THE 
 
 WILLIAM R. PERKINS 
 LIBRARY 
 
 OF 
 
 DUKE UNIVERSITY 
 
 Rare Books 
 
/ y^hl^n 
 
Digitized by the Internet Archive 
 in 2014 
 
 https://archive.org/details/historyofartofenOOchel 
 
A 
 
 HISTORY 
 
 OF THE 
 
 ART of ENGRAVING 
 
 I N 
 
 MEZZOTINT O, 
 
 FROM 
 
 It's Origin to the present Times, 
 
 INCLUDING 
 
 An ACCOUNT of the WORKS 
 
 OF THE 
 
 EARLIEST ARTISTS. 
 
 WINCHESTER: 
 
 PRINTED BY J. ROBBINS, HIGH-STREET j 
 AMD SOLD BY 
 
 £• AND T. EGERTON, WHITEHALL, LONDON", 
 M,pCC>LXX a XVI, 
 
ADVERTISEMENT. 
 
 ^"T^HE following little Trad has taken it's rife from the 
 «** Author's having obferved that no exprefs Treatife had 
 as yet been publilhed on the fubject, and from his confider- 
 ing it, on account of the acknowledged fuperiority of our 
 Englifh Artifts, as a tribute in fome fort due to the honour- 
 of his country. He is not without hopes alfo, that that 
 which has given entertainment to him in his leifure hours, 
 and afforded him an agreeable relaxation from feverer 
 ftudies, may afford fome entertainment and affiftance to 
 the curious in prints. 
 
 It is hoped that the work of one who is not an Artiit, of 
 one actuated by fuch principles, will be treated with in- 
 dulgence by Critics of all denomination?. Should any 
 errors and imperfections be difcovered, they have arifen 
 not from negligence, but from the want of the means of 
 better information. And further information on the fub- 
 je.ct, from the ikilful and curious, will be thankfully re- 
 ceived, 
 
 In 
 
ADVERTISEMENT, 
 
 In the mean time the Author may reft fatisfied that he 
 has added in many inftances to the ftock of information 
 which the public were before poflefled of, as well as been 
 the firft who has arranged in order the materials already 
 extant for a Hiftory of Mezzotinto, the firft who has en- 
 tered into a full inveftigation of his fubjeft. 
 
 A HISTORY 
 
A 
 
 HISTORY, &c 
 
 HT H E art of Engraving in Mezzotinto has, 
 within a few years more efpecially, at- 
 tained to fo high a degree of perfection, and 
 has produced fo many excellent copies after a 
 variety of diftinguifhed pictures, that it's hiftory 
 may well be deemed interefting, and may juftly 
 claim to be feparately recorded. 
 
 In England at leaft the art ought not to pafs 
 without diftinft notice. In this country it has 
 been chiefly cultivated, in this country it has 
 indifputably received it's higheft improvements, 
 B and 
 
( 2 ) 
 
 and it Is therefore that a late foreign writer 
 has given to it the name of "the Engiifh man- 
 ner/' by way of eminence, [i J 
 
 Accordingly much may be found refpecYing 
 this art both in Mr. Walpole's elegant Cata- 
 logue of Engiifh Engravers compiled from the 
 papers of Vertue, and in the well-known Bio- 
 graphical Hiftory of England by Mr. Granger. 
 In each of thefe works however the mention 
 of Mezzotinto, and of the feveral Engiifh 
 Artifts who have practifed it, is introduced 
 incidentally only, and in reference to the main 
 fubje&, the Hiftory of Engraving in England 
 in general in the one, and the Hiftoty of EngliHi 
 
 (l) Quand le Prince Robert y fit connoitre la gra- 
 vure qu'on nomine la maniere noire, elle a pri* tellement 
 le deflus, & a ete executee a la fin avee tant de fine/Te & 
 d'efprit, que tout ce qu'on a fait dans d'autrei pais, ne In* 
 eft nullement comparable : ainfi fut elle nommee, par pre- 
 ference la mariiert Angklfe." (Idee generale d'une collec- 
 tion complette d'Eftampes, p. 208.) 
 
 Portraits 
 
C 3 ) 
 
 Portraits in general, in the other. It remains 
 yet to colled: the feveral fcattcred paflages 
 which occur in each of thefe, and in other 
 writers, into one view, and to enter as far as 
 poflible into a full and diflincl; consideration of 
 this fpecies of Engraving, by treating in order 
 of the nature of the art itfelf, of it's fuppofed 
 origin and invention, and of the feveral fuc- 
 ceffive Artifts who have practifed it both in our 
 own, and in other countries, from it's firft 
 appearance to the prefent times. 
 
 The method of engraving in Mezzotinto 
 upon Copper, admits of fuch peculiar facility 
 and quicknefs in the hands of the expert 
 Draughtfman, [2] that in this refpect at lead 
 it may juilly be efteemed an improvement 
 
 [2] Sandrart faw this fully even in the infancy of Mezzo- 
 t> to, and pronounces, fomewhat too decifively, when we 
 confider the improvements which the art has fmce received 
 in the mechanical parts of it, that this being well under- 
 wood, the art would be but play. — " In delineatione autcm 
 
 B 2 of 
 
( 4 ) 
 
 of the art, fince we obtain by means of it many 
 more engravings after pictures than could 
 otherwife be executed within the fame time. 
 It has introduced alfo a foftnefs and delicacy 
 before unknown in prints ; and the mode of 
 operation is altogether lb fmgular, that the art 
 may on this account like wife juftly attrad: our 
 notice. It's Angularity in this refped might 
 indeed afford fome grounds for that oracular 
 and enigmatical defcription of it which Mr. 
 Evelyn has indulged himfelf in. [3] The me- 
 chanic procefs of it, however, is now generally 
 known, and may be found defcribed in many 
 different treatifes on the arts. [4] It needs 
 
 totum confiflit negotium, ita ut ei, qui hanc probe callet, 
 ars ifta, fimilefq; fcientias aliae, penitus pateant, ludique 
 tantum inftar fint." (Academia pi&ura? eruditae, p. 35.) 
 
 [3] Evelyn's Chalcography, (iftedit.) p. 146. 
 
 [4] See Did. des Beaux Arts, i2mo. Paris, 1750, Sculp- 
 tura Hiftorico Technica, Lond. 1747, Sec. Sandrart ge- 
 neroufly gave an idea of the method of praftifing this art, 
 
 not 
 
( 5 ) 
 
 not therefore to be particularly repeated. It's 
 greateft peculiarity confiits in the circumftance 
 of making the lights of the piece inftead of the 
 ftiades, and in making thefe' by polifhing or 
 fcraping away the proper parts of the plate, 
 
 without any ftudied referve, at a time when it muft ftill 
 have been little known. His defcription, however, may 
 be thought perhaps fomewhat obfeure and inefficient. I 
 fubjoin it in his own words for the fake of the curious and 
 learned reader.— -Ars ilia chalcographica, qnam nigram 
 dicunt merito hie etiam ficco pede non eft pnetereunda : 
 ilia autem in hoc confiftit, ut inflrumentis quibufdam ferreis 
 atque chalybeis acutis fatis, vel potius aculeatis, lamina? 
 cupreae more lolito expolita?, ex arte terantur, premantur, 
 & obtorqueantur : quo radio, acuto deinde caelo effigiem porro 
 five £guram in molli ifto cupro delineant, (& quae elcvanda 
 Writ, iterum expoliunt.) He proceeds to mention, that 
 on account of the plate's being flightly penetrated by 
 this mode of operation, and the furface only in a manner 
 touched, not more than fifty or fixty fuperior impreffions 
 can be obtained. It is now faid, that an hundred good 
 impreffions may be caft off from a Mezzotinto plate, be- 
 fore it will need to be repaired. 
 
 which 
 
( 6 ) 
 
 which bas before been made rough all over 
 by many different and interfering ftrokes. — . 
 Thefe parts are fcraped away in a greater or lefs 
 degree, as the lights are intended to be ftronger 
 or weaker. 
 
 The powers of Mczzotinto, however, do not 
 certainly fo much deferve onr notice, as the 
 facility of it's practice, the delicacy of it's 
 character, and it's happy effects of light and 
 made. It has been well faid, that " as the 
 characteriftic of engraving is ftrength, and of 
 etching freedom, fo that of Mczzotinto is foft- 
 nefs [5] and it may be readily allowed alfo 
 that " Mezzotintos itill fall fhort of fine engrav- 
 ings." [6 J- They fall fhort indeed in fome re- 
 Qxcts even of rude unfinilhed etchings from the 
 
 [5] EfTay on Prints, p. 60, 
 
 [6] Walpole's Catalogue, p. 141 (edit, in i2mo.) This 
 diftinguifhed author contends even further, that " the dif- 
 covery of Mezzotinto has diverfified prints rather than im- 
 proved them." (ibid). 
 
 hand 
 
( 7 ) 
 
 hand of a Matter ; and they muft yield in point 
 of dignity, Simplicity, and truth of character, 
 to thofe many fine, but neglected wood prints, 
 which fo happily imitate the drawings of great 
 Mailers. [7] 
 
 It may perhaps be doubted alio whether 
 this fpecies of engraving be not in general bell: 
 adapted to portrait, or to hiftory with a few 
 figures. It's flrft artifts very remarkably con- 
 fined themfelves almofi to portrait only. It's 
 province, however, it muft be acknowledged, 
 has of late been very happily extended, and the 
 art has been applied with good effect to hiftories 
 
 [7] This art, which has been honoured with the per- 
 formances of Titian and Parmegiano, and very happily 
 profecuted by our late countrymen, Pond and Knapton, 
 has again received additional luftre in a fet of excellent 
 Prints, after original drawings (publiihed for Torre) by 
 that very fuperior ConnoilTeur and Dilettante, John Skippe, 
 Efq. — There are fome good imitations extant ajfo in the 
 •fame way by another modern aniH, Scacciati of Florence. 
 
 with 
 
( 8 ) 
 
 with many figures. [8] Many fpecimens of 
 modern excellence may ferve to fhew alfo, that 
 the art is well adapted to imitate the ftrong 
 contrails of the clair-obfcur of Rembrandt, [9] 
 the exquifitely ornamented ftileof Van-Huyfum, 
 and the laboured neatnefs of the Flemilh fchool 
 in general. [ 1 J It is certainly no lefs adapted alfo 
 to the pencils of Schalken, Vander Werf, 
 
 [8] See in particular two capital Mezzotintos after 
 Mr. Well's Hannibal and Regulus, by Mr. Valentine 
 Green. There are fome few landfcapes alfo extant in Mez- 
 zotinto, by Lens and Houfton. — Our excellent artift Ear- 
 lorn has alfo copied a pi&ure by Hobbima. — And Mr. 
 Pether, fo well known by his admirable print after the* 
 Duke of Devonmire's Jewifh Rabbi by Rembrant, (on 
 which fee an honourable critique in the Eflay on Prints) 
 has juft publilhed a capital Mezzotinto after a fine land- 
 fcape by N. Pouflin, in the collection of Sir George 
 Beaumont, Bart. 
 
 [9] See the print already mentioned by Pether, Sec. 
 
 [1] See the two aHonifhing Mezzotintos by Earlohv 
 
 and 
 
( 9 ) 
 
 tm<3 Wright. [2] It may be added that it's own 
 proper foftnefs is now become ib pleafmg, and 
 it's effects of light and made, in which it excels 
 each of the other fpecies of prints, are now 
 often rendered fo alluring, that, though it may 
 not lay claim to flrength, or to p^eatnefs of 
 character, may not boafl either the freedom 
 of etching, or the chafte corredhiers of wood- 
 prints, it muft Ise allowed furely to pofTefs 
 peculiar beauty. [3] " Nothing, except 
 
 after two pictures by Van Huyfum in the Houghton Col - 
 4ecTdon, The fame artift has lately executed an exqui- 
 site print after Sir Jofhua Reynolds's famous picture by 
 Teniers. The delicacy, clearnefs, and bri'liant effect of 
 light of this Mezzotinto are truly admirable. 
 
 [2] See many different well-known prints after this 
 excellent painter. 
 
 [3] Sandrart's praifes of the art are fomewhat fimilar to 
 thofe which now properly belong to it. — <{ In arte hac na- 
 tura ipfa quam jucundifiime elucet, & tanta in ipfa con- 
 currit vis luminis atque umbrae, inq; omni parte* prsefertim 
 
 C paint, 
 
( IS ) 
 
 painty fays an able critic, can exprefs flefh 
 more naturally, or the flowing of hair, or the 
 folds of drapery, or the catching lights of ar- 
 mour. [4] In engraving and etching we muft 
 get over the prejudices of crofs lines, which exift 
 on no natural bodies ; but Mezzotinto gives 
 us the ftrongeft reprefcntation of a fur face" [5] 
 If we adopt this ingenious author's conjecture, 
 even Rembrant profited by the invention of this 
 art. " He had probably (he fuppofes) feen 
 fomeof the firft Mezzotintos, and admiring the 
 erTecl, endeavoured to produce it by a variety 
 of interfering fcratches." [6J 
 
 in iconibus tarn emincns atque grata, ut fimile quid neque 
 Cc'elando neque aquis fortibus in a?re alias obtineri queat." 
 (Academia, &c.) 
 
 [4] An in fiance of the truth of this remark may be feen 
 even in one of our earlieft Mezzotintos. — A fmall head of 
 a foldier in armour by Vaillant, may ferve to exemplify it. 
 
 [5] Effay on Prints, p. 60. 
 
 [61 P. 62. 
 
( « ) 
 
 It has been jufily remarked indeed, that 
 €i Mczzotinto, compared with k% original ftate, 
 is at this day almoft a new art." [7] The art 
 wanted indeed for a long time after it's inven- 
 tion, thofe fofter beauties which it has now 
 acquired. The manner even of many of it's fuc- 
 ceflive Artifts, however a natural admiration of 
 the invention, and an ignorance how far the art 
 might Hill be carried, were the occafion of their 
 meeting with much praife, [8 J was black, harfh, 
 and difagrceable, and confided Gften of un- 
 blended maffes of light and fliade. The begin- 
 ings of every art are ftill however refpedlable ; 
 and it may be deemed certainly a matter of ele- 
 gant curiofity, as well as altogether efTential to 
 
 [7] P. S** 
 
 [8] Even the fkilful Sandrart was confident that the 
 perfection of the art could not be carried further than in 
 Vaillant's prints. (Academia, &c. p. 378.) How would he 
 fiave been undeceived had lie lived to thefc days ! 
 
 a com- 
 
( 12 ) 
 
 a complete hiftory, to trace our fubjeeL from 
 it's earlieft date. 
 
 As to the origin of the art of Mezzotinto, 
 (which feems to have received this name, in the 
 opinion of Mr. Evelyn, [9] from the word's 
 having been already in ufc as applicable to the 
 tinted wood-prints of Ugo da Carpi, ckc.) Prince 
 Rupert has been in general confidered, accord- 
 ing to a well-known ilory, [1] as the acknow- 
 
 [9] Chalcography, p. 128. 
 
 [1] This ftory, " as received by Vertue, from Mr. 
 Killigrew, of Somerfet-Houfe, who had k from Evelyn," 
 is thus related from Ms papers, by Mr. Walpol'e. . (Cata* 
 logue of Engravers, &c. vol. v. p. 137, &c.) 
 
 " The Prince going out early one morning, obferved the 
 eentinel at fome diftance from his poft, very bufy doing 
 fomething to His piece. The Prince a&ed him what he 
 was about ? He replied, the dew had fallen in the night, 
 had made his fufil . rutfy, and that he was fcraping and 
 cleaning it. The Prince, looking at it, was ftruck with 
 
 <v ledged 
 
( i3 ) 
 
 3 edged inventor of it. Yet if we inveftigate 
 this queftion fully, we mull attend firft to two 
 other claims. 
 
 The former of thefe claims is probably little 
 known. It is ftated to us in the treatife of an 
 Author of much weight in thefe matters. If 
 Sandrart, who lived during the time of the firft 
 appearance of Mezzotinto, may be credited, 
 Colonel de Siegen, a Heflian, was the inventor 
 of the art in the year 1648, and has left behind 
 him two fpecimens of his difcovery, a half 
 length portrait of a Widow-Regent of Hefle- 
 Caffel, and another portrait of a Prince of 
 
 fomething like a figure eaten into the barrel, with innume- 
 rable little holes clofed together, like friezed work on gold 
 and filver, part of which the fellow had fcraped away ; 
 the Genie fecond en experiences from fo trifling an acci- 
 dent conceived Mezzotinto. " 
 
 Orange, 
 
( 14 ) 
 
 Orange. [2] This account is repeated alio by 
 a modern Author of note, already cited, who 
 however places the difcovery earlier in 1643, 
 on the authority of the date of the firft of the 
 two prints itfelf, [3] and is again confirmed by 
 the diligent Vertue, as quoted by Mr. Granger, 
 
 [2] Primus hujus artis inventor anno 1648, bello mini- 
 rum Germanico finito, fuifTe dicitur Locumtenens quidam 
 Chiliarchus HaffiacMs, cui nomen N. a Siegen, qui hac rati- 
 one Serenifiimae Viduae Regentis HafTo-Caflelianae effigiem 
 dimidia viventis quantitate, nec minus principem quoq; Au- 
 riacum efformavit. (Academia Pifturas erudits, p. 35.) 
 
 [3] Ce n'elt pas le Prince Robert qui ait invente la ma- 
 ciere noire, comme Vertue JSc quelques autres auteurs Pa* 
 vancent. Ce fut le Lieutenant Colonel de Siegen au fer- 
 vice du Landgrave de HefTe, qui grava la premiere piece 
 dans cc genre ; & e'eft le portrait d' Amelie Elizabeth Land- 
 grave de HefTe execute en 1643. Le Prince Palatin Ro- 
 bert l'apprit dc lui, & l'apporta dans fon fecond voyage 
 avec le Roi Charles II. en Angleterre. (Idee generate, 
 
 &€. N- p. 2CS.) 
 
 who 
 
( H ) 
 
 \vho Teems to have feen the print, and copied 
 the infcription. [4] 
 
 We have another very diftinguifhed claimant 
 from our own nation. And we cannot properly 
 pafs by the mention of this claim, in a general 
 hiftory of the art, altho' it feems to reft on mis- 
 taken grounds. 
 
 In the Parentalia of the Wren Family, the 
 following pafTage occurs, extracted from the 
 preface of Dr. Hooke's Micrographia. 
 
 " He (Dr. Wren) was the fir ft inventor of 
 the art of graving in Mezzotinto, which was 
 
 [4] " Vertne, in a MS. in my pofleffion mentions a large 
 head, fcmethuig like Mezz,Gti?ito ; fome tender parts, fays 
 he* are done with feveral chafing andfriezing tools. Some 
 of the darkeft parts are grounded like Mezzotinto, and 
 fcraped. . It is thus infcribed, Amelia Elizabstha D, G. 
 
 after- 
 
( i« ) 
 
 aftetwards profecuted and improved by liis Royal 
 Highnefs Prince Rupert in a method fomewhat 
 different, upon the fuggeftion, (as is faid) of the 
 learned and ingenious John Evelyn, Efq. — Of 
 this art fome original Effays are extant : viz. 
 the head of a Moor, &c. by the Inventor, [5] 
 the execution of St. John Baptift, by the Prince; 
 on the fword is the mark R. P. f. (i. e. Ruper- 
 tus Princeps fecit) over it an Electoral Coro- 
 net." [6] 
 
 If the invention of our art, as here ftated, 
 really belonged to this great man, it muft feem 
 at leaft very extraordinary that Mr. Evelyn, his 
 friend and countryman, mould not only not have 
 
 [5] Mr. Granger fays, (vol. iv. p. 138) M It is certain 
 that there is «a black-moor's head by him, in a different 
 manner from that of Prince Rupert,'' but will appear per- 
 haps to have alluded only to this psflage, and has alleged 
 no proof of the certain exiftence of the print. 
 
 [6] P. zx 4 . 
 
 givew 
 
( n ) 
 
 given him his due praife in an expre'fs treatife oil 
 the fubjedt of engraving-, but ihould even have 
 fpoken of the difcovery as a new communication 
 [y] from another, and him a foreigner. Nay- 
 more, that he fhould even have been filent on 
 the matter, when he is expreflly celebrating Dr. 
 Wren's fkill in the art of defigning. [8] It 
 may indeed be imagined that Sir Chriftopher 
 Wren might difcover the new method, as well 
 as Prince Rupert, and that fo far the praife of 
 
 [7] Mr. Evelyn does not indeed exprefsly (peak in his 
 Chalcography of Prince Rupert's having invented the art, 
 but only of his having pra&ifed it, and communicated 
 an account of it. But from other evidence the Prince 
 appears to have been confidered by Mr. Evelyn even as 
 the inventor of it. (See before p. 12,) 
 
 (8] {( We are no lefs obHged to celebrate fome of our 
 -own countrymen famous for their dexterity in this incom- 
 parable art (of drawing and defigning) ; fuch at prefent h 
 that rare and early prodigy cf univerfal fcience, Dr. Chrif- 
 topher Wren, our worthy and accomplimed friend."— — 
 (Evelyn's Chalcography, nrftedit. p. 135.) 
 
 D invention 
 
( 18 ) 
 
 invention might belong to both ; but it feemS 
 altogether difficult to conceive that Sir Chrifto- 
 pher mould have concealed his difcovery front 
 his friend Mr. Evelyn, himfelf an artift, and 
 peculiarly verfed in matters of fuch a nature. 
 Thefe circumftances confidered, the filence of 
 Mr. Evelyn alone feems to afford an objection 
 of fuch force to Dr. Hooke's account, that we 
 are led neceflarily to fuppofe it founded on 
 miftake. It is further obfervable that Dr. 
 Hooke fpeaks of Prince Rupert's having pro- 
 fecuted the art, " upon the fuggeftiofl, (as is 
 faid) of Mr. Evelyn." But Prince Rupert's 
 communication of the invention is plainly 
 fpoken of by Mr. Evelyn himfelf in his Chal- 
 cography, as altogether voluntary on his part, 
 altogether new and furprifing. We may well 
 imagine indeed a Dilettante like Sir Chriftopher 
 to have attempted the practice of the art, when 
 heard of as a new difcovery ; yet even this fup- 
 
 pofition 
 
( ?9 ) 
 
 pofition refts on theTnention of one fingle print 
 only, a print, which, it is prefumed, does not 
 actually appear to be preferved in the Cabinets 
 of any of the curious, 
 
 Againft Sandrart's account, admitted and 
 confirmed by Vertue, [9] there feem to lie no 
 particular objections. It may not follow that 
 although two prints only, or at the moll three, 
 by this artift are known to us, he yet engraved 
 no more. And it may feem very probable that 
 Prince Rupert in reality learnt the art from him 
 before he returned to England, although it muft 
 appear in fuch cafe from Mr. Evelyn's account, 
 that his Highnefs made no mention to him of his 
 
 [9] There is a difference between thefe two authors as 
 to the ChriiKan name of the fuppofed firft inventor of the 
 art : Sandrart calling him N. a Siegen, and Vertue deferr- 
 ing him as {tiling himfelf in his own inicription L — n S. 
 Yet as the main circumftances agree, this difference 
 ought not perhaps to be regarded, 
 
 D z-. matter 
 
( 20 ) 
 
 mailer in the art. The intelligent author already 
 cited afferts expreflly tha&-the Prince learnt the 
 art from the Colonel, [ij And the fame alTer- 
 tion is to be found alfo in a quotation adopted by 
 Vertue, in which it is remarked that there is a 
 head of the Comes de HafTe by the engraver of 
 the portrait of the Princefs of HelTe, who was 
 the perfon who taught Prince Robert. [2] 
 
 To whomfoever, after all, we may be in- 
 clined to attribute the invention, or however 
 early we may fix the date of the Prince's prac- 
 
 [1] See note, p. 14. He repeats the Tame opinion more 
 decifively p. 235 of his U-eatife : " L'Invention de graver 
 cn maniere noire eft plus decidee. Nous favons que ce 
 fut le Lieutenant- Colonel de Siegen qui grava le premier 
 en 1643 de cette maniere le portrait d'Amelie Elizabeth 
 landgrave de HeiTe. Le Prince Robert l'apprit de lui^ 
 & enfin elle devint generale & publique." 
 
 f>] Granger, vol. iv, (note) p. I.6& 
 
 tice 
 
( 21 ) 
 
 tice of the art, [3 J it can at leaft hardly be faid 
 to have made it's public appearance, till it was 
 announced by Mr. Evelyn in his Hiftory of 
 Chalcography in 16624 Prince Rupert may be 
 confidered at leaft as the firft diftinguifhed 
 practitioner of the art, and we may begin pro- 
 perly both to enumerate the fpecimens of it, 
 from the date of Mr. Evelyn's publication, 
 and to defcribe his Royal Highnefs's works 
 on his authority. Mr. Evelyn fpcaks of them 
 in general terms as the; " incomparable gravings 
 of that his new and inimitable ftile, in both 
 
 [3] Some have fuppofed that the Prince prattifed the art 
 as early as 1649. But he only retired to BrurTels after the 
 death of his uncle Charles the Firft, the very beginning of 
 that year, and Mr. Evelyn fpeaks of the art, and of his 
 Highnefs's communication of it as new, thirteen years 
 after. The Prince's own large engraving of the executioner 
 with John the Baptift's head after Spagnoletto appears by tlip 
 date upon it to have been executed at Frankfort in 1658. 
 I have not heard of an earlier date on any of his works. 
 
 the 
 
C 22 ) 
 
 the great and little decollation of St. Joha 
 Baptift, the foldier holding a fpear and leaning 
 his hand dn a Ihield, the two Mary Magdalens, 
 the old man's head, that of Titian, 8tc. after 
 the fame Titian, Georgione, and others." [4] 
 The Magdalens and the foldier are again fpoken 
 of by Sandrart, who makes mention, alfo of fome 
 portraits after the life. [5] We may recollect 
 alfo one of the above-mentioned decollations 
 of St. John to have been already defcribed it) 
 the extract from Dr. Hooke. [6J 
 
 [4] Chalcography, fir ft edit. p. 131. 
 
 [5] " Certa quxdam opera praecellentiflima ferenitatis 
 {ax manu fadta, videlicet effigies quoedam Magdaleija:, 
 i:em nonnullte icones <vuventhim, item miles quidam retro- 
 fpiciens, micanti fua cataphrafta clypeoq; & halla inftruc- 
 tijs; quibus paria non inveniuntur." (Academia pi&urae 
 cruditae, &c.) 
 
 The 
 
( 23 ) 
 
 The Catalogue of Prince Rupert's works, few 
 as they are, and fcarce and curious as they are, 
 may defer ve a ftill further and more particular 
 difcuffion. The old man's head of Evelyn mould 
 feem to be the fp.ecimen inferted in his Chalco- 
 graphy, which having been commonly confidered 
 (but, as it appears, erroneoufly) as the firft Mez- 
 zotinto extant has made his own edition of his 
 treatife, when found with the print, particularly 
 valuable. [7] Mr. Walpole, from Vertue, [8] 
 mentions another print of this fame head alio, 
 which he calls " a kind of Saracen's head," by 
 
 [7] A later improved edition of this work, in 17595 
 although containing the addition of the author's life, ele- 
 gantly written, and of his portrait by Worlidge after 
 Nanteuil, together with a copy of Prince Ruperf s Mez-* 
 zotinto by Houflon (which however on accurate compari- 
 fon cannot indeed be faid to be a faithful copy) may be 
 purchafed at a price comparatively final I. 
 
 [8] Catalogue, &c. Vol. v. p. 142, 
 
( H ) 
 
 the Prince, in large. May not this be not the 
 head, but the figure of the executioner with Sh 
 John Baptift's head, (feemingly the fame as 
 * 6 the great decollation" mentioned by Evelyn) 
 already fpoken of? This, (which is plainly the 
 fame head as that in Mr. Evelyn's book) is " a 
 kind of Saracen*s head," and is " in large." We 
 may add to Mr. Granger's catalogue of the 
 Prince's works, as the print is now in England 
 in the hands of a curious collector, the men~ 
 tion of another of his Highnefs's performances, 
 that of a woman's head, looking down, in an 
 oval. This print is indeed mentioned by Ver- 
 tue. The face may be faid to be pretty, but the 
 whole appears rather unfinished. In the left 
 hand corner of the print, is found the fame 
 mark as on the head in Evelyn. One of the 
 Magdalens, which Mr. Evelyn has mentioned, is 
 preferved in the public library at Cambridge* 
 The following infeription is underneath : Ru- 
 pertus D. G. C. P. D. B, Princeps imperii animi 
 
< *s ) 
 
 gratia lufit. [9] On the whole, we may reckon, 
 feemingly on good grounds, feven or eight dif- 
 ferent Mezzotintos extant by the Prince, al- 
 though the whole of this number may not be to 
 be found in England ; and it is a miftake cer- 
 tainly, when it is anerted in Vertue*s Catalogue, 
 as publifhed by Mr. Walpole, that the head ia 
 Evelyn — another of the fame in large — the man 
 with a fpear — and the woman's head looking 
 down, " are all the Prince's works in Mezzo- 
 tinto." [1] 
 
 Contemporary with the Prince, on the tefti- 
 mony of Vertue, we may place another Ger- 
 man artift, whom, from his profefllon as an Ec- 
 clefiaftic, we may imagine to have been a Di- 
 lettante likewife. The earlieft date of a 
 
 [9] See Preface to Chronological Series of Engravers, 
 Cambridge, 1770. 
 
 [1] Catalogue, Sec. vol. v. p. 14.3. 
 
 Ef Mezzo- 
 
( & ) 
 
 Mczzotinto that Vcrtue had feen," [2] fays the 
 editor of his papers, was an oval head of Leopold 
 William Archduke of Auftria, with this infcrip- 
 fion: Tkeodorus Casparus a Furstenburgh 
 Canonicus ad vivum pinxit & fecit, 1656. 
 This perfon, it is juftly added, had received the 
 fecret before his Highnefs returned to Eng- 
 land." [3] J'^^MiCvt^ 7M 
 
 But a profefled Artift, to whom Prince Ru- 
 pert is fuppofed to have communicated the fe- 
 cret, and who is underftood certainly to have 
 been with him in England, firft extended and 
 improved the art. 
 
 [2] The reader may recollect' however that Vertue ac- 
 knowledges elfewhere, according to Mr. Granger, that he 
 had feen a head fomething like Mezzotint o } the darkeit parts 
 of which were grounded like Mezzotinto, and fcraped 5— 
 the head already fpoken of by Colonel de Siegen, dated 
 1643.— -See above, p. 15. 
 
 [3] Catalogue, &c, vol. v. p. 142, 
 
 WA L- 
 
( *7 ) 
 
 WALLERANT VAILLANT, 
 
 a portrait painter Gf repute, has left' behind him 
 a great number of engravings in Mezzotinto, 
 after many different matters. Thefe are often 
 fomewhat hard and black; but fome alfo may- 
 lay claim to the character of fbftnefs, and in 
 many of them the lights are managed with fkill 
 and good effect, in proportion at lead to the 
 flate of the art at that time. The principal of 
 his works, which are not fcarce, as they ftand 
 enumerated by different authors, or have ac- 
 tually been feen in different collections, are as 
 follows ; 
 
 His own portrait. 
 
 The portrait of his father. 
 
 Ditto of his wife. 
 
 Another of ditto. 
 
 His family, curious. 
 
 Froben the printer, after H. Holbein. 
 
 Temptation of St. Anthony, after Procacini. 
 
 E z Portrait 
 
( ^8 ) 
 
 Portrait of Cafpar Netfcher, after himfelf. 
 
 Ditto of Van Dyck, after V. Dyck. 
 
 Ditto of a little child, (landing and carefiing 
 a dog, after ditto. 
 
 The Prodigal Son, after Gerardi. 
 
 A Concert — a Company of Gamefters — and 
 other fubjedts of the fame kind, after ditto. 
 
 Judith, after Gerard Lairefle. 
 
 Portrait of Queen Henrietta Maria fitting at 
 work, with a little girl refting againft her knees, 
 and a young man leaning on the back of the 
 chair. Mr, Walpole fufpedts that this lady is 
 not the Queeii, but Sir Balthazar Gerbiers 
 wife. [4] 
 
 Ditto of a child in a robe, with a velvet 
 cufhion on a table, after Rembranr. 
 
 Ditto of a young man in a bonnet, with a 
 (tick, leaning on the back of a chair, painted 
 by Vaillant himfelf. 
 
 [4] Catalogue, Sec. vol. v. p. 144, 
 
 Small 
 
( 29 ) 
 
 Small head of a foldier in armour with a 
 long beard, well fcraped. [5] 
 
 Portrait of an old woman fitting in a chair, 
 with a print of a crucifix againft a pillar. 
 
 Small head of an old man in a black cap, 
 with grey locks and muftachios, in the habit of 
 an Ecclefiaftic. W. Vaillandt fecit, ex. 
 
 Half length of a boy, large, the engraving 
 not clear. 
 
 Three portraits in one piece, two of women, 
 after Titian, much in his manner ; one of the 
 women rather beautiful. On the hat of the 
 man, in front, appears a cypher of three letters 
 H, C, and A. 
 
 A holy Family, large, after Annibal Caracci, 
 W. Vaillant excudit. 
 
 A profile figure of a woman with a cattle 
 in her hand, after Raphael, fmall. 
 
 [5] See Note, p. 10. 
 
 A 
 
C 30 ) 
 
 A Madonna and child, after Van Dyck. 
 
 Portrait of Cafpar Netfcher. 
 
 Many alfo (fays Bafan) after Raphael, Guido, 
 Fr. Hals, Bega, Brower, Da Jardin, Miens, 
 Metzu, and Terburgh, 
 
 We may remark from the foregoing lift, that 
 this Artift wrote his name differently, Vaillant, 
 Vaillandt, and Vailland ; and that he fomeiimcs 
 pub limed his own prints. 
 
 Vaill ant's Brother, 
 BERNARD VAILLANT, 
 
 a portrait painter alfo, who fpent the greater 
 part of his life at Rotterdam, claims a place 
 likewife in our hiftory. On the head of a Ma- 
 donna, and on another of Chrift, is found B. 
 Vaillant fecit & exc. Sandrart alfo bears 
 exprefs teflimony to Bernard's having worked 
 in Mezzotinto, in the life of his brother 
 
 Walleranr, 
 
( 3* ) 
 
 Wallerant. [6] His portrait is extant, with the 
 name Bernhard Vaillant, fcraped either by Him- 
 felf or his brother. 
 
 On the authority of one print, which I have 
 feen, but which feems not to have been known 
 to thofe who make mention of his other works, 
 we muft add the name of 
 
 PETER VAN SCHUPPEN, 
 
 a native of Antwerp, who worked at Paris, as 
 one of the earlier! fcrapers in Mezzotinto. It 
 is the portrait of Anne de Courteney, dated 
 in 1660 or 1 66 r. 
 
 Thus far, but for a fhort time only, our new 
 art appears to have been confined within the 
 limits of foreign countries. In a very few years 
 
 [6] Inter alia autem Chalcographium nigricantem ele- 
 ganter admodum tra&abut, cam fratre fuo, qui qualitatibus 
 hifce optimis eidem vix cedit* (Academia, &c. p. 978.) 
 
( 3* ) 
 
 after Mr. Evelyn had announced the invention, 
 England began to fhare in the glory of it* 
 
 Mr. FRANCIS PLACE, 
 
 probably the firft of our countrymen who fcraped 
 in Mezzotinto, (fot he is faid to have given him- 
 felf up to his favorite purfuits in 1665) [7] was 
 a gentleman of Yorkfliire, who for his own 
 amufement not only engraved but painted alio, 
 and deligned after nature* He feems to have 
 confecrated his effays in Mezzotinto, which 
 conlift wholly of portraits, almoft in every in- 
 ftance, either to private friendftiip, or to his 
 love for artifts. His friends do credit to his 
 
 [7] See Walpole's Anecdotes, Sec. vol. v. p. 93. where 
 particulars of his life may be found. Mr. W. adds, that 
 there are two heads of Mr. Place extant ; one (it is not 
 faid whether in Mezzotinto) by himfclf, the face only 
 finilhed, and another by Murray. 
 
 memory : 
 
C 33 ) 
 
 memory : He was intimate with Mr. Ralph 
 Thorefby, of Leeds, who makes frequent men- 
 tion of him, and was one of a club of Virtuofi 
 at York, of which the eminent Dr. Martin Lif- 
 ter, and Mr. Lodge, a brother Artift and Di- 
 lettante, with whom he had the ftri&eft friend- 
 fhip, were members. His prints are few, are 
 moftly fcarce, and poffefs a conHderable degree 
 of excellence and boldnefs. The curious col- 
 lector of portraits may be induced to pay a par- 
 ticular attention to them, iince, excepting thofe 
 of the two Charles's, they appear to be the only 
 portraits extant of the feveral perfons* The 
 following is a complete lift c 
 
 Charles I. 
 Charles IL 
 Archbilhop Sterne 
 
 Bifliop Crew, very fcarce, which Mr. Walpole 
 fpeaks of as finely executed. 
 
 John Moyfer, Efq. of whom, it is faid, he 
 F executed 
 
< 34 ) 
 
 executed three plates. (See Granger, vol. iiu 
 
 P-4I7-) 
 
 Mr. Philip Woolrich. 
 
 Richard Tompfon, the print-feller, after Soufl. 
 Henry Gyles, the glafs-painter. [8] And 
 the portrait of 
 
 Sir RALPH COLE, Bart. 
 
 Whom as Mr. Walpole has introduced into his 
 lift of painters on the account of one pi&ure 
 by him, that of Thomas Windham, Efq. pub- 
 
 [8] Mr. Granger has preferred the following particular 
 defcription of this print : 
 
 " Henry Gyles, thus infcribed; glafs-painting for win- 
 dows, as arms, fun-dials, hiftory, landfcape, &c. done by 
 Henry Gyles, of the city of York. F. Place f. i2mo." 
 It was probably therefore the benevolent intention of Mr. 
 Place, by thus permitting him to hang out his lign, as it 
 were, under the print, to make him more extenfively 
 known. Mr. Thorefby, in the Catalogue of his Mufeum, 
 numbers among his rarities " the piclure of Mr. Henry 
 Gyles'* 
 
 lifted 
 
( 35 ) 
 
 lifhed in Mezzotinto by Tompfon, we may 
 alio, on the authority of Mr. Granger, (vol. im 
 p. 167) place in our 11(1 of engravers, on the 
 account of one fcarce Mezzotinto of Charles II. 
 And we may hence the more ealily imagine what 
 reafons induced Mr. Place to engrave his por- 
 trait, as a brother Dilettante-, 
 
 It fliould feem alfo that 
 
 WILLIAM S HER WIN, 
 
 The engraver, whom we may place next, as he 
 flouriihed in 1669, occafionally pradtifed Mez- 
 zotinto alfo. But as it has been remarked 
 that his other prints are not numerous, akho* 
 executed in the courfe of many years, [9] fo 
 there feem only to be the two following Mez- 
 zotintos certainly by his hand, the memory of 
 
 [9] Walpole, vol. v. p. 103. 
 
 which 
 
( 3* ) 
 
 which is preferved in Granger. Mr. Granger 
 mentions indeed a tradition that the fecret of 
 Mezzotinto was difcovered by Sherwin, foon 
 after Prince Rupert's fuppofed invention of it, 
 and that he made life of a loaded file for 
 laying the ground, [i] If this be fo, he ap- 
 pears at leaf!: to have made little ufe of his 
 invention. 
 
 The two Mezzotintos bearing his name are 
 the portraits of 
 
 Catharina daughter of John IV. K. of Por- 
 tugal. Sherwin f. h: fh. 
 
 Elizabeth Duchefs of Albermarle. Sher- 
 win f. h. fh. extremely fcarce. 
 
 Another Mezzotinto indeed of James the 
 FirfVs Queen is on record, as having been fold 
 by William Sherwin, on which there appears 
 no engraver's name. 
 
 [i] Vol. iv. p. 137, 
 
 Many 
 
( 37 ) 
 
 Many of his Englifh Portraits, done with 
 the graver, appear by the infcriptions to have 
 been from his own drawings after the life* 
 
 It may admit of a doubt whether 
 
 ALEXANDER BROWNE, 
 
 a print-feller, who flourimed at the fame 
 time as Shcrwin, was in reality an engraver 
 or not. Many of the Mezzotintos of this period 
 bear the infeription of being fold by Alexander 
 Browne. On fome alfo the word excudit [2 J 
 only is found. Mr, Granger thinks it proba- 
 
 [2] ff It would perhaps be needlefs (fays Mr. Granger, 
 vol. iv, p. 150) to inform the reader that the word excudit 
 is generally ufed by thofe that take off prints at the rolling- 
 prefs, and fecit by thofe that engrave them."— *The word 
 excudit alfo denotes finiply the publi&er, 
 
 ble, 
 
( 38 ) 
 
 ble, as there feldom is the name of any en- 
 graver to the prints faid to be fold by him, that 
 fome of them were done by his own hand. And 
 he adds in a note (although the print is not 
 found inferted ia his lift of .the portraits of 
 that Monarch) that Alexander Browne fecit % 
 is inferibed on a Mezzotinto ot Charles II. The 
 following lift of prints marked with Browne's 
 name, either as feller or publilher, and all, 
 except the three laft, from Sir Peter Lely, 
 is tranferibed from Granger, 
 
 The Prince of Orange, fold by Browne, h. fh. 
 The Lady Catherine Se< mjur, Brovvne, h. ih. 
 Sir John Chicheley, Browne, h. fh. 
 Admiral Tromp, fold by Browne. 
 Madam Mary Kiik, Brovvne, h. fa> 
 Sir John Lowther, Bart. Browne ex. h. fh. 
 Mrs. Anne Montague, Browne, h. fh. 
 Carolus II. fold by Brown, large, h. fli. 
 Mrs. Price, Browne, h. fh. 
 
 Thomas 
 
( 39 ) 
 
 Thomas Thynn*, Efq. Browne, h. it. 
 
 Madam Jane Middleton, Browne, h. fh. 
 
 Maria ducifTa Eboracenfis, Browne, h. ill. 
 
 Madam Philadelphia Saunders, Browne, h.fh, 
 
 The Duchefs of Cleavciand, Brown. 
 
 Thomas Otway, Brown, h. fh. 
 
 Elizabeth Countefs of Northumberland, 
 Browne, h. ih. 
 
 Elizabeth Butler Countefs of Cheflerfield, 
 Browne, h. fn. 
 
 The Duchefs of Somerfet, fold by Alex- 
 ander Brown. 
 
 James Duke of York, Browne. 
 
 Petrus Lely, oval, fold by Browne. 
 
 Henry Sidney, fon to Robert Earl of Lei- 
 cefter, Brown, h. fh. 
 
 Robert and Dorothy Sidney. 
 
 The Lady Effex Finch, Browne, h. fli. 
 
 Madam Jane Kelleway, fold by Browne. 
 
 Madam Catherine Nevill, Brown,, h. fli. 
 
 The 
 
( 40 ) 
 
 The fame Lady, infcribed With both hef 
 names in marriage, after Van Dyck, fold by 
 Browne. 
 
 Francis Stuart, Van Dyck, p. Browne, h. fh. 
 Carolus, kc. Van Dyck, p. h. lh. fold by A. 
 Brown* 
 
 RICHARD TOMPSON; 
 
 Another print-feller of this period, has already 
 been mentioned as having had his portrait 
 fcraped by Mr. Place. Shall we infer from 
 thence that Tompfon did not engrave his own 
 prints, fince in fuch cafe Mr, Place would 
 probably have left his portrait to be fcraped 
 by his own hand, or fhall we flill fuppofe that 
 Mr. Place might notwithftanding have been in- 
 duced, from his love for the arts, to copy the 
 picture, as an intended compliment to him ? It 
 cannot feemingly be determined with certainty 
 
 whether 
 
( 41 ) 
 
 whether Tompfon did engrave the print? on 
 which his name is found, or no 1- . In one 
 in dance Mr* Granger fuppdfeS his exctidlt to 
 have been put to a plate fcraped by Van- 
 fomer. [3 J And he exprefles himfelf elfcwhere 
 flill more decidedly, and in a ftile of general re-- 
 mark, that " Richard Tompfon, wh'o fold fome of 
 Vanfomer's prints, has been mijlaken for the en- 
 graver. [4] Mr.Walpole thinks that Tompsok 
 probably fcraped the plates which bear his 
 name as publiiher. Mr. Granger doubts of it : 
 " I have feen," fays he " the words Tompfon 
 excudit to Mezzotintos of the Duchefs of Portf- 
 mouth, the Counters of Exeter, the Countefs 
 of Stamford, the Lord John and Lord Bernard 
 Stuart, Mrs. Davis, and feveral others, but 
 never Tompfon fecit. [5 J 
 
 ' [3] Vol. iv. p. 81. 
 [4] Vol. iv. p. 136, 
 [5] Vol. iv. p. 150. 
 
 G 
 
 How- 
 
( * ) 
 
 However this may be, it feems proper in $ 
 general hiftory of the art, to make mention of 
 each different clafs of prints, from whirfoever 
 hand they may be thought to come. The fol- 
 lowing lift of portraits publilhed by Tompfon, 
 all of them, except the four laft, after bir Peter 
 Lely, is therefore added. 
 
 The Lady Rellafis, h. Ih. 
 The Lady Anne, h. lh. 
 John Hervey, Efq. 
 The Prince of Orange, h. Hi, 
 Earl of Derby, h. lh. 
 Robertas Fielding, h. Ih. 
 Madam Catharine Sidley, h. lh. 
 Right Hon. Lord Burleigh, Earl of Exeter^ 
 h. lh. 
 
 Madam Jane Long, h. lh. 
 Madam Graham, h. lh. 
 Madam Ellen Gwin, and her two Ions, h. lh. 
 Madam Middleton. 
 * ' The 
 
( 43 ) 
 The Lady Afhley, h. flu 
 The Lady Moorland, h. fli. 
 The Lady Elizabeth Jones, h. flu 
 George Morley, Bifhop of Winchefter, large a 
 h.flu 
 
 Katharine, Queen, &c. drawn, &c. (Gr. j 9 
 170.) 
 
 Louife Duchefs of Portfmouth, h. flu 
 Prince Rupert, h. flu 
 
 Sir Richard Rainsfoi d,W. Claret, p. large h. flu 
 
 Titus Oates, Hauker, p. h. flu 
 
 Thomas W.ndham, Efq. Sir Ralph Cole, 
 Bart. p. h. fh. [6] 
 
 Elizabeth Countefs of Southampton, Van 
 Pyck, p. h. flu 
 
 In pnrfuing the hiftory of our art as flourilh- 
 ing in this country, mention muft now be made 
 of fome foreign artifts who eftablifhed them- 
 felves in England. 
 
 [6] See p. jft above. 
 
 * Gz DAVID 
 
( 44 ) 
 DAVID L O G G A N, 
 
 a native of Danzick, to whom we owe the engra- 
 vings of the public build ings of Oxford and the 
 Cambridge, and ©f the academical habits of 
 Univerfity of Oxfprd, and who was one of the 
 mod confiderable engravers of heads in this 
 country, from about the middle of laft century 
 to the clofe of it, came into England before the 
 Reftoration, and brought with him two other 
 foreigners, 
 
 BLOQTELING and VALCK. 
 
 That thefe two fcraped in Mczzotinto W€ have 
 abundant proof; whether Loggan did alfo is 
 uncertain. Sandrart, who fpecifies many of his 
 works, makes no mention of his having prac- 
 tifed Mezzotinto ; but as his name is found on 
 fome Mezzotintos as publiiher, we fhould at 
 leaft take notice of the prints themfelves. 
 Among thefe may be reckoned the portraits of 
 
 Arch- 
 
( 45 ) 
 
 Archbiftiop Laud, after Van Dyck, and a very 
 curious and fcarce print of Fell Bifhop of Ox- 
 ford, Dolben Bifhop of Rochefter, and Dr. 
 Richard Alleftry, [7] in one piece, after the 
 original picture, by Sir Peter Lely, (till prc- 
 ferved in the Dolben family. The print how- 
 ever by no means does juftice to the picture. 
 As Bifhop Dolben was afterwards appointed 
 Archbifhop of York, his being filled Bifhop of 
 Rochester, in the inscription of the print, may 
 fo far ferve to fix the date of it. 
 
 ABRAHAM BLOOTELING, 
 
 a native of Amfrerdam, who ufed the graver 
 alio, as well as etched the plates in Auguflino's 
 
 [7] Br. Alleftry, an account of whom may be found in 
 Grange*-, was a very eminent and worthy man. He was 
 Provoft of Eton College, and King's ProfelTor of Divinity 
 in the Univeriity of Oxford. There is a feparate Print 
 of him on which is written, Loggan ad <vi<vum delin, h. 
 (Granger vol. iii, p. 271.) 
 
 Gems; 
 
I 46 ) 
 
 Gems, in 1685 ; and has left behind him feveral 
 portraits of eminent men, not done in Mezzo- 
 tinto, feme of which are fcarce, fcraped the fol* 
 lowing prints, all of which I mention on the 
 authority of Mr. Granger. All except the three 
 lafl are after Lely. Blooteling is faid to have 
 improved the art, by rinding out the ufe of the 
 duffel for laying grounds inftead of the roller 
 ufed before by Prince Rupert and Vaillant. 
 
 Charles II. Blooteling, f. 1680. h. lh. 
 
 Carol us II. done from a fine medal of hirrij 
 final!, 
 
 Catharina, &c. Blooteling, f. 1680. 
 Jacobus dux Eboracenfis, Sec. oval, large, fh. 
 Maria Beatrix, &c. h. fh. 
 Maria, Princeps Auriaca, h. fn. 
 Gulielmus Henricus, &c. (Prince of Orange) 
 Blooteling, f. 1678. h. fh. 
 Ditto, large, h. lh. 
 
 Rupertus, &c. totius Anglise Vice Admirallus, 
 1673. Although Blooteling exc, only is on this 
 
 print, 
 
( 47 1 
 
 print, yet we may well fuppofe it to Have been 
 fcraped by him. <c this (fays Mr. Granger) 
 is the mod characleriflic and valuable print of 
 Rupert." 
 
 Thomas Ofborne Earl of Danby, h. m. fcarce. 
 
 James Duke of Monmouth, &c. oval, large, Hi, 
 
 Portrait of Huygens, B. Vaillandt delin. 
 
 The Earl of Derby, fcarce. 
 
 Louife Dutchefs of Portlmouth, Blooteling, 
 f. 1677. 4^0. 
 
 Abrahamus Symonds (brother to the Me- 
 dalli/l, a celebrated modeller in wax) large 
 beard, 41-0. This is executed with fpirit and 
 good effed:. It has been copied, 
 
 Charles I. Van Dyck, p. A. B. (Abraham 
 B ooteling) f. fmall. 
 
 Mrs. Anne Killigrew, painted by herfelf. [8] 
 
 [8] For the hiftory of this Lady fee Mr. Walpole's 
 Anecdotes, &c. vol. iii. p, 42, 
 
 There 
 
( 43 ) 
 
 There is extant alfo, a hiftorical piece of 
 Judith, after Raphael^ marked A. Blooteling, 
 f. & e-xcud. 
 
 To GERARD VALCK, 
 
 wh6, as Mr. Walpole informs us from Vertue 
 was Blooteling's fervant, and then married his 
 filter, and came with him from Holland, and 
 returned with him, though he fometimes 
 worked for Loggan, we owe, in the opiniorl 
 of the fame elegant Connoiffeur one of the 
 fineft prints we have. It is the famous Duchefs 
 of Mazarin, after Sir P. Lely ; it appears by the 
 the date to have been engraven in 1678. It 
 is added that Vertue knew but three more of 
 Valck's entire works; Robert Lord Brooke 
 done in 1678, John Duke of Lauderdale in 
 his robes of the Garter, and an indifferent mez- 
 zotinto of Mrs. Davis, after Lely. But Vertue 
 then certainly had not been fuccefsful in his 
 fearches after this Artift's works. The portraits 
 
 of 
 
( 49 ) 
 
 of James Duke of York, of the Prince and Prin- 
 cefs of Orange, and of the Duchefs of Portf* 
 mouth, may be added from Mr. Grangers and 
 from other Catalogues and Collections the fol* 
 lowing prints alfo. 
 
 A fhepherd and fhepherdefs (or rather, as 
 has been fuppofed, Bacchus and Ariadne) after 
 Netfcher. 
 
 The fempftrefs afleep, after M. Van Mufcher* 
 
 A boy blowing bubbles, after Willing. 
 
 A St. Francis kneeling receiving the ftigmata* 
 G. Valck excud. Cum PriviL Ord. HolL 
 It is probable that Valck executed moft of his 
 works in Holland after his return. 
 
 A fleeping Cupid, Guido Ren pinxit, Gerard 
 Valck fecit et excudit 1677. In this the cha- 
 racter of the original is not ill preferved. 
 
 Bathlheba in the bath, after B. Graat. [9} 
 
 [9] Mr. Pilkington, in his Diftionary of Painters, men- 
 tions the hiftory of David and Bathfheba as one of the mofl 
 capital pictures of Graat, 
 
 H Bath* 
 
( So ) 
 
 Bafan add^ ill his Dictionary of Engravers, 
 that Valck engraved many portraits after Van 
 der Werf, Lely, and others, for the edition of 
 the Hiflory of England by Larry, &;c. 
 
 A few Mezzotintos of this period alfo are 
 from the hand of another foreign artift, who 
 refided long, and ended his days in England, 
 
 JOHN VANDERVAART, 
 
 of Harlem, a painter of portraits and of ftill 
 life, is faid to have come to England in 1674, 
 [1] Mr. Granger mentions the following fix 
 prints fcraped by him, which feem to have been 
 executed at the clofe of the laft century. [2] 
 
 [1] See Mr. Walpole's Anecdotes, vol. iii. p. 275, 
 where more particulars of his life may be found. 
 
 [2] Of the print of Bifiiop Wettenhall in particular, as 
 J\e is ililed in the inscription Bi&op of Corke and Rois, 
 
 Carolus 
 
( 5i ) 
 Carolus II. Wiffing, p. h. in. 
 James Duke of Monmouth, after ditto h, 
 
 Edwardus Wettenhall, S. S. T. P. Corcagi- 
 enfis et RolTenfis Epifcopus; J- Vandervaart p. 
 
 et f. large h. fli. 
 
 Robertus Fielding, Sec. after Lely, h. fin 
 The Duchefs of Somerfet, after ditto, In 
 
 ih. 
 
 Oliverius Plunker, G. Murpheii, p. In fin 
 fcarce. 
 
 About the fame time flourifhed another fo* 
 reign engraver, who was a painter alfo, and 
 has executed a few hiftories and portraits in 
 Mezzotinto. Some of the latter are of diftin- 
 guiihed perfonages. Among them we may 
 reckon, from Mr. Granger, as having been 
 
 whi-ch he became in 1678, and not Bifnop of Kilmore., 
 which he became in 1698, it feems plain in consequence 
 that it mull have been executed between thefe two dates. 
 
 H 2 fcraped 
 
( 5* ) 
 
 fcraped by VANSOMER, who appears to 
 have come into England, 
 
 Henry Stone (the painter) Van Dyck, p. J. 
 Vanfomer f. 
 
 Hubert Le Soeur, (the flatuary) after ditto 
 4to. 
 
 James II. Kneller p. Van Somer f. in armour, 
 h. fh. 
 
 Prince Rupert, after Lely. 
 
 Bifhop Morley, fitting in a chair, h. fh. 
 
 The family of Mr. Cooke of Norfolk, afte* 
 Huyfman, thought by Vertue to be by Van- 
 fomer. 
 
 Andre Lortie, Vanfomer f. 1681. h. fh. 
 
 Butler, (the poet) probably by Vanfomer. 
 
 Frances Duchefs of Richmond, F. V. S. f. 
 Lloyd, exc. 4to. 
 
 The Countefs of Meath, Paulus Mignard 
 Avenionenfis p. Londini, P. Vanfomer f. h. fh. 
 fcarce, 
 
 Hen- 
 
( 53 ) 
 Henrietta and Anne Churchill, Src. 
 We may add the Dnke of Florence and his 
 fecretary ; a portrait of Raphael, after himfelf ; 
 a portrait of Frederic Spanheim, with a remarka- 
 ble infeription (which is found on others of his 
 prints alfo) J.Vanfomer ad vivum fculpebat ; the 
 portrait of Admiral Rnyter ; an upright print 
 of the angel conducting Tobit by moonlight ; 
 the head of a boy, with his name, and the date 
 of 167 1 ; and another of a Madonna, with the 
 mark of a cypher, compofed of the initials of 
 his name, plainly in his manner, which appears 
 to have been hard, and unfuccefsful. 
 
 Contemporary with the Artifls lately men- 
 tioned we may place alfo 
 
 JOHN VERKOLIE, 
 
 the Father of Amfterdam 3 and at the clofe of 
 the centu?y perhaps his fon NICHOLAS alfo, 
 
 who 
 
( 54 ) 
 
 who was born at Delft in 1673, and died in 1 746. 
 [3] John Verkolie was a painter, having been 
 a fcholar of John Lievens, as well as his fon 
 alfo, who excelled him in his Mezzotintos. 
 We have many prints extant by each, and from 
 the hand of the former four portraits which 
 belong to the fcrics of Englifli Hiftory. Thefe 
 are 
 
 Guillaume Henri Piince d'Orange, J. Ver- 
 kolie f. fli. 
 
 Ortance Manchini, &c. (Duchefs of Maza- 
 rln) Verkolijc f. 1680. 
 
 The Duchefs of Grafton, 1683. F. Verkolje 
 f. h. ih. 
 
 Madam Parfon, P. Lely p. F. Verkolije f. 
 1683. h. fh. 
 
 The reft of this Artift's works confift of Venus 
 and Adonis after his own defign, a Diana and 
 Califta after Netfcher (companion to the lhep- 
 
 [3] There is a fmall engraving by Koubraken of 
 Nicholas Verkolie, after a picture byhimfelf, in 1723. 
 
 herd 
 
C 55 ) 
 
 herd and flicpherdefs, or Bacchus and Ariadne, 
 by G. Valck) [4] and many portraits and other 
 fubjccls after different matters. Among them 
 is the portrait of the famous Lewenhoek, 
 marked J. Veikolie pinx. fee. h excudit, 1681. 
 
 The works of his fon Nicholas appear to be 
 Hill more numerous. Among the moft remar- 
 kable are, 
 
 Diana in the bath. 
 
 Hagar in the defert, after his own defign. 
 
 A fortune-teller, after ditto. 
 
 A painter defigning, after a model from 
 Houbrakeru 
 
 The portrait of Bernard Picart, fcarce. 
 
 Ditto of John Somer, a Dilettante, with a print 
 in his hand. 
 
 Diana and Endymion, after Netfcher. 
 
 Eacchus and Ariadne, it's companion, after 
 ditto. 
 
 [4] See p, 49 above. 
 
( 55 ) 
 
 A holy family, after A. Van der Werf. 
 
 A repaft in a garden, after Weenix, eileemed 
 one of his capital prints. 
 
 A woman at her toilette, after Schalken, 
 and many other pieces after Gerard Dow, Wow- 
 verman, and other Flemifti mailers. Nicholas 
 Verkolie excelled in painting in general, and 
 more particularly in his night-pieces. He had 
 alfo a peculiar talent for drawing and defigning 
 in Indian ink. [5] 
 
 A writer of authority [6] has made mention 
 of a third Artift in Mezzotinto of the fame 
 family, by the name of Verkolie the younger, 
 but he does not fpecify any of his prints, and 
 other writers on the Hiftory of Engraving, in 
 general make mention of John and Nicholas only, 
 
 [5] See Pilkington's Dictionary of Painters. 
 [6] See Idee Complette, &c. p. 188. 
 
 At 
 
( 57 ) 
 
 At the clofe of this century we may place two 
 other foreign Artifts, whofe works probably 
 are fcarce and little known. 
 
 W. VERSCHtJRING, 
 
 Born at Dort in 1657, a painter, and the fon 
 of Henry Verfchuring, a painter of eminence, 
 has fcraped the portrait of a lady holding a rofe, 
 marked W. Verfchuringh fee. et exc. 1686. 
 
 JOHN FRANCIS LEONART, 
 
 An engraver, who worked at Bruffels and at 
 Nuremberg, has fcraped alfo, in a very good 
 ftile, the portrait of a man fittings feemingly 
 after Van Dyck. It is marked J. F. Leonarc 
 incid. 
 
 Bafan makes mention of the portrait of Mer* 
 ftraten, Syndic of Bruffels, and of Ifabella his 
 
 I wife* 
 
C 58 ) 
 
 wife, after Van Dyck, feemingly in Mezzotinio* 
 by the fame hand. 
 
 We may now return to the mention of an 
 Artift wholly Englilh. 
 
 WILLIAM FAITHORNE, Junior, 
 
 Son of a very eminent and well-known engraver 
 of portraits, feems to have applied himfelf to 
 Mezzotinto only. He muft probably have 
 ilourifhed indeed before the younger Verkolie, 
 although his works carry us into the next cen- 
 tury, and ought in reality therefore to have 
 been placed before him, but for the fake of 
 mentioning the father and fon together. Fai- 
 thorne is efteemed to have attained a good 
 degree of excellence in his art, but died early, 
 and has not left many prints behind him. 
 Venue's papers as publifhed by Mr. Walpole 
 afford the following defcriptive lift, 
 
 Thomas 
 
( 59 ) 
 
 Thomas Flatfhan, [7] probably his firft work* 
 Sir William Reade, Oculift to Q^Mary. 
 Mr. Dry den, in a long wig. 
 Q^Anne, with loofe hair, garter-robes,. 
 Prince George of Denmark. 
 Mr. Jeremiah Collier* 
 John More Bifhop of Ely. 
 Frederic Count of Schombergh 0 
 Another, when Duke. 
 John Cooper, a boy with a dog- 
 Lady Katherine Hyde. 
 Mrs. Mariamne Herbert, 
 The Princefs of Hanover. 
 Charles XII. K. of Sweden. 
 A lady, L 1. with a bajketof flowers* 
 Lord Henry Scott. 
 Mr. James Thynne, a boy<, 
 Mr. Richard Gomeldon. 
 
 [7] Quaere, whether this be the Mezzotinto, mentioned 
 elfewhere by Mr. Walpole reprefenting him as holding a 
 Siedal ? 
 
 I 2 Qi 
 
( 6o ) 
 
 Q^Mary. 
 
 Shadwell, the poet. 
 
 Sir Richard Haddock, fine, after Clofte- 
 tnan. 
 
 Mrs. Plowden, with a garland, gown lined 
 with ftriped lilk, no name. 
 
 Another, but inftead of the garland Ihe has 
 a necklace in her hand. 
 
 Sandta Maria Magdalena. 
 
 A Cupid, after Parmentier. 
 
 A death's head between a watch and a rofe 
 in a glafs bottle. 
 
 A black giving fruit to a girl, inferibed 
 beauty's tribute. 
 
 It is added that others mentioned by Ames 
 are, 
 
 The Princefs Sophia, 
 W. Bagwell. 
 W. Boys. 
 J. Seddon. 
 
 Mrs. Smith, . - 
 
 j) Madam - 
 
 \ 
 
( 6i ) 
 
 Madam Nichols. This Mr. Walpole be* 
 lieves to be the fame with Mrs. Plowden. [8J 
 
 But befides that Ames never diftinguifh.es 
 between Mezzotintos and other engravings, 
 and that fome of thefe portraits may very pro- 
 bably have been by Faithorne the elder, [9] 
 Vertue feems evidently to have fallen into 
 fome miftakes in copying the lift from Ames. 
 
 [8] Yet the defcription given by Ames, which is alfo 
 very particular, differs much from that already given of 
 the print of Mrs. Plowden. It is as follows, " Madam 
 Margaret Nichols, M, Dahl p. W. Faithorne f. leaning on 
 a book with her right hand, the left as playing with a par- 
 rot, which ftands on the bough of a tree, the drapery about 
 her very loofe and free." 
 
 [9] Of the print of Mrs. Smith, this mould feem almoft 
 certain, as Mr. Granger defcribes the portrait of Marga- 
 ret Smith after Van Dyck, by Faithorne, which he calls one 
 of the fcarcelt and fineft of all our Englim prints, but does 
 not diftingium it as a Mezzotinto, (vol. ii. p. 391.) 
 
 The 
 
( 62 ) 
 
 The Princefs Sophia, is done by J. Smith [i] 
 and the portrait of John Seddon [2] is from a 
 drawing by W. Faithorne, (the elder therefore 
 who drew portraits in crayons) but is engraven 
 by Sturr. 
 
 Mr. Granger alfo makes mention of the fol- 
 lowing by Faithorne. 
 
 Carolus II. F. Riley p. W. Faithorne (junior) 
 f. h. ih. 
 
 Mary Princefs of Orange, Hanneman p. 1660, 
 Faithorne, junior, f. h, Hi. 
 
 Elizabeth Cooper, Lely p. W. Faithorne f, 
 whole length, h. lb. 
 
 Anne Princefs of Denmark, Faithorne f. oval, 
 4to. 
 
 Another artift of this period, not originally 
 !>red to the art, is reported to have had the 
 
 [1] Ames, p. 152. 
 [2] Ditto, p. 153, 
 
 merit 
 
( 6 3 ) 
 
 merit of discovering the practice of Mezzotinto 
 by his own induftry, while it was flill kept a 
 fccret by thofe who knew it, and to have Suc- 
 ceeded afterwards in gaining a knowledge of 
 the whole procefs from Vanfomer. 
 
 Mr. LUTTEREL, 
 
 Who firft exercifed the profeffion of the law at 
 New-Inn, abandoned it to gratify his propen- 
 fity for drawing. This he appears to have done 
 after the life in crayons. [3] The applaufe 
 given to the new art of Mezzotinto turned his 
 attention towards it, with a view however of 
 profiting by his fkill. He has left behind him 
 the following portraits fcraped by his hand. 
 
 Carolus II. Lely p. Lutterel f. 4to. 
 
 Arthur Earl of EfTex, Lely p. Lutterel f.4ro. 
 
 [3] A print of John Barefoot 168 1, by Eurghers, is in- 
 fcribed E. Lutterel ad vivum del, 
 
 Robert 
 
C 6 4 ) 
 
 Robert Earl of Yarmouth, E. Lutterel p. 
 Lloyd exc. 1680. [4] 
 
 William Vifcount Stafford, Lutterel f. large, 
 4to. 
 
 Anthony Earl of Shaftefbury, F. Greenhill p. 
 E. Lutterel f. 4to. 
 
 Richard Langhorn, E. Lutterel f. 4to. 
 
 The Duchefs of Cleaveland, Lely p. E. Lut- 
 terel f. h. Ih. 
 
 Two of the Bantam Ambaffadors, Lutterel 
 f. large, 4to. 
 
 Mr. Walpole fpeaks alfo of the portrait of 
 Le Piper the painter, as Lutterers belt per- 
 formance, and of another print by him, the 
 defign of which if it be not indeed one of the 
 facetious indelicacies of the Flemifti fchool, 
 
 [4] As it is exprcfsly afterted by Mr. Walpole (vol. v. 
 p. 199) that Lloyd the Printfeller could not engrave, we 
 may conclude this print to have been by Lutterel. 
 
 is 
 
( 6 5 ) 
 is at leaft worthy of being fo. [5] 
 worked in conjunction with 
 
 He at laft 
 
 ISAAC BECKET, 
 
 who caught the paffion of learning Mezzotinto 
 by vifiting him, and has left behind him a con- 
 fiderable number of portraits, of which the fol- 
 lowing is a lift, as mentioned by Mr. Granger, 
 
 Carolus II. Lely p. Becket f. fmall. 
 
 George Duke of Buckingham, S. Verelft p a 
 Becket f. h. fh. 
 
 The Duke of Richmond, W. Willing p. J. 
 Becket f.h.fh. 
 
 Henry Duke of Graftdn ; — three different 
 prints of him~one after Hauker — one after 
 Kneller — and a third without any painter's name* 
 
 John Duke of Lauderdale, Riley p. 
 
 [5] Life of Becket, Anecdotes, Vol. v. p. 199. 
 
 K Robertus 
 
( 66 ) 
 Robcrtus Fielding, &c. Willing p. 
 The Duchefs of Cleaveland ; four times i 
 
 once, Lely p. Becket exc. h. lh, 
 
 The lame again, Lely p. Becket f. 410* 
 The fame, Lely p. Becket f. 8vo. 
 The fame, Kneller p. Becket f. 4to. 
 Godfrida Kneller, &c. 1 68 5, Kneller p. large, 
 
 h. fo. 
 
 Godfridus Kneller, Germ, miffus a Carolo II. 
 ad depingendum Ludovicum Magnum, &c, 
 1785. Kneller p. large, h. flu 
 
 Louife Duchefs of Portfmouth, after ditto. 
 
 The Duchefs of Grafton, Willing, p. 
 
 The Countefs of Stamford, after ditto. 
 
 The Lady Williams, after ditto, faid to be 
 one of his bert. 
 
 The Princefs Anne, after ditto. 
 
 Prince George, after ditto. 
 
 John Earl of Mulgrave, after Kneller, twice. 
 
 Chriftopbcr Duke of Albermarle, Murray p. 
 
 Lewis 
 
( 67 ) 
 Lewis Earl of Feverfham, J. Riley p. 
 Wriothelley Lord Ruffel, Bucket exc. very 
 fcarce. 
 
 Bifliop Compton, J. Riley p. 
 
 Thomas Cart w right, Epifcopus Ceftricnfis, 
 
 very rare. 
 
 Madam Anne Windham, Willing p. 
 
 The Lady Browniow, Souft p. 
 
 Madam Soams, after Kneller. 
 
 John Earl of Melfort, after ditto. 
 
 Madam Baker, after ditto. 
 
 Madam Loftns, J. Smith {.fold by Becket. 
 
 Orinda Philips, J. Becket f. 4to. 
 
 Adrian Beverland and his wife, C. D. Vois 
 Lngd. p. Becket exc. h. fh. 
 
 Hadrianus Beverlandus, &c. J. Becket f. 
 
 Becket is faid to have executed fome prints 
 alfo after V. Dyck, N. Loir, &c. He appears, 
 we may obferve from fome of the above-men- 
 tioned prints, to have been a print-feller and 
 publifher as well as an engraver. 
 
 K 2 From 
 
( 63 ) 
 
 Jf 
 
 From Becket we may pafs to another EngUfh 
 artift, whole engravings of portraits are nume- 
 rous and celebrated, but who is entitled to a place 
 here an account of three prints only. Two 
 others however are marked with his excudit, 
 and were probably therefore fcraped by him 
 alfo. 
 
 ROBERT W H I T E, [6] 
 
 Who was born in London in 1645, and died 
 there in 1 704, appears to have executed or pub- 
 limed the following Mezzotintos. 
 
 The Countefs of Arundel, Lely p. R. W. 
 (Robert White) f. 4to. " This and the 
 head of Dr. Briggs," fays Mr. Granger, [7] 
 " are the only Mezzotints done by Robert 
 
 [6] His head may be found engraven in {he 4to edition 
 of Mr. Walpole's Anecdotes, 
 
 [7] Vol, iv. p. 165. 
 
 White/' 
 
( 69 ) 
 
 White," but he had before mentioned alfo, on 
 the authority of Vertuc, [8] 
 
 The Duke of Ormond, h, 1. 
 
 We may add (as already mentioned) 
 
 Dr. Briggs. 
 
 John Earl of Radnor, Kneller p. R. White 
 exc. large h. ih. fcarce, and 
 
 The Duke of Richmond, Kneller p. R. 
 White exc. h. ih. 
 
 The works of 
 
 GEORGE WHITE, 
 
 The fon of Robert, form as it were a new epoch 
 in the Hiftory of Mezzotinto. He appears to 
 have been the fir ft who introduced a very fuc- 
 cefsful method of etching his plate firft, and 
 then fcraping it, which has fince been adopted 
 
 [2] Vol. iii. p. 1 88, 
 
 by 
 
( 7° ) 
 
 by other matters in the prefent improved flate 
 of the art, and which is thought to have given 
 a peculiar degree of fpirit to his performances. 
 George White is reported alfo to have made 
 ufe of a graver for forming the black fpot in 
 the eyes, which, in preceding Mezzotintos, 
 he obferved, had never been diftinit [9] He 
 carried the art altogether certainly to a great 
 degree of perfection, and has left behind him 
 many very beautiful prints. Mr. Walpole 
 and others praife his Sir Richard Blackmore 
 and Silvefler Petyt, [r] the latter more efpeci- 
 ally. The portrait of Baptifte, the flower- 
 painter, mufl be confidered as another of his 
 
 [9] Preface to Chronological Series of lingravers, p. xi. 
 This may be probable, as he mult doubtlefs have known 
 the ufe of the graving tool, and has actually engraven a 
 few portraits in the common manner. 
 
 [1] There is a fcarce impremon of this print with orna- 
 ments on the right-hand fide, which in the common im- 
 piefiions are omitted. 
 
 capital 
 
C 7> ) 
 
 capital works. The prints of Wing, Sturges, 
 and Bifhop Hooper, have been celebrated alfo. 
 May not we add to the lift a very fpirited head 
 of Dob fon the painter, from himfelf? The 
 heads of old and young Parr, which have at- 
 tracted the admiration of others alfo, are faid 
 to have been his own favourites* Although he 
 belongs properly to the clofe of the laft century, 
 the greater part of his works appear to have 
 been executed in the prefent. He was alive 
 in 173 1, when a print by him of Bifhop Weflon 
 is dated. There are extant by his hand alfo 
 Mezzotintos of Erafmus Smyth, Efq. and his 
 wife, of VandeVbank the Engraver, of Wlcklifie 
 the Reformer, cf Robert Cony, M. D. and of 
 the remarkable Colonel Blood. 
 
 Along with George White may well be men- 
 tioned the other great improver of the art, the 
 celebrated 
 
 JOHN 
 
( 7* ) 
 
 JOHN SMITH. 
 
 His works are chiefly of the prefent century, 
 but he began certainly to diftinguifh himfelf at 
 the clofe of the laft. [2J He received his in- 
 ftruftion both from Becket, whofe portrait he 
 fcraped in 1689, and from Vandcrvaart. His 
 works are fo numerous and fo well known, that 
 it would be equally difficult and unneceffary to 
 attempt to give a catalogue of them. [3] He 
 was principally employed in engraving and pub- 
 liihing Sir Godfrey Kneller's portraits, who is 
 faid to have taken him into his houfe ; but he has 
 given us many hiftorical pieces alfo from diffo 
 
 [2] One of his prints is dated 1687. (Granger, vol. iv. 
 P- 344-) 
 
 [3] Mr. Granger fpeaka of a MS. catalogue of Smith's 
 works lent him by the late Mr. Mac Ardell the engraver, 
 who told him that it was a copy from a lift written by 
 Smith himfelf. His works are fo numerous that they are 
 often bound in two large folios. . 
 
 rent 
 
( 73 ) 
 
 rent mailers. Sir Godfrey painted his po^raic 
 in 1696, which was fcraped by himfelf in 17 16. 
 He is reprefenred in his cap and night gown, 
 holding a print in his left hand, the portrait on 
 which, from the flowing perake of the times, 
 w r e may imagine to have been painted by Sir 
 Godfrey. 
 
 Mr. Waipole fpeaks of the following as the 
 fineflof Smith's portraits : Duke Schomoerg on 
 horleback ; the Duke's fon and fuccefibr, May* 
 nard ; the Earls of Pembroke, Dorfet, and Al- 
 bermarle ; three plates with two figures in each 
 of young perfons or children, in which he fhone; 
 William Anftruther, Thomas Gill, William 
 Covvper, Gibbons and his wife, Queen Anne, 
 the Duke of Gloucefter, a whole length, with a 
 flower pot; the Duke of Ormond ; a very curious 
 print of Queen Mary, with a high head, fan, and 
 gloves ; the Earl of Godolphin, the Duchefs of 
 Ormond, a whole length, with a black ; and a 
 
 L print 
 
( 74 ) 
 
 print of James II. with an anchor, but no in- 
 fcriptiofi, not finifhed when the King went 
 away, and very fcarce. 
 
 To thefe wc may add in particular, the por- 
 traits of the Countefs of Salifbury, after Sir 
 Godfrey, (a print known commonly from her 
 clrefs by the name of the widow) of Mifs Crofs, 
 (diftinguifhed alfo by the name of the little wi- 
 dow) and of Schalken, from his own painting 
 of himfelf at London in 1694. Mr. Walpole 
 relates that this painter, when in England,, once 
 drew King William, but as the piece was to be 
 by candlelight, gave his Majefty the candle to 
 hold, till the tallow ran down upon his fingers; 
 and adds, that as if to juftify his ill-breeding, 
 he drew his own picture in the fame fituation. 
 [4] Smith's print of Schalken holding a can- 
 dle in his hand, feems evidently to have been 
 
 [4] Vol. iii. p. 244. 
 
 done 
 
( 75 ) 
 
 done from the picture alluded to. Smith en- 
 graved a portrait of the celebrated Corelli , after 
 Howard. 
 
 Among his hiftorical and other pieces, we 
 may d.iftingpUh more particularly his loves of 
 the Gods, from the pictures by Titian at Blen- 
 heim, in ten plates , Venus Handing in a fheil 
 from Corregio ; Venus and Cupid on a couch ,* 
 a hawking piece from Wyke; a vafe filled with 
 flowers, after Baptifte ; the Magdalen and lamp, 
 after Schalken ; the Magdalen and Thiftle, it's 
 companion, after Gafpar Smitz, or Smith, our 
 engraver's brother, called Magdalen Smith, [5] 
 a Madonna, with the infant Jefus and John, [6 j 
 and what is by fome efteemed his mafter-piece 
 
 [5] PilkingtOji's Dictionary , 
 
 [6] Bafan mentions that the firft impreluons of this print 
 have the fore finger of the left hand 01 the young Jefus 
 longer than the middle finger. 
 
 for 
 
C 76 ) 
 
 for delicacy and fofrnefs, a holy Family, after 
 Carlo Maratti, done in 1707. Some of Smith'.] 
 prints are worked off in biftre, and have a 
 pleafing effect. Lord Somers is related to have 
 been fo fond of the works of this mailer, that 
 he feldom travelled without them in the feat of 
 his coach. [7] 
 
 ROGER WILLIAMS, 
 
 Though an inferior artift, feems to have been 
 employed by Smith, who fold his prints, and. 
 to have worked with him. On a print of Charles 
 the Second, after Kneller, their names are 
 found together as the joint engravers of it. [8 J 
 And another of the fame Monarch, which bears 
 the name of Williams, is yet on good grounds 
 
 [7] Eflay on Prints, p. 131. 
 [8] Granger, vol. iii. p. 165, 
 
 fuppofed 
 
C 77 ) 
 
 fuppofed to have been almoft wholly by Smith* 
 [9J Williams's print of Sir Richard Black- 
 more is faid to be uncommonly fine, and is 
 fcarce. He executed many portraits, the fol- 
 lowing of which are mentioned by Mr. Granger. 
 
 Charles I. Van Dyck p. h. fh. 
 Sir Edward Littleton he. after ditto, h. fh. 
 James Duke of York, S. Cooper p. 8vo. 
 The Duchefs of York, Willing p. h. fh. 
 The Marquis of Worcefter, R. Williams f. 
 16S6. 
 
 James Duke of Ormond, Willing p. h. fh. 
 The Duke of Richmond, Wiffing p. 4to. 
 The Duke of Northumberland, after ditto, 4to. 
 Edmundus King, eq. aur. M. D. &c. Lely p. 
 b. fh. [i] 
 
 [9] Granger, vol. iii. p. 165. 
 
 [ 1 ] With a fingular infeription, on account of his having 
 faved the life of Charles II, See Granger, vol. iv. p. 2. 
 
 The 
 
( 78 ) 
 
 The Duchefs of Cleaveland, Willing p. 4to. 
 M ad am Sidley, ditto, 4to. 
 Madam Hewfe, Lely p. h. fh. 
 Jacobus II. 
 
 Maria, D. G. &c. Willing p. 4to. 
 
 The Princefs of Orange, after ditto, h. fh. 
 
 The Princefs Anne, after ditto, h. fh. 
 
 Laurence Earl of Rochefter, ditto, 4-to. 
 
 Theophilus Earl of Huntingdon, &c. Kneller 
 p. h. fh. 
 
 John Vifcount Dundee, h. fh. 
 
 Johannes Cults, W. Wiffing p. h. ft. fcarce. 
 
 Sir Charles Cotterell, Riley p. h. fh. 
 
 Lady Wentworth, Kneller p. large, h. fh. 
 
 We may add the portrait of Mr. Grevil 
 Vcrney, after Dahl. 
 
 BERNARD LENS, 
 
 The fon of Bernard Lens, a painter, although 
 fdme of his works may be of the prefent cen^- 
 tury, muft probably have femped many of his 
 
 prints 
 
( 79 ) 
 
 prints alfo towards the clofe of the laft, fincc he 
 died in 1725, aged 66. His works are very 
 numerous, confiding chiefly of hiftories and 
 landscapes after a variety of mailers. One of 
 his hiitorical prints is from a picture of the 
 judgment of Paris, by Sir Peter Lely. Among 
 his portraits, fome of which are after Sir God- 
 frey Kneller and Lely, is a remarkable one of 
 Mother George, of Oxford, in her 120th 
 year. There is a fcarce print by him alfo, after 
 a view of Sir Godfrey Copley's feat at Sprot- 
 b rough near Doncafter, by Van Dieft. 
 
 We may proceed now to mention other artifts 
 who feem to have ilouriihed wholly within the 
 pre fen t century. Two foreign engravers ap- 
 pear to prefent themfelves firlt in order. 
 
 JOHN G O L E, 
 
 Of Amfterdam, who publifhed his own prints, 
 and was probably therefore a print-feller, an in- 
 different 
 
( So ) 
 
 different artift, has executed many prints after 
 a variety of Flemilh matters. We have his 
 portrait fcraped by himfelf alio, in a flowing 
 peruke and laced band, after David Vander 
 Praes. And there are extant by him alfo a cu- 
 rious print of Bifhop Burnet in his own hair, 
 and in the drefs of a Minifrer, done in Hoi- 
 land, infcribed Gilbertu? Burnet S. T. P. the 
 portrait of George Walker the Governor of 
 Londonderry, with French and Dutch verfes 
 written under it, a miall head of Pope Alexan- 
 der VIII. one of his bell:, and many other 
 portraits. 
 
 PETER SCHENCK, 
 
 Another artift who refided at Amfterdam, ap- 
 pears from a print of Hoogftratan, a Dutch 
 Phyfician, to have been a painter likewife. Some 
 of his prints are clear and well fcraped. He 
 has executed a great many after different maf- 
 ters, 
 
C 81 ) 
 
 . ters, among which is the portrait of General 
 Ginkle (the firft Earl of Athlone) in armour, 
 done in Holland, after Kneller. Two alfo of 
 his prints mentioned by Granger belong to En- 
 glim Hiftory, that of Mary Duchefs of York, 
 and the Duchefs of Cleaveland. He has exe- 
 cuted the portrait of Mifs Vofs alfo, in the 
 character of St. Catharine. There is an indif- 
 ferent print by him of his own portrait, with 
 the infcription Petrus Schenck fculptor Elber- 
 felda-Montanus feipfum fecit et excud. AmfteL 
 
 Other foreign deceafed artifts of the prefent 
 century were Van der Bruggen, Barras, Sar- 
 rabat, Bouys, Broedelet, and Van Haecken. 
 
 JOHN VANDER BRUGGEN 
 
 Was born at BrufTels (as appears from the in- 
 fcription of his portrait fcraped by himfelf 
 after Largilliere) in 1689. He has executed a 
 
 M great 
 
( 8z ) 
 
 great number of Mezzotintos, chiefly after 
 Flemim matters, which cannot be faid to pofTefs 
 much excellence. Among them is the portrait 
 of Van Dyck, the portrait of La Fage, and the 
 Gold- weigher, after Rembrandt. 
 
 SEBASTIAN BARRAS, 
 
 Probably a Frenchman, was employed at the 
 beginning of this century by M. Boyer, Mar- 
 quis d'Aiguiller, a diftinguifhed collector and 
 connoifTeur in France, to engrave two and 
 twenty plates in Mezzotinto for the fet of 
 prints publifhed at Paris after the pictures in 
 his collection. Thefe prints were withdrawn 
 in the fecond edition of the fame book, (the 
 plates alfo having been deftroyed) and replaced 
 by the fame number of engravings by Coele- 
 mans. M. Heineken fpeaks favourably of 
 the execution of Barras's plates. [2] It appears 
 
 [2] Idee Complette, &c. p. 81. 
 
 alfo 
 
( 8 3 ) 
 
 alfo that in the firft edition two plates were 
 fcraped by Mr. Boyer himfelf, one of which 
 was a man's head, and other a St. John Baptift 
 after Manfredi. But thefe, together with fome 
 others engraven by M. Boyer, (who occafionally 
 painted alfo) are not found in the fecond edition. 
 We muft add the name of M. Boyer therefore 
 to the names of thofe other Dilettanti who have 
 pradtifed Mezzotinto. 
 
 JOHN SARRABAT, 
 
 A Frenchman, an artift of fome degree of ex- 
 cellence, has fcraped feveral portraits after 
 French painters, and many pieces after Flemilh 
 and other mailers. 
 
 Another of his countrymen, of the name of 
 
 B O U Y S, 
 
 a painter, and fcholar of Francis de Troy, has 
 fcraped feveral portraits alfo, among which is 
 
 that 
 
( 8 4 ) 
 
 that of the famous Maffillon from a picture by 
 himfelf. 
 
 There is a portrait alfo of Nell Gwynn, by 
 a Mezzotinter of the name of De Blois. 
 
 We have feveral Mezzotintos likewife from 
 
 JOHN VAN BROEDELET, 
 
 a Dutch engraver ; amongft them Cephalus 
 and Procris, after Gerard Hoet, companion to 
 a Venus and Adonis, by Verkolie. 
 
 VAN HAECKEN 
 
 Another Dutch artift eftabliftied himfelf in 
 England, fcraped a confiderable number of 
 prints, and appears to have executed them 
 with fpirit. He has done a head of the famous 
 Dr. Pepufch. 
 
 M 2 
 
 PETER 
 
( 8 5 ) 
 PETER VAN BLEEK, 
 
 Who eftablilhed himfelf in England alio, and 
 died in 1764, deferves much praife for his fine 
 print of Johnfon and Griffin in the characters 
 of Ananias and Tribulation, in the Alchymift, 
 [3] and for his portrait of Flamingo the fculp- 
 tor, after Van Dyck. The latter is peculiarly 
 fpirited and beautiful. There are many prints 
 by his hand. 
 
 Three other artifts, who have generally been 
 confidered as belonging to our country, from 
 their having eftabliihed themfelves here, were 
 the two Fabers, and Simon. The two former 
 were born in Holland, and the latter in Nor- 
 mandy. 
 
 The Elder F A B E R, 
 
 Who feems to have quitted Holland after 
 1692, or later, and died in England in 1721, 
 
 [3] See Mr, Walpole's Anecdotes, vol. iv. p. 68. 
 
 is 
 
( 86 ) 
 
 is chiefly known by a fet of portraits of the 
 Founders of Colleges at Oxford and Cambridge. 
 He has done alfo the heads of the Philofophers, 
 from Rubens. One of his beft prints is from 
 the fine picture by Kneller of the celebrated 
 Dr. Wallis, in the picture gallery at Oxford, 
 His fori, 
 
 JOHN F A B E R, Jun. 
 
 Who may be confidered as wholly Englifh, 
 fince he was brought into England at three 
 years old, excelled his father greatly, and has 
 executed a prodigious number of portraits, 
 fome of which deferve conliderable praife. The 
 portrait of Mrs. Collier, rcprefented leaning 
 againft a pillar, on the bafe of which is engraven 
 the ftory of the Golden Apple, has been thought 
 one of his bell: prints. We may certainly con- 
 fider as fuch his print of Father Couplet, the 
 
 Jefuit, 
 
( 8 7 ) 
 
 Jefuit, a Mimonary to China, from Sir God* 
 frey Kneller's picture of him at Windfor, in 
 the habit of a Chinefe, efteemed Sir Godfrey's 
 mafter-piece. His prints of the Kit-Cat Club, 
 and of the Beauties at Hampton Court, are 
 well known. Among his principal works may 
 be reckoned alfo Charles II. fitting in his robes 
 of ftate after Lely, and the taking of Namur 
 after Wyck. Nor ought we to omit his head of 
 Ignatius Loyola after Titian, of Jofeph Carreras 
 after Kneller, (which has fince however been 
 engraven again by Mr. Valentine Green) and a 
 pretended portrait of Milton prefixed to Peck's 
 new Memoirs in 1 741. [4] Faber died in Lon- 
 don, and feems to have been alive after the 
 middle of this century. 
 
 [4] See a curious and entertaining note on the different 
 portraits of Milton, in Mr, Warton's excellent edition of 
 his Poems, p. 544, 
 
 JOHN 
 
( 88 ) 
 
 JOHN SIMONS, 
 
 Was employed by Sir Godfrey Kneller in 
 copying his pictures, ibme years before the 
 death of Smith. He has executed a great num- 
 ber of portraits after different mailers, and fome 
 hiftorical prints. He died in England about 
 the year 1755. We have the portrait of the 
 celebrated Sir Theodore Mayerne by him after 
 a famous picture by Rubens, in Dr. Mead's 
 collection. He is fometimes hard in his man- 
 ner, and cannot certainly be efteemed a capital 
 artift ; but Mr. Walpole, from Vertue, fpeaks 
 highly of three of his prints, that of the Earl 
 of Galway, of Earl Cadogan, and of Lord 
 Cutts in armour with a truncheon. One of the 
 many portraits extant of Mary Queen of Scots 
 after a picture of the late Duke of Hamilton's, 
 in which me appears in black velvet trimmed 
 with ermine, was fcraped by him, and has been 
 copied by Pelham. 
 
( 3 9 ) 
 
 In the beginning of this century flourifhed 
 
 EDWARD KIRKALL 
 
 alfo, born at Sheffield. He was an engraver in 
 many different ways, and on account of a por- 
 trait of a Lady Dunce, has been noticed by Mr. 
 Pope. [5] His Mezzotintos, ftridtly fuch, arc 
 not very numerous, and are fome of them fea- 
 pieees, which were worked off, not with a 
 happy effecl, in blue. The portrait of Sir 
 Chriftopher Wren is extant by him after Ciofter- 
 man. He introduced the ufe of Mezzotinto 
 alfo into a new method of printing, invented by 
 himfelf, in which it is joined with etching, and 
 with engraving in wood. " With thefe blended 
 arts," fays Mr. Walpole, " he formed a ftik 
 that has more tints than ancient wooden cuts, 
 r-efembles drawings, and by the addition of 
 
 Is] See Mr. Walpole's Anecdotes, vol. v. p. 228, 
 
 N Mezzo- 
 
( 9° ) 
 
 Mezzotinto, foftens the lliades on the outlines, 
 and more infenfibly and agreeably melts the 
 impreffion of the wooden {tamps which give 
 the tincture to the paper and fhades together." 
 His prints in this manner, which are moftly in 
 the biftre tint, may therefore be confidered in 
 fome fort as Mezzotintos, which they refemble 
 indeed far more than wood prints. 
 
 I find alfo on a print of Margaret Patten, 
 aged 146, the name of J. Cooper, a painter and 
 engraver. He feems from the date on the print 
 to have flourifhed about the year 1737. One 
 of a different Chriftian name, Edward Cooper, 
 appears as the publifher of many 'Mezzotintos, 
 feemingly by Smith and others, but perhaps 
 fome of them are by his own hand. 
 
 The artifts of our own country of later date, 
 who have died nearer our own times, are alto- 
 gether too numerous to encourage us to at- 
 tempt 
 
( 9i ) 
 
 tempt any diiHndt mention of them. Among 
 them the names of Mac Ardell and Houfton 
 defervedly (land foremoft. From each of thefe 
 we have a great number of well-known prints 
 both in portrait and hiftory. Mac Ardell in 
 particular, who was a native of Ireland, has co- 
 pied many capital pictures of Morillo, Rem- 
 brant, Rubens, and Van Dyck. [6] Some of 
 Houfton's prints alfo are after the works of 
 Rembrandt. Among his portraits he executed 
 a fet of heads in Rolt's Lives of the Reformers. 
 
 The name of 
 
 FISHER, 
 
 Who came from Ireland to eftablim himfelf in 
 London, is well known both by his print after 
 
 [6] See Appendix, No. 3. — There is a catalogue of 
 many of his works, divided into clalTes, in the firft vo- 
 lume of the Di&ionaire des Artiftes by the Baron Heineken, 
 Author of the Idee generate, &c. fo often referred' to, p. z. 
 &c. 
 
 N 2 Sir 
 
C 9* ) 
 
 Sir Jofhua Reynold's picture of Garrick between 
 Tragedy and Comedy, [7 J and by other prints 
 after the fame incomparable Artift, 
 
 The fet of heads executed by 
 
 F R Y E, 
 
 Who was a portrait painter, in a fize as large 
 as life, has met with applaufe alfo ; but they 
 had feemingly been more pleafing had they been 
 done in a fmaller fize. 
 
 THOMAS WATSON, 
 
 A good artift, has copied in Mezzotinto fix of 
 the Beauties at W T indfor, but did not live to 
 fmifh the fet. We owe to the fame hand many 
 portraits, Sec. after Sir Jofhua Reynolds and 
 
 [7] This celebrated Mezzotinto has been copied abroad,, 
 with the curious infeription of L'Homme entre le Vice 
 and la Vertu ; — the Man between Vice and Virtue. 
 
 others, 
 
( 93 ) 
 
 Others, and amongft them a fine print of Dr, 
 Newton, late Bilhop of Briflol, from Sir Jofliua. 
 
 We have yet to mention, as a matter of cu- 
 riofity at leaft, two prints little known, by a 
 diligent artift, whofe other engravings are very 
 generally known. 
 
 GEORGE VERTUE, 
 
 The worthy and laborious Hiflorian of fo many 
 other Engravers, tried his fkill in Mezzotinto, 
 but defifted probably from any further purfuit 
 of it, on perceiving his ill fuccefs. Even his 
 moft partial friends muft condemn the execu- 
 tion of the two Mezzotintos extant by him, of 
 "Mary Princefs of Orange holding a balket of 
 flowers, and William Prince of Orange, a fmali 
 half-length } after Van Dyck. Of the former 
 of thefe Mr. Walpole is compelled to fay that 
 it is " very bad." — But his character need not 
 reft: on his Mezzotintos, 
 
 On 
 
C 94 ) 
 
 On a review of our Hiflory of the Art of 
 Mezzotinto it will appear that the practice of 
 it for a long time was confined principally to 
 the Englifh and Dutch nations, including fome 
 Flemim artifts. France and Germany, altho' 
 we owe the invention of the art to the latter, 
 have but little place in it's hiflory altogether. 
 France indeed, which may feem remarkable, 
 lincc we owe to that country fo many very 
 fuperior engravings in the common method, 
 feems at the moft to number but three or four 
 Mezzotinto-fcrapers, (unlefs we add Simon, as 
 born in Normandy) and none of very diftin- 
 guifhed note. There appears to be no account 
 extant of any Italian artift before the prefent 
 times. 
 
 The number of Englifh artifts indeed, before 
 the prefent times, but little exceeds that of the 
 the artifts of Holland. [8] Dutch induftry, 
 inftrudted probably in the new art by means of 
 
 [8] See Appendix, No. I. 
 
 Blooteling, 
 
C 95 ) 
 
 Blooteling, continued to nourilh a feries of 
 engravers not without fuccefs. If the number 
 of Englifh engravers however, before the pre- 
 fent times, (under which defcription we include 
 naturally the fubje&s of the three kingdoms) 
 exceed but little that of the Dutch artifts, yet 
 in point of excellence the palm muft be given 
 to our own nation. White and Smith have no 
 rivals among their contemporaries, and Mac 
 Ardell, Houfton, and Fifher, may preferve our 
 fuperiority in later times. 
 
 The prefent very improved ftate of the art is 
 owing altogether to the fkilful exertions of re- 
 gular artifts. But it may feem worthy of re- 
 mark, that both the invention and progrefs of 
 it are in fome degree owing to Dilettanti. This 
 is the cafe as to the invention, whether we at- 
 tribute it to Colonel de Siegen, to Prince Ru- 
 pert, or even to Sir Chriftopher Wren. And 
 the art has at different times been carried on by 
 
 Mr. 
 
( 96 ) 
 
 Mr. Place, Sir Ralph Cole, Mr. Lutterel, M. 
 Boyer, (Marquis d' Aiguilles) and in the pre- 
 lent age by the very ingenious Captain Baillie, 
 who amidft the many admirable engravings 
 which we owe to his hand, has in a few in fiances 
 alio praclifed Mtzzotinto with good fuccefs. 
 
 Our Hiflory is now brought down to the 
 times of living artifls. Among thefe, with the 
 exception of a few foreign artifls only, the art 
 has now belonged principally to the Englifh 
 during a period of more than twenty years. 
 The very fuperior merit of the artifls who have 
 arifen in our country within that period, fuch 
 as has almoft given a new ftile and character to 
 the art, and the very general practice of it 
 amongfl us, have perhaps retrained others from 
 purfuing it. There feem, within a fhort period, 
 to have been more artifls in Mezzotinto, in 
 England alone, than in England and every other 
 
 country 
 
( 91 ) 
 
 country before, during near a hundred years, 
 from ir.'s origin to the middle of the prefent 
 century. [9] Among the foreign artifts of the 
 prefent times mud be reckoned principally the 
 three Haids of Augfbourg, John Jacob, John 
 Godfrey, and John Elie Haid. John Jacob 
 the father (vvhofe portrait is extant by his fon 
 J. Elie) was a painter and has fcraped feveral 
 portraits of eminent men of Germany. Godfrey 
 worked fome time in England, [1] and John 
 Elie has executed in 1782 a very confiderable 
 work in Mezzotinto, the complete collection of 
 Hedlinguer's Medals, in which the extreme de- 
 licacy and foftnefs of the plates deferve much 
 praife. We may add to our lift of German 
 artifts, the names of Philip Rugendas the pain- 
 ter, who died in 1742, and of Chriftopher 
 Heifs, S. and G. Walck, J. Stenglln, and J. 
 Stolker, who have probably flourifhed lately, 
 
 [9] See Appendix, No. 1 and 2. 
 [1] See Appendix, No. 3. 
 
 O al- 
 
( 93 ) 
 
 although the portraits on which their names are 
 found do not ferve to afeertain their dates. 
 There are extant alio, fome indifferent Mezzo- 
 lintos, in a large fize, of our Saviour, feveral 
 Saints, &x. executed at Augfbourg, without any 
 engraver's name, probably of a late date. The 
 names of March i, a modern painter, who has 
 fcraped a head of Harrington the Author of the 
 Oceana, and of John Jacobi, who has engraven 
 the portrait of Omai, after Sir Jofhua Reynolds, 
 feem to belong to Italy ; and there are fome 
 portraits alfo executed at Venice by two artifts 
 of the name of Zucchi. We may add feem- 
 ingly to our lift of modern foreign artifts, the 
 names of J. and A. Rymfdyck, P. iEneas, and 
 Charles Allard, a printfeller, of Amfterdam. 
 
 Of living artifts and their works, it has not 
 been the defign of this hiftory to treat, other- 
 wife than incidentally. .£2] Not to mention 
 
 [2] A lift of the names of the Artifts of our ov/n country 
 jnay be found, Appendix, No. 2. 
 
 other 
 
( 99 ) . 
 other reafons, the undertaking is far too great, 
 and the very exquifite performances of our molt 
 diftinguiflied modern artifts are well known 
 even in foreign countries. The work alfo 
 would in itfelf neceffarily be incomplete, fince 
 fo many of our artiits are daily adding to their 
 fame. 
 
 It would otherwife certainly be altogether a 1 
 pleafant tafk, and it might afford no improper 
 fupplement to the prefent work, to enumerate 
 the mod capital performances of our prefent 
 very fuperior artifts after modern as well as 
 ancient mailers. This would be, not only to 
 do juftice to their fame, and to point out the 
 fine ft fpecimens of the art, but it would lead to 
 the knowledge alfo of fome capital pictures by 
 old mailers, [3] as well as of the excellent 
 performances of thofe of the prefent age. The 
 
 [3] See Appendix, No. 3. where an imperfeft lift is 
 fubjoined. 
 
 firtl. 
 
( ioo ) 
 
 firft painters of our country have indeed given a 
 fanclion to the art of Mezzotinto, by allowing 
 not only their portraits, [4] but their hiflorical 
 pieces [5] alfo to be copied in it. 
 
 [4] See many fine prints after Sir Jolhua Reynolds, 
 Welt, Rornney, Peters, &c. by V. Green, J. R. Smith, 
 James Watfon, (who has executed an excellent Mezzo- 
 tinto of Lord Edward Bentinck's Dog after a fine picture 
 by Barrett) W. Dickenfon, &c. — To the latter artift we 
 o\ve the print from Sir Jofhua's picture of the King featcd 
 in his coronation-chair. 
 
 [5] See Sir Jolhua' s Ugolino by Dixon, (who has alfo 
 copied Mr. Dance's Garrick in Richard the 3d, and given 
 us a very fine print from the picture of the D. of Marlbo- 
 rough's Tiger by Stubbs.) — See alfo many hiflorical com- 
 pofitions after Weft (already in part alluded to p, 8.) and 
 Bsrry's Venus riling from the fea, and Mercury inventing 
 the lyre, &c. 
 
 INDEX 
 
INDEX. 
 
 A. 
 
 USTRIA, Leopold William Arch-Duke of, his head. 
 
 Ardell, James Mac, p. 91. 
 
 B. 
 
 Browne, Alexander, p. 37. 
 
 Blooteling, Abraham, p. 45. 
 
 Beckett Ifaac, p. 65, 
 
 Burnet, Bilhop, portrait of, p. 80. 
 
 Bruggen, John Vander, p. 81. 
 
 Barras, Sebaftian, p. 82. 
 
 Boyer, M. Marquis d'Aiguilles, p. 82. 
 
 Bouys, p. 83. 
 
 Blois, De, p. 84. 
 
 Broedelet, John Van, p. 84. 
 
 Bleek, Peter Van, p. 85. 
 
 Baillie, Captain, p. 96. 
 
 Barrett, painter, print after, p. 100, (note) 
 
 p. 26. 
 
 Corelli, 
 
INDEX. 
 
 C. 
 
 Corelli, print of, p. 75. 
 
 Couplet, Father, Miffionary to China, print of, p. 87, 
 Cooper, J. p. 90. 
 
 E. 
 
 Evelyn, Mr. p. 16. 
 
 his Chalcography, p. 23. 
 
 F. 
 
 Furftenburg, Theodoras a, Canonkus, Engraver in Mezzo- 
 
 tinto in 1656, p. 26. 
 Faithorne, William, junior, p. 58, 
 Fiamingo, portrait of, p. 85. 
 Faber, fenior, p. 85, 
 Faber, junior, p. 86. 
 Fifher, Edward, p. 91. 
 Frye, Thomas, p. 92. 
 
 G. 
 
 Gole, John, p. 79. 
 
 Garrick, print of, between Tragedy and Comedy, remark- 
 able miftake concerning it, p. 92. 
 
 H. 
 
 Heffe, Regent of, portait of, p. 13. 
 
 Hooke, Dr. extract from his Micrographia, p. 15, 
 
 Haflbj 
 
I N D E X. 
 
 Kaffe, Comes de, head of, p. 20. 
 Heineken, M. Baron De, p. 82, 91. 
 Haecken, Van, p. 84. 
 Houfton, Richard, p. 91. 
 Heifs, Chriftopher, p. 97. 
 
 K. - . . 
 
 Kirkall, Edward, p. 89. 
 
 L; 
 
 Loggan, David, p. 44. 
 
 — , his print of Bifhop Fell, Filhop Dolben, and 
 
 Dr. Alleftry, p. 45, 
 Lewenhoek, print of, p. 55. 
 Leonart, John Francis, p. 57. 
 Lutterel, Mr. p. 63. 
 Lens, Bernard, p. 78. 
 
 M. 
 
 ?vlezzotinto, it's origin, advantages excellencies, and 
 
 method of practice, p. 3, 11. 
 Milton, portrait of, p. 87. 
 Maflillon, portrait of, p. 87. 
 
 P. 
 
 Pouffin, N. landfcape after, p. 8. (note) 
 Place, Mr. Francis, p. 32. 
 Pepuicji, Dr. print of, p. 84. . 
 
 Rembrandt, 
 
INDEX, 
 
 R. 
 
 Rembrandt, his Jewifh Rabbi, print from, p. 8. (note) 
 Rupert, Prince, p. 12, 16, 17, 21, 25. 
 Rugendas, Philip, painter and engraver, p. 97, 
 
 S. 
 
 Skippe, John, Efq. his wood-prints, p. 7. (note) 
 
 Scacciati, his wood-prints, ibid. 
 
 Siegen, Colonel de, inventor of the art, p. 13. 
 
 Schuppen, Peter Van, p. 31. 
 
 Sherwin, William, p. 35. 
 
 Smith, John, p. 72. 
 
 Sckalken, his behaviour to K. William, p. 74. 
 Simons, John, p. 88. 
 Sarrabat, John, p. 83. 
 
 T. 
 
 Teniers, print after, p. 9. (note) 
 Tompfon, Richard, print-feller, p. 40. 
 
 , — , his portrait by Mr. Place, p. 34, 
 
 Tiger, D. of Marlborough's print of, p. 100. (note) 
 
 V. 
 
 Van Huyfum, prints after, p. 8. (note) 
 Vaillant, Wallerant, p. 27. 
 , Bernard, p. 30. 
 
INDEX. 
 
 Vakk, Gerard, p. 48. 
 Vandervaart, John, p. 50. 
 Van Somer, J. and P. p. 52. 
 Verkolie, John, p. 53. 
 
 , Nicholas, p. 55. 
 
 Verfchuring, W. p. 57. 
 Vertue, George, p. 93. 
 Ugolino, print after, p. 100. (note) 
 
 W. 
 
 Wren, Dr. Chriftopher, p. 15, 19, 
 White, Robert, p. 68. 
 
 , George, p. 69. 
 
 Williams, Roger, p. 76. 
 Wallis, Dr. print of, p. 86, 
 
 APPENDIX* 
 
APPENDIX 
 
 No. I. 
 
 COMPARATIVE TABLE of ARTISTS in MEZ- 
 ZOTINTO of different Nations before the Middle 
 of the prefent Century. 
 
 German. 
 Col. de Siegen 
 Furftenburgh 
 Prince Rupert 
 
 French. 
 Sarrabat 
 B arras 
 Of. Boyer 
 Bouys 
 Simon 
 
 Flemijb. 
 W. Vaillant 
 B. Vaillant 
 V. Schuppen 
 V. der Bruggen 
 
 Englijb. 
 Mr. Place 
 Sir Ralph Cole 
 Shervvin 
 Faithorne 
 Mr. Lutterel 
 Becket 
 
 Dutch. 
 Blooteling 
 Valck 
 
 Vandervaart 
 Van Somer 
 J. Verkolie 
 Verfchuring 
 
 P 2 
 
 R. Whit 
 
APPENDIX. 
 
 Englijh* Dutch. 
 R. White Gole 
 G. White Schenck 
 Smith Faber, fenior 
 
 Williams Faber, junior 
 
 Lens 
 Kirkall 
 Cooper 
 
 The names of Browne, Tompfon, and Loggan of Dant- 
 zick, are not inferted, it being doubtful whether they 
 were Engravers in Mezzotinto. 
 
 No. II. 
 
 LIST of Modern BRITISH ARTISTS, 
 
 And of thofe now or lately living. 
 
 P. Coombes 
 
 J. Johnfon 
 
 Thomas Frye 
 
 J. Van Brooks 
 
 C. Corbutt 
 
 R. Honfton 
 
 J . Blackmore 
 
 J. Meers 
 
 E. Fifher 
 
 G. Bockman 
 
 H. Kingfbury 
 
 C. Philips 
 
 R. Brookmaw 
 
 Simon Watts 
 
 Tho. Watfon 
 
 Kyte 
 
 — Fowler 
 
 James Watfon 
 
 T. Pelham 
 
 Thomas Beard 
 
 W. Pether 
 
 — Robinfon 
 
 J. Mac Ardell 
 
 V. Green 
 
 J. R. Smith 
 
APPENDIX. 
 
 ). R. Smith J. Dean 
 
 R. Earlom Okey 
 
 J.Dixon John Watts 
 
 R.Dunkarton C. To-.vnly 
 
 Murphy Rob. Laurie 
 
 G. Keating David Martin 
 
 ! Burke Spilfbury 
 
 C. Spooner J. Finlayfon 
 — Greenwood W. Dickenfon 
 
 C. Hodges 
 W. Humphries 
 W. Doughty 
 
 Taffaert 
 
 Jofian Boy dell 
 John jo::es 
 Thomas 1 ark 
 Jofepli Grozer 
 Henry Huuibn 
 
 No. III. 
 
 LIST of MEZZOTINTOS 
 
 After ancient Mailers bv modern Artifts, 
 
 Parmeciano, 
 
 Holy Family j 
 
 Philips 
 
 Daniel da Volterra, 
 
 The Altar-Piece at King's College, Cam- 
 bridge, Pether 
 
 CORREGIO. 
 
 A Repofe in Egypt, known by the name 
 
 of the Zjngana, Earlom 
 Venus Handing in a Shell, J. Smith 
 
 Carlo 
 
APPENDIX. 
 
 Carlo Maratti. 
 
 Holy Family, (fee p. 76) J. Smith 
 
 Carlo Dolci, 
 Chrift breaking Bread, in Lord Exeter's 
 
 Collection, Earlom 
 
 Maria di Fiori. 
 A Concert of Birds, Ditto 
 
 N. Poussin. 
 A Landfcape, (fee p. 8, note) Pether 
 
 Morillo. 
 
 An Aflumption, Mac Ardell 
 
 St. Francois de Paule, Ditto 
 
 Schoolmafter and Boy, Pether 
 
 St. Anthony and the Infant Jefus, Dean 
 
 Matsys. 
 
 TheMifers, atWindfor, Earlom 
 
 Rembrandt. 
 
 Tobit and the Angel, Mac Ardell 
 
 Haman's Condemnation, Hoaifton 
 
 Prefentation in the Temple, Earlom 
 
 Elijah raifing the Widow's Son, Ditto 
 
 Abraham 
 
APPENDIX. 
 
 Abraham offering his Son, Haid 
 
 Achilles, , Ditto 
 
 Lord of the Vineyard, Pether 
 
 Jew Rabbi (fee p. 8, note) Ditto 
 
 Portrait of a Warrior, Ditto 
 
 Regnier Hanfloo and his Wife, Jofiah Boydell 
 Belfhazzar viewing the Hand-writing on 
 
 the Wall, Henry Hudfon 
 
 F. Bou 
 
 Abfalom's Submiffion to his Father, Philips 
 
 Teniers. 
 
 A Witch entering Hell, (fee p. 9, note) Earlom 
 Rubens. 
 
 Portrait of himfelf, his Wife and Child, Mac Ardell 
 
 Ditto of Helena Forman, his fecond Wife, Pether 
 
 A Friar's Head, fmall, V. Green 
 
 WlLLIBERT. 
 
 Holy Family, Ditto 
 
 Van Dvck. 
 
APPENDIX. 
 
 Van Dyck. 
 
 Duke of Buckingham and his Brother, 
 Lord John and Lord Bernard Stuart, 
 Time clipping the Wings of Cupid, 
 Mofes in the Bulrulhes, 
 
 TVlac Ardell 
 Ditto 
 
 Ditto 
 
 Ditto 
 
 HOBBIMA. 
 
 The Water-mill, a Landfcape , 
 
 Earlom 
 
 Lately publijhcd, by the fame Author, 
 
 HE CHARACTER of the LAWS of ENGLAND 
 
 M* Confidered. A Sermon preached at the Affizes at 
 Oxford. Publifhed at the Requefi: of the Judges.' 
 Quarto, Price is. 
 
 REMARKS on the Two Last Chapters of Mr. 
 GIBBON'S HISTORY of the DECLINE and FALL 
 of the ROMAN EMPIRE. — Price 2s. 6d. 
 
 A REPLY to Mr. GIBBON's VINDICATION of 
 fome Passages in the Fifteenth and Sixteenth Chapters 
 of the HISTORY of the DECLINE and FALL of the 
 ROMAN EMPIRE, — Price 2s e