. Van Uliet.
II
Cornelius Berghem, or Ber-
chen, is ſomething like the Mark 102.
114. The
of ENGRAVERS, &c.
161
1
II
The Mark of Albert Fla-
men in certain Plates of Birds, Beaſts, and
Fiſhes.: Alexander Badiali, a Painter and
Engraver of Bologna ; and Anthony Boſs, a
Native of France, likewiſe uſed this Mark.
115. Por
Two Marks of
Peter Vander Nelpe, an Engraver of all Sub-
jects.
116. M
Theodore Van Tulden,
likewiſe an Engraver of all kinds of Sub-
jects.
117. A Francis Villamena, of Aſ-
sif, an excellent and expeditious Engraver.
He likewiſe uſed the following Letters,
F: V. F. or F. Villam. F.
118. PB
David Van Boons, Inv.
and after this, Mark we read Oons ; his
Plates were engraved by P. Servator Sc.
119. 1 G.
162. MARKS and CYPHERE
119. 3
I G. Bronchorſt, in certain
Landfkips, in which we likewiſe find the
Letters. C. P. 2. 2. Cornelius Polemburgh
piuxit.
1
I 20.
or
Luke
Voſterman, Painter and Engraver of Ant-
werp, was adviſed by Peter Paul Rubens
to apply himſelf to engraving; he engra-
ved the Works of the ſaid Rubens, as allo
thoſe of Raphael, and Vandyck.
IT
The Marks of
Hans Saenredam, a Dutchman: He died in
1607.
I 2.22.
James de Gheir excudit, at
Charles Mander's 1608.
123. At The Mark of Adam
The Mark of Adam
Ælheimer, who worked with Peter Breug-
bel.
124. The
1
r
1
of ENGRAVERS, &C.
163
1 24.7
The Mark in eertain
Landſkips of Henry Cliven or de Clef. Mar-
tin de Clef alſo made uſe of this Mark.
125.28 This Mark is of Sebeld
i
This Mark is of Schelde
a Bolſwaert, and was uſed by him when
he had not a mind to ſubſcribe his own
Name.
126. RJ
Rembrandt, at other times
he ufed to put Van Rhin inv. He was a
Painter and Engraver.
.
A
127.
Near this Mark we read
Olyn. and theſe are. Landſkips engraved by
J. Van-Velde.
128. AN
A Mark in certain
Landſkips and Solitudes, fignifying An-
thony Van Vuaterl Inventor ; 'tis fome-
times joined with the firſt of the three
Marks that follow next, i. e. H. S. P.
made in one.
129: Joſepla
164 MARKS and CYPHER'S
IN
AP 07*
Joſeph Ribera, called Spagnoletto, uſed
theſe three Marks at different Times.
130. (B) The Mark of a Virgin en-
graved by Cornelius Boſs, and underneath
Michael Ange : inv. that is Buonaroti. See :
Numbers 48 and 54.
1
131. AR
The Mark of a Virgin
Sitting, after the Manner of Durer, and
underneath 1510.
132. S
This Mark is under a ſmall
Virgin ſtanding on a Half-Moon.
133. VIXH A Mark un
A Mark un-
der a S. Veronica, holding the Holy Hand-
kerchief. The former Part of this Mark is
feen in ſome Plates of Lucas Van Leyden.
134.
MO Mawo Oddi, of
Mauro Oddi, of
Parma, Engraver and Painter.
135. Agoſtino,
1
of ENGRAVERS, &c.
165
135.X
Agoſtino, a Venetian, Scho-
lar to Mark Antonio Raimondi, engraved at
Rome, the Paintings of Raphael, Julio Ro-
mano, and others. He alſo marked with
the Letters A. V. I. or A. V. 1525.
136. Sbor $D Siepben Della
|
Stephen
Bella, of Florence, a famous and whimſical
Engraver. His other Mark is S. B.
r
Julio Ceſare Venenti, an
Engraver of Bologna. .
137. GO
138. M
Joſeph Mario Metelli,
of Bologna, a famous and fantaſtical En-
graver of all kinds of Subjects.
Andrea Salmincio, of Bo-
logna, an Engraver, and Valeſio's Scholar.
139.
:
140. De-
166
MARKS and CYPHERS
!
140. B
Domenico Beccafumi Sienneſe,
a Painter and Engraver:'We alſo find this
Mark in certain Wooden Cuts, copied from
Titian's Paintings. He died in 1549.
See Number 31, where
we find pretty near the ſame Mark.
141. ISP
Francis de Poilly, engra-
ved for ſeveral Maſters.
142.CF
143. Ats
Anthony Salamanca, or
Ant. Sal. exc. 1543.
144. ICF
The Mark of Herrman
Coblent under the Four Evangeliſts and
other Plates ; one of David, of Yudith, and
Lucretia ; and afterwards Adrianus Huber-
tus exc. 1576.
145.BE
Raphael Urbin, a cele-
brared Painter and Inventor, whoſe Pieces
were
+
of ENGRAVERE, &c. 167
were engraved by the greateſt Mafters. In
the preſent Mark he gives the Initials of
his Name and Sirname. See Number
99.
-
146. TCT Hans Liefrinck, who thus
marked certain Plates repreſenting Birds
and Hunting-Pieces, with Ornaments.
147.B.
Domenico Barrier ch of
Florense, who going commonly by the
Name of Domenico Fiorentino, marked fome
Plates D. F. 1647. The fame Mark was
uſed by Domenico Bonavera, an Engraver of
Bologna, and Domenico Bettini a Painter,
in his Pieces of Flowers and Animals.
148. Ansbong Tempera, of Flo-
Antibony Tempeſta, of Flo-
rence, a famous Engraver : His Mark was
ſometimes a T. with an E. joined to the
Leg of the T.
149. IN
Nicolas Beatrici Latha-
ringius fecit.
150. Theo
1:
168
MARKS and CYPHERS
150.
Theodore Cruger, or Greuger,
Engraver.
151. A
Andreas Vande-Venne pin-
xit. V V. Delft. Sc. that is, Willielmus
Delft Sculpſit.
;
152. Henry Van Cliven, or Cli-
Henry Van Cliven, or Cli-
venſe, or de Clef, a Painter of Antwerp,
who died in 1589. See Number 124;
1
153. LA
Matthew Grunewald, ſir-
named of Aſchaffemburg, Painter and En-
graver after the Manner of Albert Durer ;
he died in 1510.
154. TT
The Mark of feveral
little Plates, repreſenting our Saviour's
Myſteries, engraved either by Agnes Treij,
Albert Durer's Wife, or fome Scholar of
his.
155. Gio.
.
of ENGRAVERS, &c
169
155. Gi Gio. or (John) Batifa Gal-
leftrucci, of Florence, Engraver, inſerted in
the Catalogue of Roman Painters, in the
Year 1652. He engraved ſeveral of the
Baffo-Relievos of Polydore.
1
156. RF Guido Ruggeri fecit
Guido Ruggeri fecit.
The Mark of ſeveral Pieces painted at Fon-
tainebleau by Abbot Primaticcio, and en-
graved by the above-mentioned, who ac-
companied him into France.
11
157. V
$
The Mark of Juſtus Scl-
dalaer. He ſometimes uſed only this Mark ;
at other times he added, Sadalaer. 1, S.
exc. is the ſame.
158. A
Alexander Algardi, Sculp-
tor of Bologna, in a Concluſion engraved by
Francis de Poilly, 1653.
He at other
times made ufe of the fame Mark, but
without the G.
1
159. Francis
370
MARKS and CYPHER'S
159. AF
Francis Maria Fran-
sia, an Engraver of Bologna.
160. V Eneas Vigbi, or
Æneas Vighi, or
Vico, of Parma. His other Marks are Æ. .
E. V. Æ. V.
161.
X COUNT DE CAYLUS, of
Paris, his Mark, on his Engravings in
Wood, &c. from the Drawings of the
greateſt Maſters.
162.
The Mark of Crifpin Paf-
fæus, or Criſpin de Pas.
f
The Mark of Charles Al-
bertus, in a Book of Vaſes from Polydore.
163.
164. Ł
Caſpar Luyken.
165. George
of ENGRAVERS, &C.
171
16
;
165. A Gerge Kale
166. D David Teniers
167. FEJA
3. Epiſcopus, or Biſhop
fecit.
168. E
Francis Cauveau. See Num-
1
ber 73
Henry Hondius.
169. th
170: DVB
St. Martin di Bologna.
.S.
17: RA
The Mark of Raphael
Scbiaminofli de Burgo, on the Heads of our
Saviour, the Virgin Mary, and the Twelve
Apoſtles,
I 2
$172
MARKS and CYPHERS
Apoſtles, 'in 1606 and 1607, as big as the
Life. See Number 104.
z Dolendo.
172.5
173.AE
Anthony Tempeſtas
Marks in a Book intitled, in quatuor Evan-
geliftas Arabité & Latiné, printed at Romne.
See Number 148.
174. A
A. Genoels, on his Land-
ſkips.
A
175. Weeeevee Fecit, upor
ſeveral Prints from Rubens.
176. We
Wenceflaus Hollar Pra.
genfis excudit.
177.
On the Plates in a Book
in 1'2 mo, intitled, Liberatione di Vienna dall
Armi Ostomane, di Lotto Lotti. Parma
1685.
178.On
of ENGRAVER:S, &C.
173
/
1
178. &
On an Etching of our Sa-
viour fainting under the Croſs:
1
1
179. F
FE. Hen: Cock exc. 1570.
18o.
1536.
181. ABB
On the Senſos very
ſmall, 1569. See Number 20.
182. RB
:
On two Prints, the Wife
Men offering, and a Circụmciſion, after
the Manner of Lucas Van Leyden.
I
On the Plates of a Book
in Quarto, intitled, Medailles Antiques - de
Mr. Ant. de Pois. Quarto.
1.3
184. Claudio
374
MARKS and CYPHERS
M
184. SM Claudio Metelli
, on the 80
Claudio Metelli, on the 80
Plates of the Cries of Bologna, by Hanni-
bal Carracci.
185. PS
See Numbers 19 and 67.
186.
-
Q
Ifrael Martin, one of the
firſt Engravers. Albert Durer, Lucas Van
Leyden, and Aldegraft, were his Diſciples.
1
187. NA Nicolas Andrea.
188.
AB
Alexander Badiale, a Pann-
ter; the firſt of theſe Marks was uſed by
Anthony Boſs. P.
189. ICB Jacobus Bink, Painter and
Sculptor.
190. Peter
1
17.5
of ENGRAVER'S, &C.
190.
44
PB
Peter Brebiette, Painter.
1
191. C or CC inv.
Carlo
Gignani, Painter.
192. SC ,
Stephanus Colbenſtagh,
much like Number 1 25.
193. DI. ORE D. de Lermofix.
194.HH
Hermannus Henr. Quiter.
195.
Cornelius Viſcher.
14
196. Thomaus
1
176
MARKS and CYPHERS
1
196.
Thomaus Cookſon, an Engliſh
Engraver, uſed this Mark. Some of his
Works. bear date from 1609 to 1624.
197
Rpf
Two Marks made uſe of
by PRINCE RUPERT, the firſt to a Sa-
recen's Head, the latter to a Man with a
Sper, both in Mezzotinto ; to him we are
indebted for that delicate Art.
198. FEf
John Evelyn, Eſq;
his Mark to five ſmall Prints of his Journey
from Rome to Naples.
;
John Vanfomer's, which is
fonetiines miſtaken for Paul Vanſomer.
199. USA
1
TO
200. 15169
The Mark on Mi-
chael Angelo's laſt Judgment, of one Foot
hve Inches by one Foot ten Inches, Roma.
201. The
of ENGRAVERS, &C.
177
201.
The Mark of Bartholomew
Breenbergh, on Landſkips.
TB
202.
AE
A Mark on a
Head of Albert Durer.
}
N. B. Number 62 is alſo the Mark of:
Simon Frizius; and Number 128 is alſo that
of Antonius Waterlo.
$
i
1
I 5
The
( 179 )
สอย
ha
The Initial Letters uſed
by Engravers for their
Marks.
}
AB Theſe two Letters joined together, coith
an F iſſuing out from the B, is the Mark
of Alexander Badiale of Bologna, Paine-
ter and Engraver.
Ab. B1. Abraham Bloemaert, an inde-
inv.
A. BI.
}
fatigable Dutch Engraver.
A. Both, Andrew Both.
A. C. P.
A. C.
Are all Marks of Au.
Agos. C.
guſtino Carracci of Bo..
logna, a celebrated Paina
Ag. C.
ter and Engraver.
Ag. Bononiæ,
A. D. J. F. Anthony de Jacquart: Fecit.
He engraved ſeveral Pieces.
A. D. Bruin, ſee Number 20.
A. G. Albert Glockentonius, in the Twelve:
Plates repreſenting our Savicur's Paſion.
A. F. A Mark found in ſome Plates of Al-
bert Durer, See Number 30.
I 6
A.L.P.I.
1
7
180
The INITIAL LETTERS
A. L. P. I. Anthony Licinio Pordenone
inv. Edward Fialetti fc.
A. P. M. A. Abbas Primaciccius inv. Mark
Anthony exc. This Mark is found in a
· Plate repreſenting a Shepherd lying under a
Tree ; and another holding his Hand. on a
univerſal Planiſphere.
A. S. See Number 90.
7. V. See E. V. Signifying Eneas Vighi,
or Vico; and fee Number 160.-
AY; } Agoſtino the Venetian. See
A. V. I.
Number 135.
B. John. Sebald Beham. See Number 31.
Abbot Primaticcio, who in France was
celled of Bologna, uſed the Letter B for
his Mark. 'Twas alſo uſed by il Bonafoni,
and likewiſe by Domenico Beccafumi, in-
terſerling it with ä Line, as in Num-
ber 140.
BAL. SEN. Baldaffar Seneſe, i. e. Baldaf-
far Peruzzi of Sienna.
B. B. Bartholomew Boham of Norimberg;
he engraved in Rome, and in Bologna,
with Mark Antonio Raimondi. · Bar-
tholomew Biſcaino, a Genoeſe Painter,
alſo uſed theſe Letters in ſuch Plates as
were of his own Invention.
B. B. A. F. Baccio Bandinelli, a Floren-
tine Architect.
Belli fecit. James Belli. See J. B. F.
B. C.
uſed by ENGRAVERS: 181
B. C. Equ. Bartholomew Coriolanus, of
Bononia, Knight.
B. F. V. F. Baptiſt Francus Venetus fecit.
B. M. VVV. Bernardo Malpucci, of Man-
cua, Painter and Engraver ; be engraved
in Wood with three Tools ; with the firſt
be made the Profil, with the ſecond the
Shadows, and with the third the Lights.
Bol. Inventor. .}Julio Bonafoni, of Bo-
Bonafo (c. 1545.
logna. See J. B. F.
B. P. Bartholomew Pallarotti, of Bologna,
a Painter
B. S. Bartholomew Shenius, or Bononienſis
Sculptor.
B. Z. 1581. Bern. Zan.
1
This Artiſt engra-
C. B. Cornelius Boſs.
ved Julio Romano's Bacchanal. See
Number 130.
C. Bl. 1 Cornelius Bloemaert, Son of A-
Corn. Blo. braham the famous Dutchman.
C. Bleker. The Mark of Cornelius Bleker
in certain Hiſtorical Landſkips, 1636.
C. C. Fecit. Camillus Congius. See Num-
ber 102.
Charles Cignani, of Bologna,
Painter, Inv. He alſo uſed two C's, the one
within the other.
C. D. F. Charles David Fecit.
Cl. Mell. fc. Romæ. Claudius Mella-
nus. See M. inv.
C. L. fec. Caſpar Luyken fecit.
C. P.
182 The INITIAL LETTERS
C. P. Cornelius Polemburgh pinxit. John
Bronchorſt inc. See Number .119.
C. Schoenjus, Martin Schoenio, of Calem-
bach, Painter and Engraver, in the
Time of Albert Durer. He died in
1486. Some of the Curious think him to
be the ſame with Buonmartino. See Num-
ber 39.
D. Domenichino, of Bologna, a famous
Painter and Inventor.
D. B. Bernard Gallo, called the Short, en-
graved ſeveral Works, and among the reſt
Ovid's Metamorphoſes, and the Old and
New Testament printed at Lyons 1559.
D. F. Domenico of Florence. Scc Num-
ber 147
D. H. David Hopfer, Brother of Lambert,
noted down in Number 21, and of Je-
rome ; all three German Engravers.
D.M.C. Domenico Maria Canuti, a ca-
pious Painter of Bologna.
DO. CAP. 1518. Domenico Campagnola,
of Venice.
E.V. Eneas Vighi, co Vico, of Parma, engra-
ved the Works of Rolli, Titian, Buonaroti,
Julio Clovio, and of Baccio Bandinelli.
E. V. H. Eraiah Van Hulſen.
F. B.
1
uſed by ENGRAVER S. 183
F. B. Francis Briccio, of Bologna, Pain-
ter ; he engraved the pieces of Lewis Car-
racci,
F. B. B. Father Bonaventura Biſi, of Bo-
logna, called il Padre Pittorino, or the
Painting Fryar.
F. B. V. Ì. Frederic Barocci, of Urbino,
inv. He ſometimes, inſtead of the I, put F,
that is, Fecit.
Fr. Bol. Inv. Francis of Bologna Inventor,
that is, Abbot Primaticcio,
F. C. Franceſchino Carracci, of Bologna,
younger Brother to Auguſtin and Han-
nibal.
F. L. D. Ciatres exc. The Mark of a
Dealer in Prints.
F. P. Francis Primaticcio, or Franceſco
Parmegiano, who ſometimes put an F only,
in his Wooden Cuts engraved with three
Tools.
F. P. J. V. Bonafius. Theſe Letters are
found in a Madonna of Franceſco Pri-
maticcio, engraved by Julio Bonaſoni.
F. T. F. Flaminio Torre fecit. He was a
Painter and Engraver.
F. V. B.
Francis Vanni Fecit. Fran-
F. V.F. cis Villamena ufed this and
F. Villam, F. the following Mark. See
Number 117
G.A.
1
1
A
1
184 Tbe INITIAL LETTERS
G. A. The Heirs of John Agucchia.
G. F. Giorgio of Mantua Fecit. In a
Piece of Primaticcio's repreſenting Vul-
can's Forge. See Number 93.
G. M. F. Giorgio of Mantua, in other
Pieces of the abovementioned Primaticcio.
G. P. George Pens. See Number 44.
{Guido Reni, of Bologna, a ce-
G. R. F:S lebrated Painter, Fecit.
GR. B. C. F. Guido Reni, in the Over,
throw of the Giants, engraved by Bartho-
lomew Coriolano.
G. S. F. Gio. or (John) Sirani Fecit.
Guil. Baur 1640, William Baur, Painter
to the Emperor.
G. V.S. G. Van Scheindel Fec. and V. V.
Buytuvech. inv.
G. R. P.
A
Har. Holbenius. Holbenius of Haerlem.
H. B. This Mark was uſed by Hans Burck-
mair, who engraved 3:6 Hiſtorical Pieces
relating to the Enipire ; Hans Brofamer,
who lived in 1538; and Horatio Borgiani
of Rome. See Number 36.
H. Bol. Hans Bol, i. e. John Bol, in cer-
tain Landſkips.
H. C. Hans Liefrink, in certain Plates of
Birds, and Parties of Hunting, in Freezes.
See Number 146.
H. H. Hans Holbein.
НО,
ufed by ENGRAVER S. 185
rona.
HO.-FF. 1599. In a Print of Pharaoh's
Army drowned, by Paul Farinati, of Ve
.
H. S. 1558. Hercules Septimius Muti-
nenſis. In certain Figures and Ornaments
of Buildings.
H. V.C. 1517. Hans Van Culmhac, was .
Albert Durer's Scholar
1. A. See Number 62.
J. B. James Binckius. J. B. and a Bird,
is another Mark of a different Author in a
David, who ſets bis Foot on Goliah's
Head, after Albert Durer's Manner.
Julio Bonafoni fecit.
J. Bonalo F. 1544 :
See other Marks at
J. B. F.
the Letter B. Bo-
Julio. B.
naſo 1544, was an-
other of his Marks.
J. B. M. John Baptiſta, of Mantua, was
Scholar to Julio Romano; be engraved
the Burning of Troy, and other Pieces of
his own Invention.
J. B. F. James Belli, a Frenchman, fecit,
or Belli fecit.
J. C. Proc. Inv. Julius Cæſar Procaccinus.
Inventor.
J. G. Bronchorſt. See Number 119.
J. G. Van Uliet, is the ſame as James
Grand-homme. See Number 112..
J. H. Jerom Hopfer.
I. H.
A
186 The INITIAL LETTERS
1
1. H. W. 1570.
J. K. James Kerver.
1. L. 1712. J. Luyken.
I. M. Ifrael Meck, in certain Subjeets of the
Paffion, and other Plates. See I. V. M.
The ſame Mark was alſo uſed ly Ifrael
Martino, ſuppoſed to be the ſame with
Buonmartino, who lived in 1490.
L. fec. Joannes Livius fecit. He engraved.
after Rembrande's Manner.
Jo. Guill. Baur. John William Baur.
See William Baur.
Jo. AN. BX. John Antonius Brixianus,
1538. See Number 8.
I. R. W.
J. S. Juſtus Sadalaer exc. John Saenredam
uſed the like Mark, joining the J to the S.
See Number 121. and 157.
J. S. B. John Sebald Beham. See B, and
Number 31.
1. V. M. Iſrael Van Mechelen, or Meche-
lini, or Van Meck, and of Lomazzo,
ſurnamed of Mentz; he lived before Albert
Durer, and ſometimes marked bis Plates
with bis Name Ifrael, only.
L. C. Civ. F. with the firſt C in the perpen-
dicular Stroke of the L, is the Mark of
Ludovico Cardi, ſurnamed Civoli, a Flo-
rentine Painter, in a Plate of the Supper
of the Phariſee.
L.C.
uſed by ENGRAVER S. 187
3
}
Lewis Carracci Inven-
L. C. F. B.
tor. Franceſco Bric-
Lod. C. I. Fr. Bri. cio intaglio, or en-
graved
L. C.Lewis Carracci, in his three Plates
L. 0. C. engraved with his own Hand.
LD. In à Sacrifice, and Alexander the
Great, by Abbot Primaticcio.
L.C.
Luke Van Cranogio, or Luke
Van Craen, Painter of Savoy,
L. V.C.
Anno 1509. See Number 26.
L. H. Lambert Hopfer. See Number 21.
L. K. A. Luke Kilian, of Augsburg, en-
graved Tintoret's and Spranger's Works.
L. Lambert Lombard, or Suſterman,
LL. or Suavius, all which fignify the
L, 5. Same Perſon.
L. L.
}
Lorenzo Lolli, Guido Reni's
Lollius, s
Scholar.
Lucas P. R. Luke Penni, the Roman,
Raphael's Scholar, See Number ro.
L. V. V. Luke Van Uden, in ſome of
Titian's Landſkips.
L. Lucas of Leyden. See Number 34.
M. A. F. See Number 99.
M. C. Martin. de Clef, or Clivenfis Au-
guſtanus.
M. D. Vos. Martin de Vos, a celebrated
Inventor for Engravers.
Mel.
+88 The INITIAL LETTER'S
:
Mel. Gir. fec. Melchior Girardini fecit. He
was a Painter and Engraver at Rome.
M, G. Matthew Greuter, Engraver, born
at Straſburg, Anr. 1566.
M. inv.
Are all different
Mel. p. &fc.
Marks of Clau-
Mellan,
dius. Mellan of
Mel. ſc. Romæ. 1633. Paris,
MI. AG. FLO. Michael Angelo, of Flo..
rence, i. e. Buonaroti.
M. L. Melchion Lorichius.
M. Merian. Matthew Merian.
M+S.. Martin de Secu, or Schonio, called
by fome Buonmartino, was Albert Durer's
Maſter. See Namber 39..
M. Ř. Mark - Ravennate, or Ravignano
i. e. Mark of Ravenna, Scholar to Mark
Antonio Raimondi. See R. Si
M. Z. Martin Zinkius, i, e. Zazingeri,
1500. See Number 10.
Nadat, bas marked bis Plates with a Mole
or Want-trap.
N. B, Nicholas de Bruyn. See Number 28.
N. B. L. F. Nicholas Beatrici Lotharingius
fecit. See Number 149.
N. C. F. Nicholas Chapron, a Frenchman,
fec. Anno 1649. He engraved Raphael's
Galleries, painted in the Vatican.
N. M. D. Nicholas Manuel de Berna,'1518.
NP. or PN. Peter Nolin.
P. B..F.
i
1
$
riſed by ENGR A VER S. 189
P. B.F.}Paul Blancus fecit & incidit. ,
P. B.
P. C. Paul Caliari, i. e. Paul Veroneſe,
Painter and Inventor.
P. F. Paul Farinati of Verona, Painter and
Inventor.
P. H. Peter Hys, in certain Pieces of De-
votion.
Phil. Th. 1589. Philip Thomaſini.
P. John Sebald Beham. See Letter B. and
the Letters V. P..
P. Quaft. Peter Queſt. See Number 43:
Pi. Ss. Bart. Peter Santi Bartoli, Engraver,
of Perugino in Rome.
P. S. F. Peter Stefanoni fecit. This Artiſt
engraved the Carracci's Works.
P. V. Borcht inv. & ſc. Peter Van del
Borcht.
S
R. The Mark of Ravignano, and under-
neath R. V. I. that is, Raphael Urbino
Inv. See MR.
R. B. T. A. Robetta.
R. S, M. A.
:
R. S. M. F.
99.
R. S. Ravignanus Sculpſit. See M.R.
R. S. M. R. Mark of Ravenna. He put this
Mark to Raphael Sancio Urbino's Pieces.
R. V. A. Gaudenſis Sculp. "The Mark of
ſeveral Pieces invented by Peter da Cor-
tona,
1
S.
190 : The INITIAL LETTERS
!
S.
S. B. Stephen della Bella of Florence. See
Number 136.
S. B. D. Pictor. Under an Annunciation,
invented by Peter Candido.
S. C. Simon Cantarino, called of Peſaro,
Painter and Engraver.
S. C. F. Stephen Carteron fecit, 1616.
Sebenzanus fecit. This is Martin Rota of
Sabina. See Number 109.
S. F. Simon Friſius ſc. Theſe are Portraits
engraved by Henry Hondius. See Num-
ber 62.
S. G. S. Simon Guillain ſc. This Artiſt, who
was born in Paris, engraved 80 different
Figures of Hannibal Carracci, called the
Cries of Bologna, Anno 1646.
S. P. Simon Pafleus.
S. P. F. Stephen du Perac fecit.
Strada. Veſpaſian Strada of Rome.
T. Anthony Tempeſta of Florence, Painter
and Engraver. See Number 148.
T. C. Theodore Cruger. See Number 150.
VAL. Valeſio, John Lewis Valeſio of
Bologna. See Number 103.
Van Rhin in. Rembrandt de Rein, Sce
.
Number 126.
V. C. Vincenzio Caccianemici, a Nobleman
of Bologna, and Painter.
Ver.
uiſed by ENGRAVERS. I91
Vef. S. Veſpaſiano Strada of Rome.
V. P. or B. or P. or J. S. P. were four
Marks uſed by John Sebäld Beham, when
he did not care to put his own Name,
which is found Number 31.
V. S. 1622. Valentine Sezenius. The ſame
Mark was alſo uſed by Virgilio Sole, men-
tioned Number 19.
V. S. I. Ventura Salimbeni, of Sienna,
Painter and Inventor.
V. V. Delft. See Number 151.
V.C. V. A Mark uſed by an antient Engra-
ver in a St. Bartholomew and a St.
George:
;
W.D. H. Will. Henius.
W. H. Wenceflaus Hollar.
W. P. Will. Paffe.
Z. A. Zazingeri; or M. Z. Martin Zinkius,
as was before-mentioned.
AN
( 192 )
A
Chronological and Hiſtorical Series of the moſt Eminent PAINTERS.
Maſters, and their
Countries.
Born, W what the
Born, Whoſe Diſciples, and in
Died. what they excelled.
in
Places of Reſidence, and
principal Works.
Andrea Tafi, a Florentine,
the Refiorer of Moſaic in
Italy.
1213
1294
Apollonius, a Greek.
Hiſtory and Mofaic.
Florence, where he did a
Picture of Chrift, 7 Cubits
long. :
Florence, where in the great
Church of the Franciſcansa
he painted the Death of that
Saint, with this Inſcription,
Juneła Piſanus fecit de menſe
Octobri, Anno 1236. Indi&t. 9.
Giunta Piſano, a Grecian,
ſent for to Florence by the
Şenate.
Flo.
31.1236
Some Greek Painter.
Hiſtory and Figures.
}
Gaddo Gaddi, of Florence,
greatly improved Mofaic
Work, being the beſt
Deſigner of his Time.
1239
1312
1}
Cimabue and And. Tafi.
Hiſtory and Mofaic.
Rome and Florence, at both.
which he did ſeveral great
Pieces in Moſaic.
( 193 )
-
Giunta Piſano and Ar-
Cimabue, of a noble Family
in Florence, the Father of
1240
nolfo Tedeſco.
1300 Hiſtory and Archi-
Modern Painting
tecture.
Buonamico Buffalmaco,.. of 1262
Andrea Tafi.
Florence.
s 1340 Hiſtory.
Florence, where he painted
feveral Altar-pieces, and alſo
built the Church of St. Mary
Delfiore.
S Arezzo and Pifa, where he
painted the Abbey of St. Paul.
..
Margaritone, of Arezzo,
Inventor of the Art of
Gilding with Leaf-Gold
on Bole- Armoniac.
Flo.
1275
} Hiſtory and Sculpture.
K
1
Giotto, of a little Village near
Florence, much improved
the Art of Painting
Cimabue.
Hiſtory, Architecture,
Sculpture and Mo-
ſaic.
1276
1336
:
Rome and Arezzo, at the laſt
of which he made the fine
Tomb of Pope Gregory X.
Rome and Florence; at the
former he did the Mofaic Ship
over the Portico of St. Peter's
Church, and at the latter the
Death of the Virgin, ſo much
commended by Mich. Angelo.
Rome and Florence, celebrated
by Petrarch for the Portrait of
his beloved Laura.
J
Simone Memmi, of Siena,
improved Giotto's Man-
ner, by drawing after the
Life.
1285
1345
Giotto.
Hiſtory and Portraits.
1
( 194 )
Mafters, and their
Countries.
Born, Whoſe Diſciples, and in
Died. what they excelled.
Places of Reſidence, and
principal Works.
Taddeo Gaddi, of Florence,
improved the Colouring
and Livelineſs in Paint-
ing.
1 300
1350
His Father Gaddo Gad
di, and Giotto.
Hiſtory and Archi-
tecture.
Steffano Florentino, of the
fame Place:
1302
Giotto.
Figures and Heads.
|
1337
Florence and Arezzo; at the
firſt he built the famous
Bridge, at the other painted
the Paſſion, in the Church of
the Holy Ghoft.
Florence and Rome; Naked
Figures, of which he was the
firit modern Painter.
Rome; where in St. Paul's
is the famous Crucifix of his
making, which talked to St.
Bridget.
Florence and Arezzo ; at the
laft is his Piece of the Fall of
the Angels.
Rome; he was the firſt that
painted Rains, Storms, and
Winds.
Pietro Cavallino, of Rome,
Giotto.
was eſteemed a Saint for
1304
Hiſtory, Moſaic, and
his great Piety.
1379 1 Sculpture:
Gaſparo Spinello, á Floren- Flo. Giotto
.
S] 1379
tine.
ST 1330
Hiſtoiy.
Ambrogi Lorenzetti, of Siena,
1330
Giotto.
Hiſtory and Landfkips.
.
( 195 )
Angelo Gaddi, of Florence.
1323
1387
Giotto, and his Father
Taddeo Gaddi.
Hiſtory
Florence.
Taddeo Gaddi
.
Giacomo Caffentino, Founder
Flo. Taddeo Gaddi.
of the Academy at Flo-
S/1350 | Hiſtory
Florence, painted in the Chapel
of the Academy the Picture of
St. Luke drawing the Virgin,
and on one side all the Aca-
demifts, which were Ten, and
on the other their Wįves.
:
rence. .
Florence.
1356
Florence and Pifa.
F 저
​Giotto, and his Father
N Tomaſo Giottino, of Florence.
1324
Steffano Florentino.
Hiſtory,
1329 Hiſtory and Archi-
Andrea Orgagna, of
Florence.
1389 Stecture.
rentine.
S1448
Aleſio Baldovinetti, a Fle- } 1366 Hiſtory and Mofaic.
Hubert van Eyck, of Malech 1366
on the Meuſe.
s1426
John van Eyck, of the ſame
1370 11 His Brother Hubert.
Place.
Sl 1441.1.3. Hiftory..
Hiſtory.
Rome and Florence.
Gaunt, where is a Piece, the
Subject taken from the Reve-
lations, univerſally admired.
$ Bruges, where in 1410 he found
qut the Art of painting in Oil.
( 196 )
Maſter's, and their
Countries.
Born, Whoſe Diſciples, and in
Died. what they excelled.
Places of Relidencé; and
principal Works.
mine, of Florence.
Pictro della Franceſca, del?
Borgo S. Sepolcro, à Flo-
Prate Filippo Lippi del Car-} 1275 } Hiſtory and Portraits. } Rome, Naples, and Florence.
Rome and Florence.
rentine.
Florence.
1372
Hiſtory and Battles.
1458
1383 Architecture and
1466 S Sculpture.
1387 Religious Subjects, large,
1455
and in Miniature,
1387
Architecture and
1446
Sculpture.
1390 John van Eyck.
1480
Rome and Florence.
Florence, where he built the
Cupello of St. Mary del Fiore's.
Donatello, of Florence.
Frate Giovanni Angelico da
Fieſole.
Filippo del Brunelleſchi.
Franciſco Antonello di Meſſi-
na, the firſt who brought
Painting in Oil into Italy.
Franceſco Squarcione, of Pa-
dua, called the Father of
Painting, becauſe he had
Hiſtory.
}Venice and Bruges.
1394
1474
Hiſtory
Padua.
1
137 Scholars.
( 197 )
Florence.
1432
Florence.
rona.
Venice.
Mafolino da Panicale.
Flo.
Paolo Uccello, of Florence. 06; 1 Perſpective and Birds.
Bartolomeo Bramantino, of? Nat. ſ Hiſtory and Architec- } Milan and Rome.
Milan.
f
1400
ture.
Gentil da Fabriano, of Ve-> Flo, Giovanni da Fieſole,
Rome and Verona.
S 1420
Hiſtory,
Nat. Gentil da Fabriano.
Giacomo Bellini, of Venice.
14.00 | Hiſtory and Portraits.
Bartolomeo della Gatta Ca-
maldolefe, Abbate di S.
1400
Hiſtory and Miniature.
Clemente Aretino,
1481
Benozzo Gozzoli, of Florence.
Giovanni da Fieſole.
Florence.
1478 N Hiſtory.
Flo.
Dominico Venetiano.
Š Antonelli di Meſſina.
Venice and Florence.
1450 | Hiftory.
Florence, where in the Hall of
Dominico Venetiano and
Andrea del Caſtagna, of 1410
Juſtice he painted the Exe-
Mafaccio.
Florence.
cution of the Conſpirators
Hiſtory
againſt the Houſe of Medici,
}Hiſtory and Miniature. }
Rome
1400
2/ 1480
K 3
( 861)
Maſters, and their
Countries.
Born, Whofe Diſcipics, and in
Died. what they excelled.
Places of Refidence, and
principal Works.
Coſmo Roſelli, of Florence.
}
Rome and Florence,
Florence and Rome, Chriſt heal-
ing one poffefled in the Temple.
Maſaccio, of Florence,
Giovanni Bellini, of Venice.
Venice.
1416
Hiſtory:
1484
14.17
Maſolino.
1443
Hiftory.
His Father Giacomo.
1419
Hiſtory, Portraits, and
1509 Architecture.
His Father Giacomo.
1420
Hiſtory, Portraits, and
1501
Architecture.
Flo. Architecture and
1450 Sculpture.
Gentile Bellini, of Venice.
Venice and Conftantinople.
Leon Battiſta Alberti, of
Florence.
Antonio Pollaiolo, of Florence,
near whoſe Time the Art
of Engraving was found
out by Maſo Finiguerra, a
Gold (mith of Florence,
1426
1498
Andrea del Caſtagna.
Hiftory, Architecture,
and Engraving.
Florence, his Books of Archi-
tecture, &C.
Florence; his Battle at Florence,
engraved on Pewter, with this
Inſcription, Opus Antonii Pol-
laiolo Florentini, is ſaid to have
been ſeen by Mantegna, before
he did his Triumphs.
( 199 )
>
Filippino Lippi, of Florence.
1428
1505
Florence and Rome.
Domenico Ghirlandaio, of
Florence.
1430
1493
Fla.
His Father Filippo Lippi
and Sandro Botticello.
Hiſtory.
Alefio Baldovinetti,
Hiſtory,
Antonello da Mellina.
Hiſtory.
Dominico Venetiano, of Venice.
1450
Andrea Mantegna, of Man-
3431 (Jacopo Squarcione.
1517 Hiftory and Portraits.
Florence.
Venice and Florence; to the laſt
he brought the Art of Painting
in Oil
Rome and Mantụa.; his Tri-
umphs of Julius Cæſar, (now
at Hampton-Court) which he
engraved on nine Plates,
Florence and Venice; he was
the firſt that found out the
Way of taking off a Likeneſs
in Plaiſter of Paris,
tua.
1
Andrea Verocchio, of Florence,
Brother of Antonio.
1432
1488
Hiſtory and Sculpture.
Pietro Pollaiolo, of Florence.
1433
1498
Florence,
Hiftory and Sculpture.
Andrea del Caſtagna
and his Brother.
.
Filippino Lippi
Hiſtcry.
Sandro Botticella, of Florence. {1 1333
Florence.
!
K4
i
)
200
Maſters, and their
Countries.
Born, Whoſe Diſciples, and in
Died. what they excelled.
Places of Reſidence, and
principal Works.
{l 1439
Rome.
1445
1439 Pietro del Borgo.
Luca Signorelli
, of Cortona.
1521 Hiſtory and Naked Figures.
Rome, Cortona, &c.
,
Pietro di Cofmo, of Florence.
1441 Coſmo Roffelli.
1521 S Hiſtory,
Bramante Lazari da Urbino. {1 1414 1} Hierre and Archi Milan.
.
Andrea Verocchio. Florence and Milan; at the laſt
Leonardo da Vinci, of a Caſtle
near Florence,
Hiſtory, Portraits, and is his celebrated Piece of the
1520 Architecture.
laſt Supper.
Gio. Franciſco Rufico, called Nat. Andrea Verocchio.
Florence.
Ruftichino, of Florence. 1446 S Hiſtory and Sculpture. I
1446 | Andrea Verocchio.
Pietro Perugino, of Perouſa.
Rome and Florence,
1524 S Hiſtory.
Franciſco Raibolini, called 1450 Marco Zoppo.
Bologna ; his St. Sebaſtian was
the Study of all the ſucceed-
Francia, of Bologna.
1526
Hiſtory.
ing Bolognian Painters,
1457
Marco Zoppo, of Bologna.
Andrea Mantegna.
1917
Hiſtory.
Bologna.
201
-)
}
1529 Hiftory.
i
Gio. Sancio D'Urbino, Father? Nat.
Hiſtory.
Urbin.
of Raffaele.
1453
Ant. and Pietro Pole
Andrea Contucci, called (da) 1460
laiolo.
Florence and Arezzo.
Monte) Sanſovino. U1529
Raffaelino del Garbo, of 1461 Filippino.
Florence.
Florence.
152417 Hiſtory and Portraits.
Bernardino Pinturiccio, of 1466
14.66S Pietro Perugino.
Florence and Siena.
Peroula.
1523 Hiſtory:
Fra. Bartolomeo di S. Marco, 1469
1469 Como Rofelli.
Florence, he invented the Lay-
of Savignano.
1517 Hiftory and Portraits.
Timoteo Vite da Urbino.
1470 Franciſco Francia.
Bologna and Rome.
L 1524 Hiſtory.
1471
Wolgemuth.
His Father and Michael Nuremberg, Inventor of cutting
Albert Durer, of Nuremberg.
in Wood; his St. Jerome is
Hiſtory, Portraits, and
much eſteemed.
Sculpture.
Dom. Ghirlandaio.
Florence and Rome, where in
Michael Angelo Buonaroti, a 1474
the Chapple of the Vatican, is
Hiſtory, Sculpture, and
Florentine,
1504
his celebrated Piece of the last
Architecture.
Judgment.
man.
Nure
1528
1
1
( 202 )
Maſters, and their
Countries.
Born, Whoſe Diſciples, and in
Died. what they excelled.
-"Places of Reſidence, and
principal Works.
}
Girolamo Genga D'Urbino.
Giorgio del Caftel-France,
called Giorgione.
Titiano Vecellio da Cadore.
1476 Pietro Perugino.
1551 S'Hiſtory & Architecture.
Rome and Florence.
15477
Gio. Bellinas
$ Venice, where is his Chrift
1:51:1 Hiftory and Portraits. 1 carrying the Crofs.
Gio. Bellino and Gora Danice, where 'in Pablick are
1477 : gione.
above 50 of his grand Pieces
1576 Hiſtory, Portraits, and to be ſeen; he was particularly
Landſkips.
famous for his Colouring.
Florence, he copied, after
Raffaele, Pope Leo X. with
1478 Pietro di Cofmo.
ſuch Exaćtneſs, as to deceive
1520
Hiſtory
Fulio Romano, who painted
the Drapery.
Flo. Raffaele D'Urbino,
1520 Hiſtory.
.
1479 Naked Figures.
Rome.
1554
Andrea del Sarto, of Florence
}Rome and Modena.
1
Pellegrino da Modena.
Giovanni Antonio da Vezelli,
called Sodoma, from his
obſcene Paintings.
( 203 )
>
Rome; he was the firſt who
painted Scenes for the Theatre.
Rome and Ferrara.
<
Rome and Florence; his Car-
toons at Hampton-Gourt.
Rome, Siena, and Genoa.
.
Baldafarro Perucci da Siena.
1481
Hiſtory & Architecture.
1536
Benevenuti Garofalo, of 2] 1481 | Titiano.
Ferrara,
1550 Hiſtory.
Raffaele Sancio D'Urbino,
Giovanni his 'Father,
Prince of the modern
1483
and Pietro Perugino.
Painters.
1520
Hiſtory.
Domenico Becafumi, called 1484 Pietro Perugino.
Mecarino do Siena.
1549 Hiſtory and Sculpture.
Giov. Antonio Licinio, or 1484] Pellegrino.
Regillo, da Pordonone.
1540 Hiſtory
Franco Sebaſtiano del Piombo, 1485 Gio. Bellino.
1547
Hiſtory.
Baccio Bandinelli, of Flo-> 1487 Gio. Franc. Ruftico.
rence.
1559 Hiftory and Sculpture.
Gio. Franceſco Penni, called
Il Fattore di Raffaele, a
1488
Raffaele.
Florentine.
1528
Hiſtory and Landſkips.
L'Abbate Franceſco Prima 1490 1 Giulio Romano.
ticcio, of Bologna.
1570 S Hiſtory & Architecture.
Venice, Mantua, and Ferrara.
Rome and Venice ; at the firſt
is his piece of the raiſing of
'Lazarus.
Rome and Florence.
of Venice.
Rome and Naples.
Bologna, Mantua, &c.
K 6
( 204 )
1
Maſters, and their
Countries.
Polidore da Caravaggio.
)
Giulio Romano.
Rome.
,
Maturino, of Florence.
· Jacopo Caruci da Pontormo.
Born, Whoſe Diſciples, and in Places of Reſidence, and
Died. what they excelled.
principal Works.
1492
Raffaele.
1543
Rome, Naples, and Melina.
Hiſtory & Architecture.
1492
Raffaele.
1546
Rome and Mantua'.
Hiſtory & Architecture.
1492] Raffaele.
1527 S Hiſtory
1493 L. da Vinci and A. del Sarto.
1556 | Hiſtory and Portraits.
Florence.
14937. Giulio Romano.
1573
Naples and Rome.
(Hiſtory & Architecture.
1494 Mantegna,
Modena and Parma.
1534
Hiſtory
Giorgione and Raffaele. S Rome and Florence ; he revived
1494
1564 Ornaments in Stucco.
Stucco-work, in Uſe among
the ancient Romans.
Holland, where his Bag-piper
1494
Corn. Engelbert.
(a Print) has been ſold for
1533
Hiſtory and Portraits.
fixty Ducatoons.
Pirro Ligorio, of Naples.
Antonio Allegri da Correggio.
Giovanni D'Udine.
Lucas van Leyden, a Dutch-
man.
( 205 )
Hiſtory
Rogero Bruxellenfi, or Roger Ob.
vander Weyde, of Brujēls. {1 1529
John Mabuſe, an Hungariar.
Ob. 1}Hiſtory and Portraits.
1532
John Schorel, a Dutchman.
1495 1 John Mabuſe.
1562 S Hiſtory
}, , .
Bruffels, where in the Hall
of Juſtice he painted thoſo
memorable Repreſentations,
Holland.
Rome, Venice, and Utrecht.
Italy and France ; where in the
Palace of Fountainbleau he did
the Hiſtory of Alexander, in
24 Pieces.
Italy and Holland.
Rolo, of Florence.
1496
1547
Studied Michael Angelo.
Hiſtory.
man.
Holland.
Michaele Coxie, of Malines.
1497 Rogero Bruxellenfi.
1592
Hiſtory
Martin Hemſkerck, a Dutch-2 | 1498
1498 John Schorel.
1574
Hiſtory.
Giulio Romano,
Dominico Giulio Clovio, a 1498
Hiſtory and Portraits,
Sclavonian.
in Miniature.
Battiſta Franco, called 1498
Michael Angelo.
Semolei, a Venetian. $ 1561 ) Hiſtory.
1578
Rome.
!
me
Rome, Florence, and Venite,
( 206 )
Mafters, and their
Countries.
Born, Whoſe Diſciples, and in
Died. what they excelled.
Places of Reſidence, and
principal Works.
Hans Holbein, of Bafil.
1498
1554
His Father.
Hiſtory and Portraits.
(
Bafil and London ; he painted
all his Works with his left
Hand.
Antwerp; he was firſt a Smith,
and took to Painting through
Love.
Quintin Matſys, of Antwerp.
Ob.
1529
Hiſtory and Portraits.
Perino del Vaga, of Florence.
1500
1547
Andrea ide Ceri, and Ri.
dolfi del Ghirlandaio.
Hiſtory and Architec-
Rome, Genoa, and Pifa.
ture.
Ugo.da Carpi.
Flo.
1,500
Cutting in Wood.
$
Fobn Cornelius Vermeyen, a
Dutchman.
Found out the Art of Printing
in Chiaro-Scuro, with three
Plates, to imitate Drawings.
Bruſels; his Beard was ſo long
as to touch the Ground when
he ſtood upright.
Bruſſels.
1500
Hiftory.
155.9
1,500 | Hiſtory and Battles.
1559
John Maio, of Beverwyck.
( 207
+
!
1
Joachim Patinier, of Dinant
in Flanders.
Gerolamo da Carpi.
Lamberto Lombardo, of Liege,
called Suavius.
Franceſco Mazzuoli, called
Parmegiano, of Parma.
Giacomo Palma, called Palma
Vecchio, a Venetian.
Flo.
Landſkips.
Antwerp.
1520
1500
Benevenuto Garofalo.
1-556 S Hiſtory.
Ferrara and Bologna.
Nat.
Hiftory
Holland.
1500
1504 Hiſtory and Portraits. Parma'; he invented Etching,
1-540
1508
Titian.
Rome and Venice ; at the last is
1556 SHiſtory and Portraits. This St. Barbara.
Rome and Florence ; at the firſt
is his famous Deſcent from the
1509 Baldaſar Peruzzi.
Croſs; it was he who covered
1566 Hiſtory and Sculpture.
the Nudities in Mich. Angelo's
Laß Judgment.
And. del Sarto and Baca
1510
cio Bandinelli. Rome and Florence,
1563
Hiſtory and Portraits.
Bonifacio.
1510
Hiſtory, Portraits, and Balano and Venia.
1592
Landſkips.
Daniele Ricciarelli da Vol.
terra.
Franceſco Salviati, or Fran-
ceſco de Rof, of Florence.
Giacomo da Ponte da Bailano,
il Vecchio.
( 208 )
Mafters, and their
Countries.
Born, Whoſe Diſciples, and in
Died. what they excelled.
Places of Reſidence, and
principal Works.
Rome, &c. He writ the Lives
of the Painters, in 3 Volumes
4to.
Rome.
Rome and Modena.
Andrea, del Sarto, and
Giorgio Vaſari Aretino, of 1511 Michael Angelo.
Arezzo.
1574
Hiſtory, Portraits, and
Architecture.
Lelio Urſo da Novellara.
1511 Michael Angelo
,
1587 | Hiftory.
Nat.
Pellegrino da Modena.
Raffaele.
1511 Hiltory.
Nic. Circiniano, called Poma 1512
ranci Vecchio, a Florentine. S 1612
Giacomo Robuſti, called Tin-
1512 S Titian.
toretto, of Venice.
1594 | Hiſtory and Portraits.
Paris Bordone, a Venetian.
1588 N Hiſtory and Portraits.
Gioſeppe Porta, or Salviati,
1515 S Franceſco Salviati.
a Venetian,
1565 Hiſtory
Taddeo Zuccaro, of St. Angola 1 1519 | His Father.
in Vade.
S 1566
Hiſtory
Hiſtory.
Florence.
Venice.
1513 S Titian.
1
Venice and France.
.
Venice.
1
Rome, &c.
( 209 )
1
Flanders, Italy, &c. ,
s1519
Schoorel.
Sir Anthony More, of Utrecht.
1575 S Hiſtory and Portraits.
1520 7 Lambert Lombard.
Francis Floris, of Antwerp.
1570 Hiſtory
1522 Nicolo Golfino.
Paolo Farinato, of Verona.
1606 S Hiſtory & Architecture.
1522 Daniele da Volterra.
Pelegrino Tibaldi, of Bologna,
1592 Hiſtory & Architecture.
Imitated Parmegiano,
Andrea Schiavone.
1522
Titian, &c.
Antwerp, &c.
erona.
} Verona.
Bologn, Rome, and Milan.
Venice.
1582 | Hiſtory:
Gregorio Pagani, of Florence.
Luca Cambiagio, of Genoa.
1525 ) Maturing and Polidoroa | Florence.
1605 S Hiſtory.
1527 1 ? Gio. Cambiagio his Father. Genoa; he painted with both
1583 | Hiſtory.
Hands.
Rome, where he induced Pope
1527
Moretto di Breſcia.
Gregory XIII. to found the
1592 Hiſtory and Landſkips.
Academy of Painting.
Vaſario.
1527
Hiftory, and Hunting Florence and Bruges.
1604
Pieces
Gerolamo Mutiano da Breſcia.
Giovanni Stradano, of Bru-
gesa
1}
( 210 )
Mafters, and their
Countries.
Born, Whoſe Difelples, and in
Died. what they.excelled.
Places of Reſidence, and
principal Works,
Urbin and Rome.
logna.
.'
1,528 Battiſta Venetiana.
Frederico Barocci, of Urbin.
Urbin and Rome.
1,612 Religious Subjects.
Bartolemeo Paſſerotti, of Bo Nat. Taddeo Züccaro.
Rome,
S] 1530 ) Hiſtory and Portraits.
.
Paolo Caliari Veroneſe, of l 15.32 Antanio Badile,
Rome and Venice.
Verona.
S 1.5:88
1,5-88 S Hiſtory and Portraits.
Hans Bol, of Mechlin.
1-534} Miníature.
Heidelberg and Amſterdam.
}.
1593
1534 Titian.
Diteric Barent, of Amſterdam.
1582 SHiſtory and Portraits.
Venice and Amſterdam.
Antony de Montfort Brock-
1535 Francis Floris,
Leyden and Amſterdam; at
landt, a Dutchman.
which laſt is his Hiſtory of
1583
Hiſtory and Portraíts: 12 Foſeph, much eſteemed.
John Cakker, or De Calcar,
Venice; he deſigned the Ana,
of the Village where he Nat. Titian.
tomy Figures in Veſalius, and
was born, in the Dutchy
1536
Hiſtory and Anatomy. the Heads of the Painters in
of Cleves:
Vaſarius,
( 211 )
1536
1578
1536
Engraving Hiftory.
Rame and Venice,
Cornelius Cort, of Horn.
,
Archangelo Salimbeni, of
Siena.
Giov: Paolo Lomazzo, of
Milan.
Hiftorý.
S 1583
Nat.
Szena.
Milan; he wrote 7 Books of
the Art of Painting.
1538
1538
1598
Benedetto Caliari, of Verona.
Rome and Venice,
Hiftory..
Paul Veroneſe his Bro-
ther.
Hiftory and Sculpture,
Lucas de Heer.
Hiſtory,
Charles van Mander,' a
Dutchman.
1539
1607
Rome, Vienna, and Haerlem ;
he wrote the Lives of the
Flomiſh Painters,
Rome, France, &c. He was
choſen the firſt Prince of the
Academy of Painting at Rome.
Frederico Zucchero, of Urbin.
Franciſco Baſano.
Venice.
!
1540
Taddeo his Brother.
1609 Hiftory and Portraits.
1540 ] His Father Giacomo.
1594 S Hiftory.
Peter Cock.
Flo. Groteſques and Land.
1566 ſkips, with fmall
Figures,
Peter Breugel, called Old
Breugel, a Dutchman.
Antwerp
all
( 212 )
Mafters, and their
Countries.
Born, Whoſe Diſciples, and in
Died.
what they excelled.
Places of Reſidence, and
principal Works.
Alexander Caſolan, of Siena.
1542
1596
Hiſtory:
Siena; where in the Church
of St. Francis, is a dead Chrift,
by him.
1547 }Hiftory.
Antwerp:
Martin de Vos, of Parma,
1604
Bartholomew Spranger, of
Nat.
Antwerp.
S1546
}Hiſtory:
}, .
Rome, Vienna, Antwerp, &c.
**
Dioniſio Calvart, a Fleming. { 1 1547
Nicholas Hilliard.
1547
Proſp. Fontana.
Antwerp.
Hiſtory.
s
Portraits in Miniature, London.
Hiftory.
Rome,
Veſpaſiano Strada:
1547
Matthew Brill, of Antwerp.
1550
1584
John Sadeler, of Bruffels.
1550
21600
Hiſtory and Landkips. Rome and Antwerp.
Engraving Hiſtory.
Venice, Franckfort, &cą
}c.
Y
1
1628
Venice and Rome.
Utrecht, &c.
Rome.
I
Giacomo Palma, jun. of }| 1551
His Father Antony.
Venice.
S
Hiſtory.
Nat.
Roland Savery, of Flanders.
Landſkips.
155!
1552 His Father.
Cherubino Alberti.
1615 S Hiſtory and Engraving.
Raffaele da Reggio, of Mo- 1553 1Fed. Zucchero.
dena,
S 1580 SHiſtory and Landſkips.
His Brother Matthew.
1553
Paul Bril, of Antwerp.
1626 Hiſtory and Landſkips.
1555 Proſp. Fontana.
Lodovico Caracci; of Bologna.
1619
Nat.
Raphael Sadeler, of Bruſels.
Engraving Hiſtory.
1555
1555 John Strada.
Antonio Tempeſta, of Florence.
1630 Battles, Hunting, &c.
1556 Fed. Zucchero.
. Otho Venius, à Dutchman.
1634 S Hiſtory and Portraits.
Giulio Ceſare Procaccini, of 1556
His Father Ercole.
Sl 1634 IS Hiſtory and Sculpture.
Rome and Antwerp.
Rome ; where is his famous
Piece of St. Clement, 68 Feet N
long.
Ronie and Bologna.
( 213 )
Hiſtory
Venice.
Rome.
>
Rome, Antwerp, and Bruſels.
Bélagna:
Rome, Venice, Modena, &c.
( 214 )
.
Mafters, and their
Countries.
Born, Whoſe Diſciples, and int Places of Reſidence, and
Died. what they excelled.
principal Works.
Antwerp.
1557
His Father Lambert.
Adam van Ort, of Antwerp.
2 1641 | Hiſtory:
Augoſtino Carracci, of Bo-} | 1557
1557 Dom. Tibaldi:
Ібо2 Hiftory and Engraving.
of Mulbrec.
Rome, Parma, &c.
logna.
· Henry Goltius, of Mulbrec. { 1619 1}}History and Engraving.
Nat.
Jacob Bunel, of Blois.
Rome, Naples, and Haerlem.
Roine and Paris; where in the
Church of the Auguftins, is his
Deſcent of the Holy Ghoſt,
which, in the Judgment of
Poulin, excells all the Pieces
in this City.
Florence.
Fed. Zucchero.
Hiſtory.
1558
1
Cau. Dom. Palignano, of 1559
Fed. Zucchero,
Florence.
f1639 Hiftor.y..
Lodovico Cigoli, of Florence.
P559
1613
Hiftory.
Annibale Carracci, of Bo 1560 ILod. Carracció
logna.
1609 History.
Rome and Florence.
Roms and Belogra. .
1
Mark Garrard, of Bruges. { 1895} Hiftory and Portraits. | } Londen.
Cornelius Danckerts de Ry;}1832. Architecture
:
} amſterdam.
Cav. Gioſeppe Cefare d'Ar-
Rome, Naples, &c. His moſt
1560
pino, called Giofeppino, of
Hiſtory.
eſteemed Pieces are his Battles,
1640
Naples.
in the Vatican.
n.
1635
, 1561
Amſterdam.
of Amſterdam.
Archangelo Salembeni. Rome and Siena; in the Van
1563
Cav. Franceſco Vanni, of
1610
Hiſtory and Religious. tican is his famous Piece of the N
Sienai
Subjects.
Fall of Simon Magus.
1563 Aureliá Lomi.
Oratio Gentileſchi, of Pija. || 1649: Hiſtory, large.
Rome, Florence, London, &c.
}, , c.
1-564 Tintoret.
,
Hans Rottenhamer, of Munich.
1604 Hiſtory, ſmall.
Venice and Bavaria.
}
Architecture and
Amſterdam and Delft, where
1565
Henry de Keyſer, of Utrecht.
1621 Sculpture.
he built that magnificent Tomb
of the Prince of Oranges
1566
Toby Verhaecht, of Antwerp.
1631
Landſkips. .
( 215 )
Antwerp.
( 216 )
Maſters, and their
Countries.
Born, Whoſe Diſciples, and in
Died.
what they excelled.
Places of Reſidence, and
principal Works.
Nat.
Henry Cornelius Vroom, a
Dutchman.
S/ 1566
Paul Brill.
-
Views and Sea-Pieces.
Venice, Haerlem, &c. He did
the famous Sea-fight between
the' Engliſh and Spaniards, in
1588, whence the Tapeſtry in
the Parliament-houſe was wove.
Utrecht. .
Rome and Paris.
Hiftory.
cum.
Hiftory.
Florences
Abraham Blomdert, of Gor 1564
1647
Martin Friminet, of Paris.
1567
1619
Steffanino della Bella, of? 1568
Landſkips and Cattle.
Florence.
1664
Jan Brueghel, called Velvet
Pet. Goe-kindt.
1569
Landſkips, Fairs, &c.
Brueghel, of Bruſſels.
1625
ſmall.
Michael Angelo Amerigi dal 1569 Cav. Gioſeppino.
Caravaggio.
s1609 Hiſtory.
James Mathem; of Haerlem.
1571
Hen. Goltius.
1631 Engraving Hiſtory
Bruſels. .
Rome, Venice, &c.
Haerlem#
( 217 )
1
+
1573 {
2
Hague.
I
Rome.
Ventura Salimbini, of Siena.
?) 1573 Hiſtory.
Nat. His Father Arcangelo. Rome, Siena, &c.
Deſigning and Engraving,
Henry Hondius, of Duffell.
1573
? Hiſtory and Maps.
Adam Elſheimer, of Frank 1574] Philip Uffenbach.
fort.
1610 Hiſtory and Night-Pieces.
1575 Denis Calvert.
Guido Reni, of Bologna.
1643 SHiſtory.
Rome and Bologna.
Gio. Battiſta Viola, of Bo 1575
Hannibal Caracci.
Rome, &c.
logna.
1622 Hiſtory and Landſkips.
Rome ; where in the Palazzo
Borgheſe, is the Portrait of
Marcello Provenzale, da 1575
Paulo Roffetti.
Paul V. in Moſaic, wrought
Cento.
1639 Hiſtory and Mofaic.
with exquiſite Art and Judg-
Antwerp, Italy, England, and
France; the Ceiling of the
Sir Peter Paul Rubens, of
Adam van Ort, and
1577
Cologn, Prince of the
Banqueting-Houſe at White-
Otho Vonius.
hall, and the Luxemburgh
Flemish Maſters,
Hiſtory and Portraits.
Galleries at Paris, are moſt
admired by the Curious.
L
211639
ment.
1640
1
Mafters, and their
Countries.
Born, Whoſe Diſciples, and in
Died. what they excelled.
Places of Reſidence, and
principal Works.
Rome and Bologna
Rome, Mantua, and Venice.
(
15781 D. Calvert and Guido.
Franceſco Albano, of Bologna.
1660 Hiftory.
1580 Lodovico Civoli.
Domenico Fetti.
1624 Hiſtory.
Jacques Fonquierre, of Ant 1580 Jan Breugel.
werp.
S| 1658 S Landſkips.
Domenico Zampieri, called
1581 Denis Calvert.
Dominichino, of Bolagna. 1641
Hiſtory
Cav. Giov. Lanfranco, of 1581
1581 The Carraches.
Parma,
S 1647 Hiftory.
Simon Vouet, of Paris.
1582 His Father.
1641 Hiſtory
Antonio Caracci, called II 1583 Hannibale his Uncle.
Gobbo.
1618 | Hiſtory
Henry Vander. Borcht, of Nat.
Hiſtory:
Bruſels.
1583
Antwerp, Paris, &c.
Rome, Naples, and Bologna; at
the firſt of which Places is his
celebrated Piece of the Com-
munion of St. Jerome.
Rome, Naples, and Parma.
218 )
Romé, Denice, and Paris.
Rome.
Italy, Germany, and England,
1
1
!
1644
I
Peter van Laer, called Bam. 1 1584
Hiſtory and Landkips. Haerlem and Amſterdam.
boccio of Haerlem.
William Nieulant, of Ant 1584) Roland Savery,
Rome, Antwerp and Amſterdam.
werp.
$ 1635 S Landſkips and Ruins.
1586Engraving, ſmall Fi-Florence ; his Fair at this Place
James Callet, of Nancy.
? 1635 gures.
Sis a moſt curious Performance.
Abraham Blomaert.
Cornelius Poelenburgh, of
. 1586
Naked Figures and Utrecht, Rome, and London.
Utrecht.
1660
Landſkips.
Cav. Gio. Franceſco Barbieri
1590
da Cento, called Guercino,
Benedetto Gennari.
Rome and Bologna.
1667 Hiſtory.
born near Bologna.
Cornelius Johnſon, of Amſter Flo.
Portraits.
Amſterdam and London.
dam.
1620
1591
Abraham Janſens.
Gerard Segers, of Antwerp.
Antwerp and Madrid.
1651 S Hiſtory
Abraham Blomaert.
Gerard Honthorſ, of Utrecht,
Nat.
Hiſtory and · Night-| Antwerp, London, &c.
1592 Pieces.
Sir Balthazar Gerbier, of
Miniatures in Water-
Antwerp and London.
Antwerp.
1592
Colours.
( 219 )
1
(:)
220
2
Places of Refidence, and
principal Works.
Antwerp
Rome.
Rome and Florence.
Ma
Mafters, and their Born, Whore Diſciples, and in
Countries.
Died. what they excelled.
1594 Adam van Ort:
James Fordaens, of Antwerp.
? 1678 Hiſtory.
Nicolas Poulin, of Audley, 1594
Hiſtory and Landkips.
the Raphael of France. 1065
Baccio Ciarpi.
Pietro Berrettini da Cortona.
1596
Hiſtory, Sculpture, and
1669
Architecture.
Faques Stella, of Lyons.. }
1596
Hiſtory.
1647
Cav. Gio. Lorenzo Bernini, 1598 | Hiſtory, Sculpture, and
of Naples.
1680 Architecture, .
Sir Antony Van Dyck, of 1599
Rabens.
$1641
1641 Hiſtory and Portraits.
Viviano Codazzo, called
Viviano delle Proſpettive,
1599
Auguftino Taffo.
1674 Buildings and Ruins.
Mario Nuzzi, called Mario 1599
Tomaſi Salini his Uncle.
dai Fiori, of Orta. $1672 | Flowers:
Rome, Florence, and Paris.
Rome and Paris
Antwerp, London, &c.
Antwerp:
Romeo
of Bergamo.
Rorñe.
(
22:1
6
Claudio Gille, of Loraine. {
|
, .
1600 s Auguſtino Taſſo.
1682 Hitory and Landkips.}
Rome.
Rome, Venice, Lyons, and Paris,
where, in the Church of Notre-
Nat. Nic. Bullery, his Uncle.
Jacques Blanchart, of Paris.
Dame, is his Deſcent of the
1600 Hiſtory.
Holy Ghoſt, which they eſteem
one of their fineſt Pieces,
Gaſparo Dughet, called Gaf-2/ 1600 Nicolas Poulin.
paro Poufin, of Rome.
Rome.
tony Michael Angelo Cerquozzi,
1600 Antonio Salvatti.
called Dalle Battaglie, of
1660 Battles and Fruit.
Rome.
Rome.
Daniel Seghers, the Jeſuit, 1600
16001 Jan Breugel.
of Antwerp.
1660 Flowers,
Ant-werp
Flo.
John Hoſkins.
Portraits in Miniature. London.
1630
Francis de Cleyn, a Dutch-
1630
}
Hiſtory.
Mortlack.
Will. Vande-Velde, called Old 1
Sea-Pieces.
1670
Vande-Velde, of Amſterdam.
Holland and England
man.
( 222 )
C
I
Places of Reſidence, and
principal Works.
Rome.
1'
Paris,
Rome and Paris.
។
Rome and Paris.
Maſters, and their Born, Whofe Diſciples, and in
Countries.
Died. what they excelled.
Andrea Sacchi, of Rome.
1601 Cav. Gioſeppino.
1661 S Hiſtory & Architecture.
Philip de Champagne, of 1602
Bruſels.
1602 Hiſtory and Portraits.
1674
U
Nat.
Francis Perrier, of
Bourgogne,
1603 Hiſtory and Etching.
1604
Nicolas Mignard, of Troyes.
1668
Hiſtory
Padre Giacomo Corteſi, called 1605
Battles.
Borgognone, of his Country: 1680
Rembrandt van Ryn, of a 1606 ] Laſman.
Village near Leyden. 1668 S. Hiſtory and Portraits.
1607
Wenceſlaus Hollar, of Prague.
Etching Beaſts, &c.
1650
Abraham Diepenbeck, of Bois-Nat. 1 Rubens.
le-duc.
S1608
Hiſtory
1608 Francis Hals.
Adrian Brouwer, of Haerlem.
1638 Drolling-Pieces.
Rome,
Amſterdam.
Antwerp, London, &c.
Antwerp.
Antwerp.
.
( Ezz)
Rome.
London.
.
London and Oxford.
Rome.
Rome.
Pier-Franceſco Mola, of T 1609 Albani.
Lugano.
$1665 Hiſtory
16091 Fohn Hoſkins his Uncle.
Samuel Cooper, of London.
1672
Portraits in Miniature.
1610
William Dobſon, of London.
Portraits.
1647
Michael Angelo Pace, called 1 | 1610
Fioravanti.
Di Campidoglio. s 1670 Fruits and Still-life.
Charles Alphonſe du Freſnoy, 1611 Perrier and Voet.
of Paris.
1665 | Hiſtory.
S
Dominichino and Peter
1611
Pietro Tefta, of Lutca.
da Cortona.
1650
Hiſtory
,
Gio. Franceſco Romanelli, of? 1612 Pietra da Cortona.
Viterbo.
$ 1662 S Hiſtory.
1614 Daniele Falconi.
Salvator Roſa, of Naples.
1673 S Hiſtory and Landſkips.
Michael Dorigny, of St. 21.1616' Vouet,
.
Quintin.
1665) Hiſtory and Etching.
Carlo Dolci, called Carlino, 1616
16 Jacopo Vignali.
of Florence.
1694 IS Hiſtory .
Rome.
Rome.
1
Rome.
Rome.
7
Paris.
} .
Florence.
1
L 4
1
Maſters, and their
Countries.
Born, Whoſe Diſciples, and in
Died. what they excelled.
Places of Reſidence, and
principal Works.
London.
Paris.
France and Sweden.
Rome and Paris.
:
1617 1 De Grebber.
Sir Peter Lely, of Weſtphalia.
1680s Portraits:
1617 Vouet.
Euſtache Le Sueur, of Paris.
1655 S Hiſtory.
Sebaſtian Bourdon, of Mont-} | 1619 Hiſtory and Landſkips.
pellier.
1673
1620 Simon Vouet.
Charles le Brun, of Paris.
1690 Hiſtory and Portraits.
Fillippo Lauro, of Rome,
1623 | Angelo Caroſello.
1694 S Hiſtory in ſmall.
1625 ) Andrea Sacchi.
Carlo Maratti, of Camorano.
1713 Hiſtory and Portraits.
1628 i Spagnolet and Da Cortona.
Luca Giordano, of Naples. { 1704. Hiftory.
1628 1 Peter Da Cortona.
Ciro Ferri, of Rome.
1690 Hiſtory & Architecture.
Francis Barlow, of Lincoln-11630) Birds and Beaſts.
Shire.
1702
( 224 )
Rome.
Rome.
Rome, Naples, &c.
Rome.
London.
( 225 )
London ; where he built ſeveral
Churches, and the Cathedral
of St. Paul.
}London
.
Sir Chriſtopher Wren.
1631
Architecture.
1722
1633 1 His Father.
Will. Vande-Velde, jun.
1707
Sea-Pieces.
Francis Vander-Meulen, of 1634
Bruffels.
Hiſtory and Views.
1690
06.
Ifaac Fuller.
Fran. Perrier.
1676
Hiſtory.
$1642
16422
1700's
Hiftory.
John Riley, of London.
1646 Zouft and Fuller.
1691 Portraits.
Sir Godfrey Kneller.
1723S
Gioſeppe Pallari.
1654 17 Çarlo Maratti.
1714 | Hiſtory
Sir James Thornhill, the 1677
Engliſh Raphael.
Hiſtory.
1734
Bruſſels and Paris.
London and Oxford; at the laſt
the Reſurrection in All-Souls
Chapel is much eſteemed.
London, Oxford, &c.
w Henry Cook.
1646 Portraits.
London.
.
London.
}
Rome.
London, Oxford, &c. the Cu-
pola of St. Paul's, Greenwich
Hoſpital.
· AN
!
226
An Alphabetical INDEX
ketietetuleteket
tubetelekety
AN
Alphabetical INDEX
OF THE
Chriſtian Names and Surnames
of the ENGRAVERS and PAIN-
ters, with their Places of
Abode, and when they flou-
riſhed, &c.
A
A.
Bbot Primaticcio, uſed the following
Marks, A. P. M. A. or B. or Fr.
Bol. or F. P. See Number 91.
A. Blotholinus.
Abraham Bloemaert, Ab. Bl. be died in
1647, aged 94.
Adam Ælfheimer, born in 1574. See Num-
Adam Mantovano. Number 92.
:
A. D. Bruin. Number 20. flor. in 1:579.
Adrian Collaert. Number: 22.
Adrian Hubert. Number 144.
Agnes Frey, Wife of Albert Durer. Num-
ber 154. She lived in 1510.
Agoſtino
ber 123
of ENGRAVERS. 227
Agoſtino Pariſino. Number 57:
Auguſtin Carracci, A. C. or Agos. C. of
Bologna, died in 1602, aged 45.
Auguſtin Metelli, a Painter of Bologna.
He died in 1660.
Auguſtin Veneziano, or A. V. flor. in
1525. Number 135.
Albert Aldegraft, of Weſtphalia, flor. in
1551. Number 32.
Albert Altorfio, of Sweden, flor. in 1511.
Albert Clovet, flor. in 1675.
Albert Durer, or A. E. of Nuremberg.
He died in 1527, aged 58. Number .
Albert Flamen, flor. in 1641. Number 114.
Albert Golckentonio, A. G.
Alexander Algardi. He died in 1654,
aged 56. Number 158.
Alexander Badiali, of Bologna, A. B.
Alexander Specchi.
Andrew Andreani, of Mantua, flor. in 1600.
Number 47
Andrew Both, A. Both.
Andrew Camaffei, a Painter of Bevagna.
He died in 1695.
Andrew Laurent, of Paris.
Andrew Mantegna, of Mantua. He died
in 1517.
Andrew Salmincio, of. Bologna, flor. in
1640.
Number 139.
Andrew Vande Venne, flor. in 1662. Num-
ber 151.
L 6
Andrew
>
1
228 An Alphabetical INDEX
Andrew Wolfgangus, of Saxony:
Anthony Bofs, a Frenchman. Number 114.
Anthony di Jacquart, A. D. I, F.
Anthony da Trento. He lived in 1550.
Anthony Franceſco Lucini.
Anthony Guernier. Number 91.
Anthony Lanferrius.
Anthony Licini, A. L. P. I.
Anthony Maſſon, of Paris, flor, in 1698,
aged 66.
Anthony Salamanca, flor. in 1664. Num-
bers go, and 143.
Anthony Tempeſta, or T. He died in
1630, aged 75.
Number 148.
Anthony Vandyke, a Painter. . He died in
1641.
Anthony Van Vuaterl. Number 128.
Anthony Wierx.
Anthony Vuormace. Number 14.
Arman Muller.
Arnold Van Weſterhout, flor. in 1681.
3
B...
Baccio Baldino, flor. in 1500.
Baccio Bandinelli, of Florence, B. B. A. F.
1550.
Baldazzar Peruzzi, BAL. SEN. He died
in 1536, aged 55.
Bartholomew Biſcaino, of Genoa, B. B. He
died in 1657
Bartholomew
of ENGRAVERS.
229
.-
Bartholomew Boham, B. B. of Nurem-
berg, flor. in 1531.
Bartholomew Chilian, or Kilian, of Augf-
burg, flor. in 1683.
Bartholomew Coriolano, of Bologna, B. C.
Equ. flor. in 1640.
Bartholomew Gagliardi. He died in 1620.
Bartholomew Paſſarotti, a Painter of Bo-
logna, B. P. died in 1578.
Bartholomew Schenio, B. S. of Bologna.
Baptiſt Brittiano, of Mantua.
Baptiſt Franco, of Venice, died in 1561.
Bellange, a Frenchman.
Benedict Farjat, flor. in 1702.
Bernard Faffaro. Number 108.
Bernard Balieu, flor. in 1700.
Bernard Caftelli. Number 102.
in 1629.
Bernard Gallo, D. B. flor. in 1559.
Bernard Malpucci, B. M. of Mantua.
Blodelingus of Amſterdam.
Bonaſoni : See Julius Bonafoni, flor. in
1547
Buonmartino : See Ifrael Vanmechelin.
Bernard Baron, of London.
He died
C.
Camillo Graffico, of Forli.
Camillo Porcaccini. He died in 1628.
Camillo Congio, or CC. Number 102.
Caprarola
230. An Alphabetical INDEX
---
+
Caprarola 1597. He engraved the Death of
Cbrift from Hannibal Carracci, on Silver,
in Caprarola.
Charles Alet, flor. in 1693.
Charles Audran, of Paris.
Charles Buffagnotti, of Bologna, flor, in
1704
Charles Ceſio, an Engraver.
Charles Cignani, a Painter of Bologna, CC.
Charles David, C, D, F.
Charles de la Hay, flor. in 1682.
Charles Maratti, a Painter, of Rome, died
in 1713, aged 88.
Charles Saraceni : He died 1625.
Ceſar Fantetti.
Cherubino Alberti : He died in 1615. Num-
ber 100.
Claudius Audran.
Claudius Mellan, of Paris, Cl. Mel. died in
1688, aged 94.
Claudia Stella, of Paris, flor, in 1686.
Ciro Ferri, of Rome, he died in 1690.
Conrad Mayr, of Zurich, died in 1638,
aged 33
Conrad Waumans, flor. in 1666.
Cormet. Number-23.
Cornelius Berghem, or Berchen. Number 113.
Cornelius Bleker, flor. in 1636. C. Bleker.
Cornelius Bloemaert, C. Blo. born in 1603:
C. B. and flor. in 1665.
Cornelius
1
of ENGRAVERS. 231
Cornelius Boſs, or Bus. Numbers 48, 54,
and 130.
Cornelius Cort, of Holland, he died in
1578, aged 42.
Cornelius Gallo, flor. in 1649.
Cornelius Heviffen. Number 38.
Cornelius Polemburg, of Utrecht, C. P.
died in 1660, aged 74. Number 119.
Cornelius Sichen. Number 17.
Cornelius Vermülen, flor. in 1706.
Creſcenzius de Honofri.
Criſpin Paffæus, or Paſſe, of Cologn, died
in 1626. Number 163.
Cuerenhert. Number 29.
D.
Daniel Mignot. Number 41.
David Hopfer, D. H. flor. in 1568.
David Van Boons. Number 118.
Diana, of Mantua, ſhe lived in 1566.
Dieterico Mayr, he died in 1658, aged 87.
Dirich Vander Staren. Number 12.
Domenichino, D. of Bologna, died in 1641,
aged 60.
Domenic Barriera, of Florence. Number
147.
Domenic Beccafumi, be died in 1549.
Number 140
Domenic Campagnola, 1518. Number 5
Domenic degli Ambrogi, of Bologna.
Domenic Maria Bonavera, of Bologna.
Domenic
1
232 An Alphabetical INDEX
Domenic Maria Canuti, of Bologna, D.
M. C.
Domenic Maria Fontana, died in 1607;
aged 64.
Domenic Teinpeſta, of Florence, flor. in
1704, aged 62
Domenic Tibaldi, of Bologna, he died in
1582, aged 42,
E.
Edelink, of Paris, died in 1707.
Edward Fioletti, of Bologna, flor. in 1612.
Number 105.
Elias Hainzelman, of Augſburg.
Elizabeth Sirani, a Paintreſs of Bologna,
died in 1664, Aged 26.
Eneas Vighi, or Vico, Æ. E. V. be lived
in 1550. Number 160.
Erhardus, of Paris.
Efaias Van-Hulſen, E. V. H.
.
F.
Fabricius Chiari, of Rome, be died in 1695.
Frederick Barocci, of Urbino, F. B. V. I.
born in 1528, died in 1612, aged 84.
Flaminius Torre, of Bologna, F. T. F.
be died in 1661.
Florius Macchi, of Bologna, flor. in 1600.
Francis Aquila.
Francis Briccio, F. B. of Bologna, fler. in
1600.
Franceſchin
of ENGRAVERS. 233
Franceſchin Carracci, of Bologna, flor, in
1622.
Francis de Neve, of Antwerp.
Francis de Poilly, of Paris. "Number 142.
Francis Maria Francia, of Bologna. Num-
ber 159, flor. in 1704:
Francis Giovane.
Francis Grimaldi, of Bologna, flor. in 1668.
Francis Guerrieri.
F. L. D. Ciatres.
Fr. Lovemont, flor. in 1662.
Francis Mazzola, of Parma.
Francis Melloni, of Bologna.
Francis Spierre, of Nancy, died in 1681,
aged 38.
Francis Steen, or Vander Steen, of Ant-
werp.
Francis Stringa, a. Painter of Modena,
flor. in 1704.
Francis Tortebat.
Francis Vanni, a Painter of Sienna. He
died in the rear 1610, aged 47.
Francis Villamena, flor. in 1623, aged 60.
Francis Bonaventuri Biſi, F. B. B. of Bo-
logna.
Francis Cauveau, of France, died 1675.
Number
73.
Francis Perrier, of Burgundy, flor, in 1635.
Number 76.
Francis Terzi, of Bergamo.
G. Ga-
Number 117
1
N
234 An Alphabetical INDEX
G.
Galiot Nardois.
Gaſpar Reverdin. Number 11.
Gerard Fontana.
Giacinto. Giminiani. Number 89.
Giles Rouſſelet, flor, in 1686.
Giles Sadeler, He died in 1629, aged 59.
Giodoco Aman, of Zurich, flor, in 1588.
George Chriſtofano Eimert, of Ratiſbon,
flor. in 1683.
George Ghiſi, of Mantua. Number 93.
George Pens, of Nuremberg. Number 44.
George Perundt, born in Franconia, died in
1663, aged 60.
Giovachino Bocklaer, of Antwerp.
Gobbo de Carracci.
Guido Ruggeri. Number 156.
Guido Reni, G. R. of. Bologna, died in
1642, aged 68.
H.
Hans (i. e. John) Baldungh, or Baldvin,
flor. in 1574. Number 36.
Hans Bol, H. B. of Mechlin, flor. in 1541.
Hans Breſanck. Number 33.
Hans Broſamer, flor. in 1538. Number 36.
Hans Burkmayr, of Augſburg, died in
1517, aged 44. Number 30.
Hans Liefrinck, H. L. Number 146.
Hans Lutenſach. Number 58.
Hans Schauilig. Number 1.
Hans
of ENGRAVERS. 235
Hans Van Culmack, H. V. C. flor. in
1517.
Hannibal Carracci, a Painter of Bologna,
A. C. P. died in 1609.
Henry Bloemaert, flor. in 1647.
Henry Cliven, he died in 1589. Numbers
124. and 152.
Henry Blofeuvertus Friſius.
Henry Goltzius, of Holland; be died in
1617, aged 59. Number 111,
Henry Hondius, born in 1573.
Herman Coblent. Number 144.
Hercules Bazicaluva, of Florence, flor. in
1641.
Hercules Septimius, H. S. or Hercules
Setti, of Modena, flor. in 1571.
Hiſberto Venio.
Hieronymus, or Jerome Mocetus. Num-
.
Hiſbel, or Hilbin. Number 31.
Hoefnaghel, Joris Hoefnaghel, a Painter
of Antwerp, he died in 1600.
Horace Borgiano, H. B. of Piſtoia, Num-
Hiacinth Giminiani. See Giacinto.
Hubert Audenaerd.
Hubert Goltzius, be died about the Year
1503, aged 57.
Hubert Vincentini.
ber 13
ber 36.
1
1. James
236 An Alphabetical INDEX
1
!
I.
James Belli, of France, I. B. F. or Belli
fec.
James de Gheyn, flor. in 1615, aged 50.
Number 122.
James Mattamius, of Haerlem. He died
in 1631, aged 60.
James Sandrart, of Nuremberg, for. in
1683.
James Vander Heyden, of Augſburg, flor.
in 1608.
James Lurma, of Amſterdam, flor. 1681.
James Grand Homme, I. G. Van Uliet.
Number 112.
James Kerver, I, K.
James Bink, of Nuremberg, 1500. I. B.
James Blondeau, flor, in 1690.
James Callot, of Lorrain, he died in 1635.
James Freij, of Rome.
James Laurenzani.
James Lauri
James Ligozzi.
James Maria Giovannini, of Bologna, be
.
James Matham, of Holland, he died in
1631.
John Chantry, flor. in 1662.
Jerome Hopfer, I. H.
J. Blondeau, that is, James, flor. in 1690.
J. G. Van Uliet: See James Grand Homme.
John Covay, of France. Number 72.
John
died in 1717
OF ENGRAVER S. 237
John Ladeſpeldrickt. Number 45.
John le Pautre, a Frenchman, Engraver of
divers Subjects.
J.G. Bronchorſt, i. e. John, flor.. in 1662.
Number 119.
J. Gal. Nardois F. 1. e. John Galect Nar-
dois fecit.
John Abach, born in Cologn in 1556, flor.
in 1597:
John Baptiſt Brixianus, J. B. B.
John Baptiſt Mantuanus, J. B. M. flor. in
1500.
John Culembach, of Nuremberg, flor. in
1512.
John Francus, of Augſburg.
John George Walderich, of Augſburg.
John James Thourneiffen, of Bafil, flor. in
1667.
John Livius, J. L. fec.
John (or Hans) Sebald Beham, be died in
1545. Number 31.
John Andrew Podeſta, of Genoa.
John Andrew Sirani, of Bologna.
John Baron, of France, flor. in 1644.
John Baptiſt Bolognini, a Painter of Bo-
logna.
John Baptiſt Bonaccini.
John Baptiſt Caſtiglioni. Number 95.
John Baptiſt Conſtantini.
John Baptiſt Coriolani, an. Engraver of
Bologna.
John
238 An Alphabetical INDEX
1
John Baptiſt Faldag of Rome.
John Baptiſt Galleſtrucci. Number 155.
John Baptiſt Maggi, of Rome, Painter
and Engraver
John Baptiſt, of Mantua, flor. in 1500.
John Baptiſt Mercati.
John Baptiſt Sorito, flor. in 1621.
John Baptiſt Paſqualino, flor. in 1622,
John Baptift Ricci, of Novara.
John Baptiſt Teſtana.
John Baptiſt Vanni.
John Baptiſt Zani, of Bologna.
John Benedict Caſtiglioni, of Genoa. Num-
1
ber 95.
John Calcar, of Cleves, he died in 1546.
John Cæfar Tefta, Nephew to Peter Tefta.
John Frederick Greuter, of Straſburg.
John Francis Caſſioni, an Engraver in Wood.
John Francis Venturini.
John Francis Zabello. Number 83.
John George Nuvolftella, a German, died
in 1624, aged 30.
John Guerra, of Modena, he died about the
Year 1612.
John William Baur. See Guil. Baur.
John Joſeph dal, Sole, a Painter of Bo-
logna, flor. in 1704.
John James Coraglio, of Verona, an Imi-
tator of Marc Antonio Raimondi.
John Lanfranci, a Painter of Parma, died
in 1647, aged 66.
John
1
of ENGRAVERS. 239
John Lewis Valeſio, of Bologna, VAL.
died in 1643. Number 103.
John Lutma, of Amſterdam, flor. in 1681.
John Maria, of Breſcia. Number 8.
John Miele, of Flanders, flor. in 1648.
John Nicola, of Venice, flor. in
1555.
John Orlandi, flor. in 1600.
John Podeſta.
John Sadeler, be died in 1600, aged 58.
John Saenredam, of Holland. Number 121.
John Schorel, of Bavaria, he died in 1562,
aged 67. Number 60.
John Troſchel, of Nuremberg, he died in
1633.
John Viani, a Painter of Bologna, died in
1700, aged 63.
Joſeph Maria Metelli, flor. in 1704. Num-
ber 138.
Jofeph Maria Roli, of Bologna, G. M. R.
Joſeph Moretti, of Bologna, an Engraver
on Wood and Copper, born 1657, flor. in
1704
Joſeph Ribera. Number 129.
Joſeph Teſtana, flor. in 1654.
Jofeph Zarlati, of Modena.
Joris Hoefnaghel, ſee Hoefnaghel.
Joft Amon. Number 37.
Ifaac Major, of Franckfort, flor. in 1620.
Iſrael Martino, I. M. Number 186.
Iſrael Meck, or Van Meck, I, M. flor. in
1623.
Ifrael
240 An Alphabetical INDEX
Iſrael Silveſtre, of France.
J. Van Velde. Number 127,
Julius Bonafoni, J. B. F. of Bologna, flor.
in 1547
Julius Cæfar Porcaccinus, J. C. Porc, In.
died in 1626, aged 78.
Julius Cæſar Venenti, of Bologna. Num-
ber 137:
Juſtus Sadeler, of Bruffels, I. S. E. flor.
in 1620. Number 157.
Julius Campagnola, of Venice, flor. in 1520.
L.
Lambert Lombardo, L. or L. L. or L. S.
died in 1960, aged 60.
Lambert Suave, or Suſterman, is the ſame
as Lambert Lombardo.
Lambert Hopfer. Number 21.
Leonard Gualtier, flor. in 1618. Num-
ber 70
Leonard Paraſole Norlino, flor, in 1600.
Lewis Carracci, L. C. died in 1610,
aged 64.
Lewis Cardi Cigoli, L. C. C. of Florence,
Lewis Mattioli, of Bologna, flor, in 1704.
Lewis Scalzi.
Lawrence Loli, L. L.
Lawrence Tinti, of Bologna. for. in 1666.
Louvemont, flor. in 1662.
Luke Giamberlano.
Luke
A
1
of ENGRAVERS.
241
Luke Cranogio, or Van Craen, or V. C.
or L. V. C. Numbers 26 and
35.
Luke de Leida, called of Holland. Num.
ber 34
Luke Kilian, of Augſburg, Junior, or
L. K. A. flor. in 1657.
Luke Kruger, a German, flor. in 1516.
Luke Penni, or Lucas, P. R. of Florence,
flor. in 1528.
Luke Van Uden, L. V. V. flor. in 1662,
aged 67.
Luke Vorſterman, of Antwerp, flor, in
1629. Number 120.
Lewis Gomie,
Lewis Scaramuccia Perugino, died in 1684.
Lewis Philip Boitard, of London.
M.
Marc Antonio Chiarini, of Bologna.
Marc Antonio Raimondi, or M. A. F.
died in 1528. Number 99.
Marc da Ravenna, M. R.
Marottus.
Martin de Clef, M. C. flor. in 1436.
Martin de Secu, or M. + S. Number 39.-
Martin de Vos, of Antwerp, a celebrated
Inventor for Engravers, died in 1604,
aged 72.
Martin Hemſkirk, a principal Inventor for
Engravers, died in 1574, aged 76. Nilin-
ber 24. ,
M
Martin
i
1
.
242 An Alphabetical INDEX
Martin Rota, of Sabina, flor. in 1725.
Number 1o9.
Martin Zinkius, or Zazingeri, M. Z. or
Z. A. flor. in 1500.
Maſo Finiguerri, of Florence, one of the
firſt Engravers on Copper, in 1460.
Matthew Grunevald, of Aſchaffemburg.
Numbers 30, and 153.
Matthew Greuter, of Straſburg, M. G.
he died in 1638, aged 72.
Matthew Merian, M. Merian, born in
Barbary, in 1593, and died in 1632.
Matthew Kuſel, of Augſburg.
Matthew Piccioni, of La Marca, flor. in
1655.
Matthew Zagel, M. Z. Number 10.
Maurice Oddi, died in 1702, aged 63.
Number 134
Melchior Girardini, Mel. Gir. Fec. of
Rome.
Melchior Kuſel, of Augſburg, Brother to
Matthew, flor. in 1652.
Melchior Lorichio, M. L.
Micarino. Number
9.
Michael L’Aſne, died in 1667, aged 72.
Number 75
Michael Le Blon. Number 6.
Michael Angelo Guidi, Son of Raphael.
Michael Cocxie, died in 1592, aged 95.
Number 3.
Michael Luccheſe. Number 107.
Michael
of ENGRAVERS.
243
Michael Natali, of Lodi, flor. in 1665.
Michael Volgemut, of Nuremberg, Albert
Durer's Maſter, flor. in 1490.
Mr. Lane.
Mr. Rolet.
*Mr. Vanſculp.
..
>
N.
Nicholas Vicentino, he engraved the Works
of Parmigiano, and flor. in 1555.
Nicholas Chapron, of Paris, N. C. flor. in
1649.
Nicholas Manuel, of Bearn, N. M. B. flor.
in 1518.
Nicoletto, of Modena.
Nicholas Beatricetto.
Nicholas Beatrici, of Lorrain, N. B. L. F.
Number 149.
Nicholas Bylli.
Nicholas de Bruin, N. B. Number 28.
Nicholas du Puys, of Paris.
Nicholas Dorigny, of Paris.
Nicholas la Fas, a Frenchman,
Nicholas Laigniel.
Nicholas Mignard, of Paris, died in 1695,
aged 85.
Nicholas Perrelle, a Frenchman, Engraver
to Nicholas Pouffin, and others.
Nicholas Poilly, Frenchman, died in
1696, aged 70.
Noel Garnier, flor. in 1618. Number 4.
O. Oliver
M 2
1
244 An Alphabetical INDEX
Oi
Oliver Gatti, an Engraver of Bologna, flor..
in 1626.
Oliver Dolfin, he died about 1693.
P.
Padre Angelo Lorenzini, Min. Conv. Bol.
Paul Brill, of Antwerp, died in 1626,
aged 72
Paul Bianchi, P. B. F.
Paul Pontius, of Antwerp, flor. in 1660,
aged 57.
Paul Maupini.
Periecouter. Number 40.
Peter Aquila, flor. in 1681.
Peter Artſen.
Peter Breughel, died in 1556. Number 123.
Peter Cottart. Number 46.
Peter Daret, of Paris, flor. in 1654. Num-
ber 74
Peter de Jode, the Elder, born in the Year
1602, and died in 1634.
Peter del Per
Peter Hys, P. H.
Peter Iſelburgh, of Cologn, flor. in 1.620.
Peter Lombard, flor. in 1666. Number 71.
Peter Mercand. Number: 42.
Peter Mignard.
Peter Quaft. Number 43.
Peter Ryſbrack, on bis Landſkips.
Peter
of ENGRAVERSO 245
Peter Santi Bartoli, P. SS. Bart. of Peru-
gia, died in 1700, aged 65.
Peter Sourman,
P. Servuter.
Peter Simon, of Paris, flor. in 1673.
Peter Stefanoni, P. S. f.
Peter Stivens, of Mechlin, flor. in 1629.
Peter Teſta, of Lucca, be died in 165kg
aged 41. Number 96.
Peter Vander Borcht, P. V. Borcht.
Peter Vander Nelpe. Number 115.
Peter Vanſickleer.
Peter Voeriot. Number 53.
Philip Adler, of Padua. Number 16.
Philip Abiati, of Milan, flor. in 1704.
Philip Napolitano.
Philip Paſſari.
Philip Thommaſini, Phil. Th. flor. in
°1589.
R.
Raphael Guidi, of Tuſcany.
Raphael Sadeler, born in 1555, and flor.
in 1595.
1
Raphael Scaminoffi.. Number 104.
Raphael Sancio, an Inventor. Numbers
99, and 145:
Raymond La Fage.
Ravenſtein, or Gaſpar Reverdin, flor. in
1640. Number in.
Rayner
M 3
246 An Alphabetical INDEX
Rayner Perſino, of Amſterdam, a Com-
panion of Cornelius Bloenaert.
Ravignano, fee Mark da Ravenna. R. S. •
Regnaſſon, N. flor. in 1646.
Rembrandt, or Van Rhin, died in 1668,
aged 62. Number 126.
Remigio Cantagallina.
Reynold Boivin, alſo Renato. Number 7.
Reynold Lochon. Number 69.
Ralph Brein, of Zurick.
Ralph Mayr, flor. in 1638.
Robert de Vorſt, flor. in 1628.
Robert Nanteuil, a Frenchman, he died in
1678, aged 48.
Robeţta, R. B. T. A.
R, V, A. Gaudenſis.
1
S.
Saenredam, See Hans (or John) Saenre,
dam.
Salvator Roſa, a Painter, Engraver and
Poet, of Naples ; he died in 1675, aged
60. Number 106.
San Martino, of Bologna, this Artiſt was
Abbot Primaticcio, of St. Martin's.
Number 9...
Samuel Hainzelmanus, of Augſburg
Schelde a Bolſuvert, flor. in 1660. Num-
ber 125
Scuppen, of Paris.
Saben-
of ENGRAVERS.
247
1
>
Sabenzanus. Number 109.
Silveſtre da Romana. . Number 101.
Simon Cantarini, called of Peſaro, S. C.
Simon Frifio.
Simon Guillain, S. G. of Paris, flor. in
1646.
Simon, of Paris, flor. in 1673.
Sinibaldo Scorza, of Genoa, he died in
1631, aged 41.
Siſto Badalochio, of Parma, flor. in 1607.
Spagnoletto, See Joſeph Ribera. Number
129.
Stephen della Bella, of Florence. S. B. be
died in 1664, aged 50. Number 136.
Stephen Baudet, of France, flor. in 1675.
Stephen Carteron, S. C. F. flor. in 1615.
Stephen Colbenſtagh, of Rome. Num-
Stephen du Perac, of Paris, he died in
1601.
Stoltzius. Number 2.
Svaneburgh, he engraved the Works of Ru-
bens.
Suſanna Sandrart, of Norimberg, flor. in
1683
ber 94
I.
Theodore Cornher, of Amſterdam, he died
I
in 1590.
Theodore Crugher, or Greuger, T. C.
Number 150.
M 4
Theo
248 An Alphabetical INDEX
Theodore dalla Croce, of Holland.
Theodore Mattamio, of Haerlem, flor. in
1663.
Theodore Van Tulden. Number 1 16.
Theodore Zaghel. Number 65.
Thomas Barlacchius.
Tibó, flor. in 1686.
Tobias Stimer, of Schafuſe, flor. in 1590.
V.
Valentine Senezius, V. S. flor. in 1622.
Van Rhin, See Rembrandt.
Ventura Salimbeni, of Siena, V. S. In.
aged 56.
Veronica Fontana, of Bologna, an Engra-
ver on Wood.
Vefpafian Strada, Vef. S. of Rome, died in
1618, aged 36.
Ugo da Carpi, flor. in 1500.
Vincent Caccianemici, V. C. of Bologna.
Virgilio Sole, or V. S. Numbers 19, and
61.
W.
Waer Van Hoflanen. Number 15.
Willian Delft, of Holland, died in 1638.
Number 151.
William Cortefe.
William Faithorne, of London, died in
1690.
Wen-
Cof ENGRA VER S.' 249.
Wenceſlaus Hollar, a Bohemian, died in
. 1677.
Wolfgangus Kilian, of Augſburg, flor. in
1654.
W. Vaillant, flor. in 1675.
W. Vaillant, flor. in 1726.
Z.,
Zazingeri, See Martin Zinkio.
Zinkio is the ſame as Martin Zazingeri.
are
M 5
AN
250
An Alphabetical LIST
*
AN
/
Alphabetical LIST
OF THE
SURNAMEs before the CHRISTIAN
Names, of Painters, Engra-
vers, and Sculptors.
Note, The Letters P and S, before the
Names, ſtand for Painter, or Sculptor.
A Back, John Allen, Francis
Abiati, Philip Altorf, Adam
Adamo, Mantuano
Ambrogi, Domenico
Ackerftout, William delli
Adam, John
Ab-Amling, Corne-
Adler, Philip
lius Guftavus
P.Ælfheimer, Adam
Carolus
Agoſtino, Veneziano Guftavus
Ağuccio, Giovanni Amon, Juſtus
Alberti, Cherubino
Jodocus
Aldegraft, Albert Ammon, Claudius
S. Algardi, Aleſſandro Andrea, Nicolas
Allard, Carolus
Andreani, Andrea'
Alet, John, Charles
Angelo,
>
P.-
of ENGRAVERS, &c. 251
1
Angelo, Michael, Jeep P.Baugin, John
Buonaroti
Baumgartner, J. G.
Anrien, T. B. r. Bary, Henry
Aquila, Francis P.Baur, Guil. ar Jo.
Petrus
Will.
Artſen, Petrus P.Bazicaluva, Hercules
Aubry, Peter
Bazin, Nicolas
Aveline, Sen. P.Beatrici, Nicolas
Audenaerd, Hubert Beatricetto, Nicolo
Audran, Charles Beauvais
P.-
Gerard P.Beccafumi, Domenico
Benedict Becket, Iſaac
Claude Beham, John Sebald:
John
Belange
Auroux, Nicholas.
Belli, Jaques
B.
Berghem, Cornelius
P.Badaloccio, Sifto P.Bernardi, Gio.
P.Badiale, Aleſſandro Bertrand, Philip
Baldung, Hans
Beaufrere, P.
P.Baldini, Baccio
Beuſecom, T. V.
Balieu, Bernard
Bertelli, Ferando
Peter de
P.Baltens, Peter
Bettini, Domenico
Balthaſar, Peter Beverenfis, Nicafius.
P. & S. Bandinelli, Bac Bianchi, Paolo
cio
Bignon, Francis
Barbé, John
P. & S. Bink, Jacobus
Barlacchius, Thomas Bie, Jaques de
Baron, John
Biſcaino, Bartol.
Baron, Bernard Biſi,Fra. Bonaventura
P.Barocci, Frederico Blancus, Paulus
Baroni, Giuſeppi Bleker, Cornelius
Barri, Giacomo
Blefendorf, Samuel
Barriera, Domenico
Bleſwart, Henry
P.Bartoli, Pietro Santo Bleſwick, F.
Baudet, Eſtienne P.Bloemart, Abraham
Bloemaert,
Lucas
M 6
252 An Alphabetical LIST
>
Bloemaert, Cornelius Banez....
Frederick
Buonmartino, Iſrael
Hercules Martin
Blois, A. de
Bonnart, Nicolas
P.Block, Daniel
Bonvicinus, B.
P: Emanuel
Borgiano, Horatio
P.. Adolphus Borrecheus, Matthew
P. Benjamin Bos, or Bus, Corne-
Blon, Michael le
lius
Blond, la
Bos, or Boſch
Blondeau, Jaques P.Bofs, Antoine
Bloeteling, A.
Both, Andrew
Bocklin, J.C.
Bouché, Pet. Paul
P.Bocklaer, Joachim Bouchet
Boel, Quirinus
Boulanger, John
C.
Boud, R.
Boham, Bartolomeus Boudan, L.
Bois, M. de
Boutatts, John
Boivin, René
Philip, jun.
Boiflavin, L.
Frederick
Boitard, Lewis Philip
P. Balthaſar
Bol, Hans
G.
P.Bologneſe, Franceſco, P.Brebiette, Peter
Sec Primaticcio P.Brein, Rodolf
Bolognini, Jo. Bap Brelanck, Hans
tiſt
P.Breſcia, Giov. Maria
Bolonnois, E. de
da
Bolſwaert, Scalle a
Giov. An-
Bolfwerd, Bi.
tonio
Boetius P. Breughel, Peter
Bolzoni, Andrea Brifsart, P.
Bonaccini, Jo. Bap. P.Brill, Paul
tiſt
P.Briſcio, Franceſco
Bonar, A.
Brittiano, Baptiſta.
Bonafone, Julio Brixianus, J. Baptiſt
Bonavera, Domenico
{
Brixianus,
of ENGRAVERS, &c.
253
>
>
1
Brixianus, Jo. An- P.Carracci, Agoſtino
tonio
P. Annibal
Bronchorft, John
P..
Antonio
Brofamer, Hans
P.-
Franceſco
Bruf, John
P. Lodovico
Brun, G. le
P.-, Paolo
P.-
Charles le Cardi, Lodovico
Brun, Horatio
Carpi, Ugo da
Brun, Peter de
Cars, J. F.
Bruin, A. D.
Carteron, Stephanus
Nic. de
Caſione, J. F.
Brye, Theodore de Caſtelli, Bernardo
Buffagnotti, Carlo
Cauſe, Henry
P. & S. Buonaroti, Mi. P.Caſtiglione, Jo. Be.
Angelo
nedict
P.:Burchmair, Hans
Jo. Bap-
Burnford, Thomas
tiſt
Bylli, Nicolo.
P.Cefio, Carlo
Du Change, G.
C.
Chapron, Nicolas
P.Caccianemici, Vin Chafteau, N.
Du Chaſtel
P. & S. Calcar, John Chaveau, Francois
Callot, Jaques
Chatres i
Camaflei, Andrea Chereau, F.
Campagnola, Dome Cheron, Elizabeth
nico
Cherpinion, c.
Cheſneau, Henry
P.Candidus, Peter Chevau, F.
Cantagallina, Remi- P.Chiari, Fabritio
gio.
Chiarini, Marc An-
Cantarino, Simone tonio
Canuti, Domenico Cignani, Carlo
Maria
Ciamberlano, Luca
Capitellus, Bernardus
Ciro, Ferri
Capriolo; Aliprando
P. Clef,
cenzo
-, Julio
t
}
.
t
2 54 An Alphabetical LIST
Crepy
2
1
P.Clef or Cliven, Hen.de Corteſe, William
P.-
Mar Coffin, Lovis
tin de
Conrad, Abraham
P.Clerc, le, jun.
Cottart, Peter
Sebaſtien
Cotta, Jac.
Cloe, Aubert
Couvay, John
Clovet, Albert
Cranogio, Lucas
Clouvet, P.
Cremonius, Andreas
R.
Cluet, Hubert
Cruger, Theodore
Coblentz, Herman P.Culembach, John
Cochin, ſen.
Culot
jun.
Cundier, John
Cock, Jerom
Curti, Franceſco
Coenhert, Theodore Cuftodis, Domenico.
Dirich
D.
Coenradt, Lowers Dac, John, the ſame
Cocxis, Michael
with John Aback
Coget, Anthony Dalla Croce, Theo-
Cakerken, Cornelius dore
Dankers, Henry
Colbenſtagh, Stephen Dankert, Cornelius
Collaert, Adrian Dannoot, Peter
Collin, Richard Daret, Peter
Nicolas David, Terom
Congius, Camillo
Carolus
Conrad, Abraham
, Henry
Conſtantini, Jo. Bap Delft, William
tiſt
Jacob
Coquin, Lovis
Della Bella, Stephano
Coraglia, Jo. Jacob Del-Pò, Pietro
Coricori, Girolamo Derlois, M.
Coriolanus, Bartolo Dertellus, Lucas
meus
Defrochers, Effienne
Cormet
jun.
Cort, Cornelius Devaux, Robert
Diamner,
E. van
of ENGRAVERS, &c. 255
Y
Or
las a
Diamner, H. F. Fantetti, Ceſare
P.Dolfin, Olivier
Farjat, Benedict
Doino, Catterino P.Farinati, Paolo
P.Domenico, Fioren Febure, le
tino
Ferace, Canute
P. Domenichino, Fevre, Claude le
Dom. Zampieri Filian, John
Dorat, Jac.
P.Finiguerra, Mafo
Dorigni, Michael
Fiolettus, Edward
Nicolas Flamen, Albert
Doffier, M.
Floræ, Guill. Nico-
Drevet, Peter
Claude Flos, Claude du
Dubois, M.
P.Fontana, Dom. Ma-
Du Change, Gaſpar ria
Duflos, Claude
Gerardo
Dupuis, Nicolas
P.
Veronica
Fr.
Francia, Franceſco
E.
Maria
Edelinck, Gerard
Francoforma
, Nicolas
Francus, Baptiſta
Eimart, Geo. Chrift.
Freij, Agnes
Eland, Henry
Freij, Giacomo
Elipart, J. Ch. Frizius, Simon
Elftrac, Robert
Froſno, John
Erhard
Fruytiers, Philip.
Erlinger, Francis.
G.
F.
Gagliardus, Philip
Faber, John, ſen. Gagliardi, Bartolo-
John, jun.
meo
Fage, Nicolas la
Faithorn, William
Falda, Jo. Baptiſt
Falk, John
- Jerom
Galle, Theodore
Galle, Philip
Cornelius, fen.
-, Cornelius, jun.
Gallo, Bernardo
Gal-
256 An Alphabetical LIST
a
Galleſtrucci, Jo. Bap Guarnier, Anthony
tiſt
Guerra, Giovanni
Gantrel, Stephen Guerrieri, Franceſco
Garnier, Noel P.Guidi, Rafael
Gatti, Oliviero
Mich. Agnolo,
Gaudenfis, R. V. A. his Son
Gautier, Leonard P. Guido Reni
Georgi, George
Guignon, V.
John
Guillain, Simon
P. & S. De Ghein, Jaq. Gyger, Jo. Conrad.
Ghiſi, Georgio
H.
Giffart, Peter
Habert, N.
Giminiano, Jacintho Haelwegh, Albert
Giovane, Franceſco
Hagen, s.
Giardini, Melchior Hainzelman, John
Glover, George
Samuel
Gole, John
Halbeck, John van
Gomie, Luigi
Hallé, S.
Golkentonius,
Al Hanzelman, Elias
bertus
Harrewin
P.Goltzius, Hubert Hay, Charles de la
Henry Hemfkirk, Martin
Gourdelle
Heiden, Jacob ab
Graffico, Camillo Heim, W. C.
Granhomme, Jaques Heince, Zachary
Greut, Jofeph
Hendricx, Giles
Greuter, F.
Herkenever, Jac.
Theodore
Guil.
Matthew
Leonard
P.-
Jo. Frede Herthemels, Maria
rick
Hertz, Jo. Daniel
P. Gribelin, Sạm. ſen. Heviſſen, Cornelius'
Sam. jun. Hiſben, Peun
Grignon, Jaques Hoefnaghel, Joris
Grimaldi, Franceſco Hoelwigh, Adrian
Grunevald, Matthew Hogenberg
Holbens,
P.
P.,
2
of ENGRAVERS, &c.
257
P.
3
Holbens, of Haerlem
Hollar, Wenceſlaus
K.
Holſtein, P.
Kaldung, Hans
P.Hondius, Henry Kerver, Jaques
William Kilian, Lucas, ſen.
Honofri, Creſcenzo
Lucas, jun.
Hopfer, Jerom
Bartholomew
David
Wolfgang
Lambert
Philip
Houbraken, Jaques
Koning, Cornelius
Houget, John
Kraling, John
Houfle, Patil de la
Kruger, Lucas
Hubert, Gaſpar Kuffel, Matthew
Adrian
Melchior.
Huberti, Francis
Hulfius, Francis
L.
Humbelot
Ladelſpeldricht, John
Huret, Gregory
Laignel, Nicolas
Huybreckt, Peter Lamſweard, Stephen
Hys, Peter.
Landry, P.
I.
Lanferrius, Antonius
Lanfrank, Giovanni
Jacquart, Ant. de
Lang, Mauritz
Jeaurat, E.
Langlois, John
Imperiali, Girolamo Larmeflin, D. de
Jode, Peter de, ſen. Laſne, Michael
Later, John de
Jolain, Jac.
Lankerken, Corne-
Jongelinx, J. B.
lius
J.P. Laurent, Andrew
Jongh, J. de ,
Laurentio, Efaré
Ifaac
Laurenzani, Giaco-
Iſac, Jaſpar
Iſelberg, Peter
Lauri, Giacomo
Juſter, J.
Lawers, Nicolas
Lawers,
van
Peter de, jun.
mo
258 An Alphabetical LIST
Lawers, Conrad Lyvius, John.
Le Bas, Jaques Phil.
M.
lipe
P.Macchi, Floria
Lenfant, John P. Maggi, Jo. Baptiſt
Leonart, G. F. Magliar, A.
J. F. P.Major, Iſaac
P.Leonus, Octavius Malleri, Philip de
Lens, Bernard
Charles
Leotard
Malpucci, Beraio
Lepicie
P.Mantegna, Andrea
P.Leyden, Lucas van Mantuana, Diana
Leyfebetten, P. V. Mantuanus, Giorgio
Licinio, Antonio
- Jo. Baptif
Liefrank
Manuel de Berna, Nic.
Liefrinck, Hans P.Maratti, Carlo
Lieu, Thomas de Marc. Ant. Raimondi
Ligozzi, Giacomo Maria, Domenico
Lilibet, P.
Mariette, P.
Lochon, René
John
P.Lolli, Lorenzo
Mariotti
Lombardus, Lam Martinez
Martino, Israel
Lombart, Peter Maffon, Antoine
Lommelin, Adrian P. Matham, Jaques
G.
P.-
Theodore,
P.Lorenzini, Padre An his Son
gelo
P.Mattioli, Lodovico
Lorichius, Melchior Mavelet, Charles
Louvement, Francis Maupini, Paolo
Louys, John P.Mayer, Dieterick
Lubin, Jaques
Henry
Luccheſe, Michael
Conrad
Luciani, Antonio
Rodolf
Lucini, Ant. Fran- P.Mazzola, Franceſco
ceſco
Meck, or V. Meche-
P.Lutma, Janus
lin, Iſrael
Luyken, John
bertus
,
P.
Melar,
of ENGRAVERS, &c. 259
Melar, Adrian
Neve, Francis
Mellan, Claude
Nicoletto, da Modena
Mellan, G.
Nuvolftella, Jo. Geo.
Melloni, Franceſco
0.
Mercand, Pierre
Mercati, Jo. Baptiſt
Occo, Adolphus
Oddi Parmagiano,
Merian, Matthew
Mauro
Merl, John
Orlandi, Giovanni
Meſſager, John
P.Metelli, Agoſtino
Ottens, F.
P.-
Giof. Maria
P.
Meyfſens, John Panorn, Alois Calab.
-
Cornelius P.Paul Veroneſe, or Ca-
Micarino
liari
P.Miele, Giovanni P.Paraſole Norfino, Le-
Mignard, Nicolas onardo
P.-Pierre P. Parmegiano, Fran-
Mignot, Daniel
ceſco
Mocetus, Hieronymus Parmegianino, Fran-
Moncornet, B.
ceſco
Montbard
Paſquilino, Jo. Bap-
Moretti, Giuſeppi
tiſt
Morin, John
Paſs, Criſpin, ſen.
Moro, Battiſta del
, Criſpin, jun.
Moyreau, John
, or Paffeus, si-
Muller, Jahn
Harman Paſſari, Filippo
Muckerken.
Paſſaro, Bernardino
P.Paffarotti, Bartolo-
N.
meus
Nadat
Patavinus, Gaſpar
Nantueil, Robert
Gerard
Napolitano, Filippo Patigny
Nardois, J. Galiot P.Pautre, John le
Natalis, Michael Payn, John
Nefs, Jaques
Peel, Matthew
Penni,
mon
260 An Alphabetical LIST
Penni, Lucas
P.Pens, George
Quaſt, Peter
P.Peroch, Estienne Queborn, Criſpin
P.Perelle, Nicolas P. Quiter, Hermannus
Periecouter
Henry
P.Perrier, Francois
P. Perſin, Rainerus
R.
Perundt, George Randon
P.Peruzzi, Baldaftar
Raimondi, Marc.
Perzyn, Robert
Ant.
Peſareſe, Simon Ravenna, Silveſter da
P.Peſne, John
Ravennati, Marco
Picart, John
Ravenate, Simon
Eftienne
Francis
Bernard
Ravenſtein, Gaſpar
Picinæ, Elizabeth Regnaſſon, N.
Piccina, Iſabel, a Nun P.Rembrandt, van Rhin
P.Piccino, Jaques Reverdin, or Raven-
Piccioni, Matteo
ſtein
Picquet
P. Ribera, Giuſeppi
Piper, Francis le Ricci, Jo. Baptiſt
Pitau, N.
Ridolfi, P.
Podeſta, Jo. Andrew Robetra
Poilly, Nicolas de
Rochfort, de
Francis de Roger
P.Polemberg, Cornelius Roghmans, Giertruy
P.Pond
Rogheman, Hendr.
Pontius, Paulus
Lambert
Pool, Matthew
Roli, Joſeph Maria
Popels, John
Romſteadt, Chriſto-
Poffemieres, Adrian pher
Preflier, of Copen- P. Rora, Salvator
hagen
Roffi, Hieronymus
Procaccini, Camillo
Henrico
P. Procaccinus, Jul.
Domenico di
Cæfar.
P. Roſa, Martino
Roulet,
of ENGRAVERS, &C. 261
I
->
>
Roulet, Jo. Louis Scuppen
Rouffel, Paul
Sebenzanus
Rouſſelet, Giles Secu, Martin de
P.Rubens, Sir Peter Paul Scruuter, P.
Rucholle, P.
Septimius, Hercules
P. Ægidius
Setti
Rugeri, Guido. Scupel, John a
Sezenius, Valentinus
S.
Sichen, Cornelius
Sadeler, Raphael Silveſtre, Suſanna
John
Iſrael
Rodolph Simon, Peter
Ægidius
John
Juſtus Simmoneau, Car. ſen.
Saenredam, John
-, Car. jun.
P.Salamanca, Antonio Sirani, Giovanni
Salimbeni, Ventura P.. , Elizabetha
Salmenicius, Andreas P. Jo. Andrea
Sandrart, John Jacob Skenius, Bartholomew
P.
Joachim
Smeltzing, John
P.-
Suſanna
Smidtz, of Berlin
Sarrabat, John
Smith, John
Saraceni, Carlo P.Smith, Thomas
Sarragon, John Snyers, Hendrick
Sauvé, John
Sole, Virgilius
Scalzi, Lodovico Sole, Jo. Joſeph da
Scaminoſſi, Raffaello Sorito, Jo. Baptiſt
Scaramuccia, Luigi Souberaine
Schauflig, Hans Soutman, Peter
Schenk, Peter
Spagnoletto
P.Schon, Martin
Specchi, Aleſſandro
Schoonebeek, Adam Spiez, Hubert
Schorel, John P.Spierre, Franceſco
Scotin, G.
Spirinx
J. 1.
P.Steen, Franciſcus
Scorza, Simbaldo Stella, Claudius
Ste-
>
1
> John
V.
262 An Alphabetical LIST)
Stephani, P.
Timus, L.
Stephanoni, Pietro Tinti, Lorenzo
P.Stivens, Peter
Tomaſini, Filippo
Stimer, Tobias
Tompſon, Philip
Stock, Andreas
Robert
Stoltzius
P.Torre, Flaminio
Strada, Veſpaſiano Torrebat, Francois
Stringa, Franceſco Trento, Antonio da
Stuerhelt, F.
Trofcel, B.
Suavius, Lombart
Suruge
Trouvain, A.
Suſtermans, Lombart 'Troyen, John.
Suyderhoef, John
Swanenberg, Wil Vaccario, Andrea
liam
Vænius, Gisbert
Sweerts, Michael Vaillant, William
Sylvett, John
William
T.
Valder, John
Tardieu, Nicolas Valet, William
Taſiniere, George P. Valeſio, G. Luigi
Tavernier, M.
Valk, John
P. Tempeſta, Dome-
Gerard
nico
Vallée, S.
Antonio Valleius, A.
P. Terzi, Franceſco Van Ælft, Nicolas
Teſta, Pietro
Audenard, R.
- Julio Ceſare
Boons, David
Teftana, Joſeph
Boucle
- Jo. Baptiſt
Bremden, D.
Thelot, Jo. Philip
Craen
Thibout, B.
Culmhac, Hans
Thomaſlin, E.
Dalen, C. ſen.
Dalen, C. jun.
Thourneiſſen, H.
Dyck, Sir An-
P.Tibaldi, Domenico thony
Tibo
Gunſt, Philip
>
H. S. jun.
Il
Van
1
of ENGRAVERS, C.
263
Van Hoflanen, Uuaet Vanden Embden,
,
Hulſen, Efaias Martin
Lochum, Mi Vanden Hoeye, Rom-
chael
bout
Luych, H.
Vander Bruggen,
Mechelin
John
Mecelin, The-
Doel, Anthony
odore
Heyden, Jacob
P.- Mieris, W.
Nelpe, Peter
Munichuyen
Staren, Dirick
Rhin
Vanni, Franceſco
Savoyen, Ca-
-- Jo. Baptiſt
rolus
Var, Dirich, the Ne-
Schuppen
phew
Scheindel, G.
Vans, John
Semple, Peter
Vaflouns, John
Sichem, c. Vaughan, Robert
Sichem, Chrif Veenhuyſen, J.
topher
Venenti, Julio Ce-
Schoor, Jaques fare
Sickler, Peter Veneziano
Somer, Peter Verkelie, N.
Somer, M.
P.-
Hans
Tulden, The Vermeulen, C.
odore
Vertue, George
Uden, Lucas Viani, Giovanni
Uliet
Vicentini, Gio. Nic-
Voerft, Robert cola
Weſterhout,
Uberto
Arnold
Vico, Æneas
Vande-Steen, (P. Villamena, Fran-
Francis
ceſco
Velde, John P. Vilcher, Cornelius
P. Velde, Will. Viſker, John de
P.-
Venne, Andrew
Vandel Borcht, Peter
Viſker,
1
>
264 An Alphabetical LIST, &c.
,
Viſker, L.
Widerman, Elias.
Nicolas
Wierx, 'Anthony
Vivares, F.
Hieronymus
P. Vivien, John
Will, J. G.
Ulric, Henry
Wilant, J. J.
Voerierot, Peter Wingendorf, G.
Voet, Alexander, jun. Wirix, John
Vouillemont, Sel.. Wolfgang, G. A.
Vorſt; Robert de P.Wolgemut, Michael
Vos, Martin de P.Wormache, Antonius
P. Vofterman, Lucas,
Z.
fen.
3. Zabello, Jo. Fran-
Lucas, ceſco
jun.
Zagel, Mattheus
W.
Theodore
Wagman, Hendrick
Zani, Jo. Baptiſt
Waldreick
Zarlati, Giofeffo
Waterlo, Antonius Zazingeri
Watteau
Zenoi, Domenico
Waumans, Coenrad Zink, Martin
Weigel, Chriſtopher Zylvedt, A.
White, Robert
Zyll, c.
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