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THE 
 
 LIVES 
 
 O F T H E 
 MOST EMINENT MODERN 
 
 PAINTERS, 
 
 Who have lived fince, or were omit- 
 ted by Monf. De Piles. 
 
 By J. B. 
 
 Refpicere exemplar Vitse morumque jubebo 
 Dottum imitator em, Hor. 
 
 L O N D O -N: 
 
 Printed for Thomas Payne, in Cajlle-Jlreef^ nqct 
 the Mews-Gate* near St. Martin's Church. ? 
 M,DCC,UV. 
 

 
TO THE 
 
 HONOURABLE 
 
 Lady Lyttleton. 
 
 Madam, 
 
 Make no doubt but that 
 Your Ladysh i p will be 
 furprized at the imperti- 
 nence of an Author, who has 
 
 A 2 taken 
 
DEDICATION. 
 
 taken the Liberty of prefixing 
 your Name to a Treatife, before 
 which, he was afhamed of plac- 
 ing his own. But the fame timi- 
 dity which prevented me difco- 
 vering myfelf, prompted me to 
 feek protection from your Lady- 
 lhip, whofe good Tafte and Judg- 
 ment, I am convinced, are fuffi- 
 cient to defend the Work you are 
 pleafed to Patronize, from the 
 Cavils of fuperficial Critics. This 
 Protection I have Reafon to hope 
 for, from the Knowledge I have 
 of Your Ladylhip's Goodnefs and 
 Humanity ; as my innocent am- 
 bition 
 
DEDICATION. 
 
 bition is only to amufe and in- 
 form, and at the fame Time to 
 teftify, that I am, with the great- 
 eft RefpecT: and Efteem, 
 
 Tour Lady (hip's 
 Moft Obliged, 
 Moft Obedient 
 
 I 
 
 Humble Servant ', 
 
 J. B. 
 

 E R R A T A. 
 
 Page 9. line 32,. for Giauntbiorezd Giacintbe. 
 I. ult. for Vvuinm r. Viviani. 
 
 10. after Grimaldi add, detto il Bclognefe. 
 
 13. 1. 14, for Trivoli r. 77W/. 
 
 16. 1. 16, for putting r. putting. 
 
 27. I. 20, after /w* add at "For It. 
 
 32. 1. 13, for headx. heads. 
 
 46. 1. 30, for Calahrafe r. Calabrefe- 
 
 54. 1. 32, r. wr amujing and improving. 
 1 01. 1. 16, deleyW. 
 109. I. 5, for Gillyes r. Gillis. 
 
PREFACE. 
 
 HE following fheets, which 
 are extra&ed chiefly from a 
 French author, were col- 
 lected for private ufe ; but 
 on the appearing of a new Edition 
 of De Piles, I was tempted to digeft 
 them into order, and give them to the 
 publick, (not fo correct as I could wifh, 
 but fuch as my time would permit). As 
 the number of excellent Painters, who 
 have exifted fince the publifhing that 
 work, render a Supplement thereto very 
 neceffary to thofe that are curious in 
 Painting ; to inform them of the hifto- 
 
 A 4 *7, 
 
PREFACE. 
 
 ryy to point out the excellencies and 
 defe&s, and to fhew the particularities 
 that diftinguifh the works of thofe ar- 
 tifts, whofe pi&ures make a figure, and 
 defervedly have a place in the beft ca- 
 binets : and it is worth every Gentle- 
 man's while, who is pleafed with, or 
 intends to colled pictures, to confider 
 carefully the diftinguifhing characters 
 herein afcribed to the works of 
 the different mafters; as the author 
 from whom the prefent abbrevation is 
 taken (whatever he is as a writer) was 
 certainly a judge of Painting ; and in 
 laying out his characters, had an op- 
 portunity of having recourfe to the fineft 
 collections of the beft works of thofe 
 mafters, whofe particular manners he 
 endeavoured to defcribe. 
 
 I do not doubt, whoever fhall (with a 
 little coniideration of nature} examine by 
 this teftmoftof the pictures offered to fale, 
 under great names, will be not a little fur- 
 prized, at the affurance of thofe that en- 
 deavour at, and too often fucceed in 
 
 fuch 
 
PREFACE. 
 
 fuch grofs impofitions ; and pafs off 
 paltry copies, or fuch originals, whofe 
 beauties are either fo loft by time, or 
 totally cleaned out, that the buyer pays 
 for the venerable canvas or board, mere- 
 ly as a relick the divine hand of 
 fome great mafter was laid on, or elfe 
 fo painted over, that the real charms, 
 like thofe of a French beauty, are in- 
 tirely hid beneath the artificial repairs. 
 But what contributes to keep up the 
 deceit, is the vanity of feveral of thofe 
 diftinguifhed by the title of Connoif- 
 feurs ; who are generally men that tra- 
 vel, and not having vivacity enough to 
 join in the gaieties of the fpritely part 
 of the world; or judgment enough to 
 make thofe ufeful and interefting re- 
 marks which are neceffary to the know- 
 ledge of^majakind : To keep up their 
 importance, afTume the character of 
 arbiters in Virtu, as it is called, though 
 perhaps all their knowledge confifts in 
 a few hard names, and as many hard 
 words, which they throw out with 
 
 great 
 
PREFACE. 
 
 great gravity and fupercilioufnefs; and 
 being ufed to lcok at pi&ures grown 
 dark with age, fmoaked in churches 
 with lamps, or ftained and altered with 
 damps, miftake thofe defeats for beau- 
 ties; and, deceived by their prejudices, 
 look with contempt on the clearnefs 
 of colouring, and the brightnefs of na- 
 ture that fhines through a modern 
 picture : while the man of real tafte, 
 not caring to flem the torrent of 
 nonfenfe, leaves them to carry on the 
 farce without controlL 
 
 It is furprizing how partial every na- 
 tion, except our own, is to their artifts; 
 a Dutchman will prefer the high fi- 
 nifh of his Mieris and Gerrard Dow, 
 his Oftade and Berchem ; the Flem- 
 ing will celebrate his Rubens and Van- 
 dyke, Teniers and Rembrant ; the 
 Frenchman will boaft of his Le Brun, 
 Le Sueur, Bourdon, and difpute the 
 merit of his Pouilin, even with Ra- 
 phael ; while the Italian looks on them 
 all with contempt. And even in Italy, 
 
 every 
 
 
PREFACE. 
 
 every province difputes for the merit 
 of its own fchool, againft thofe of all 
 the others ; whilft the Englifhman is 
 pleafed with every thing that is not 
 the produ&ion of England. 
 
 The Painters, as well as the taftes 
 of different countries, have their feve- 
 ral merits. As the Painters of diffe- 
 rent countries had differing views, and 
 derived their manner of Painting from 
 their particular circumftances ; the Ita- 
 lian, and fome of the Flemifh Pain- 
 ters, who painted in churches, large 
 palaces and cielings, as their works 
 were to be viewed at a great diftance, 
 were under a neceffity by the force 
 of their colouring, the ftrength of their 
 lights and fhadows, and boldnefs of 
 their pencil, to produce great effects, 
 whilft the eye, at fo great a diftance, 
 gave the proper union and harmony 
 to the whole ; which in part vanished, 
 at a near approach. 
 
 This union and harmony, the Dutch 
 Painter, who only fupplied the orna- 
 ment 
 
PREFACE. 
 
 ment to a rich tradefman or merchant's 
 room, was oblig'd to procure with the neat- 
 nefs of his pencil; as his pictures, which 
 were generally fmall, hung clofe to the 
 fight; which fuch pi&ures muft offend, 
 if painted as the Italian, by the fiercenefs 
 of their colouring, and the roughnefs 
 of their furface, which contracted na- 
 ture never admits; as any man may be 
 convinced, that will but ufe a proper 
 glafs. Therefore this partiality to the 
 produ&ions of their own country, as 
 it is built on a juft foundation, has 
 fomething in it highly commendable, 
 if not carried to too great an excefs. 
 Though partial to our own, we ought 
 not to be blind to the excellencies of 
 others. 
 
 But this is not the cafe of our mo- 
 dern connoiffeurs. Impartiality is not 
 their merit: they, on the contrary, ob- 
 ftinately fhut their eyes to the merit of 
 their own countrymen only; and whilft 
 they difcover imaginary beauties in eve- 
 ry thing that is foreign, endeavour to 
 
 fhut 
 
PREFACE. 
 
 fhut up all the avenues to the advance- 
 ment of arts in their own country, (I 
 will not add fciences, for in thofe they 
 are generally too ignorant to inter- 
 fere, and in thofe, by the force of ge- 
 nius, we luckily excel.) And fo con- 
 firmed are they in their prejudices, 
 that they will not endeavour to know 
 what is praife-worthy in their own 
 country. 
 
 How many will talk of the won- 
 ders and grand Gufto of Italy, who 
 know nothing of the Cupola of St 
 Paul's, the Ceiling at Greenwich, or 
 the Stair-cafe of St Bartholomew's Hof- 
 pital 3 works, though perhaps not equal 
 to fome, yet certainly fuperior to ma- 
 ny boafted performances abroad. But 
 our modern Virtuoli have not the preten- 
 ces their predeceffors had ; for notwith- 
 ftanding the imputation of Groffierte, 
 they have been pleafed to beftow on their 
 own countrymen fo freely ; the good 
 fenfe and judgment allowed them by 
 
 all 
 
PREFACE. 
 
 all nations, have enabled them to excel 
 even in the art of Painting. 
 
 Luca Jordano, Imperiali and Soli- 
 meni, feemed to emit the feeble rays of 
 the fun-fet of Painting in Italy ; fince 
 whofe deaths, hardly any one deferving 
 the name of a Mafter has appeared ; 
 whilft England can boaft of a Taver- 
 ner, a Scot, and a Lambert, who for 
 truth and judgment in reprefenting the 
 moft beautiful efFefts of nature, are 
 not at preient to be equalled in all 
 Europe. 
 
 What Painter has ever turned his 
 art to fo ufeful purpofes as Mr Ho- 
 garth ? Others have thought it a glory 
 to have amufed the fight, whilft he 
 has taught his pencil a language to 
 addrefs the mind, and whilft he fur- 
 prizes our eyes, reads a le&ure of mo- 
 rality to our hearts. Nor has he ex- 
 celled lefs, when he has turned his 
 hand to other fubje&s. Befides many 
 others, who may juftly difpute the pre- 
 eminence with any thing that Italy, or 
 
 any 
 
PREFACE. 
 
 any other part of Europe can produce 
 at prefent ; which plainly proves to 
 thofe who do not fhut their eyes againft 
 convi&ion, that England does not want 
 genius's. 
 
 How glorious would it then be, 
 for thofe that have a laudable partiality 
 for their own country, to unite their 
 efforts to raife and encourage in our 
 own nation, thofe that already excel, 
 to exert thofe abilities to their full ex- 
 tent, and at the fame time to lay a 
 foundation for the future encourage- 
 ment of thofe, whofe talents may want 
 and deferve fuch affiftance. 
 
 Sint Mcecenates non deerunt^ Flacce, 
 Marones. 
 
 I do not doubt that many for want 
 of attention, look on Painting as an 
 art, whofe utmoft fcope is ornament; 
 that the promoting it is not of any 
 confequence to a trading nation. But 
 on a clofer examination, the contrary 
 
 will 
 
PREFACE. 
 
 will appear, and this art will be found 
 to confer honour to every nation, and^ 
 to be not only ufeiul, but neceffary to 
 a trading one. Let thofe that are zea- 
 lous for national honour, confider with 
 what luftre the names of Zeuxis and 
 Appelles fhine in the Grecian annals, 
 and how glorious thofe of Raphael 
 and Corregio, appear in the regifters 
 of Italy. 
 
 The fuperftition of ancient Greece, 
 as well as modern Italy, as it furnifh- 
 ed emoloyment, fo it gave the greateft 
 encouragement to the artift to excel in 
 a profeliion that was then fo highly 
 honoured and rewarded ; as the hand 
 was even thought capable of giving a 
 dignity to the God or Saint, and every 
 temple was a record of the Painter's 
 abilities, and an archive of his fame. — 
 A great genius will always refleft ho- 
 nour on the country that produced and 
 encouraged it ; and every patron of 
 true merit, will, by affording fupport 
 
 and 
 
 
PREFACE, 
 
 and afiiftance to the man of real worth 
 derive a lafting honour to himfelf. 
 
 That Painting is neceffary, will ap- 
 pear plain to the loweft degree of at- 
 tention.—- -Drawing, Defigning, and 
 Perfpe&ive, are but introductory fciences 
 to Painting, and indeed imperfedt with- 
 out it. Yet how neceffary are even 
 thefe rudiments, to the fafety and wel- 
 fare of a nation ? Engineering, Fortifi- 
 cation, and Ta&ics, depend greatly on 
 the knowledge of thefe fciences; and 
 Navigation cannot be carried on with- 
 out their help. How neceffary are 
 they to the ufes of life? to how many 
 trades are they abfolutely requifite* 
 which are of the greateft confequence 
 to mankind ? Can Mafonry, Joinery, 
 Architecture and Ship- building, be car- 
 ried on without them ? How necefiary 
 is this art to the Phyfician ? how much 
 the improvement of Anatomy, Surgery, 
 and natural Hiftory, depend on Paint- 
 ing, the value that is fet on the coloured 
 figures of anatomy, plants, and other 
 
 a parts 
 
PREFACE. 
 
 parts of natural hiftory, fufficiently de- 
 clares ; and a commercial nation cannot 
 poflibly be without its ailiftance. 
 
 The art of Writing owes its original 
 to it, as the firft attempts to convey our 
 thoughts, was by marking down the 
 objed ; inftead of which, we now fub- 
 ftitute thofe chara&ers called letters. 
 
 Perhaps fome may think this going 
 too far back, but we are even to this day 
 obliged to do the fame thing; for in 
 communicating our accounts of manu- 
 factures, a judicious drawing contributes 
 more to explain the fabrick and manner 
 of working, than the beft account the 
 cleared head can draw up. To how 
 many manufactures is Painting abfolute- 
 ly necefiary ? as Tapeftry, Silk-weaving, 
 various branches of the goldfmiths, toy 
 and hard- ware trades; in moft of which 
 branches it is necefiary the Painter (hould 
 excel, (befides many others which I have 
 not leifure to enumerate. 
 
 As luxury will be the confequence of 
 wealth* all forts of ornamental manufac- 
 tures 
 
PREFACE. 
 
 tures will be imported from abroad. 
 The rich will be always fond of dif- 
 playing their wealth ; and of courfe, 
 amongft other embellifhments, Paint- 
 ings will be purchafed from other coun- 
 tries at a great price, if the art is better 
 cultivated abroad than at home : but if 
 the contrary is the cafe, our own artifts 
 will be employed, and the money ftill 
 continue to circulate among ourfelves: 
 and if by proper encouragement a num- 
 ber of excellent Painters can be raifed 
 amongft us, pi&ures may even become 
 a commodity for exportation, as well as 
 toys, lilks, or any other of thofe coftly 
 manufactures that are chiefly for luxury 
 and oftentation. 
 
 The Bifhop of Cloyne puts the fol- 
 lowing queftions in the Querift. 
 
 " Whether human induftry can pro- 
 <c duce, from fuch cheap materials, 
 cc a manufacture of fb great value, ' 
 u by any other art, as by thofe of Sculp- 
 " ture and Painting ? Whether pic- 
 ff tures and fcatues are not in fa&fo J 
 
 a 2 " much 
 
PREFACE. 
 
 cc much treafure? and whether Rome 
 c and Florence would not be poor towns 
 • cc without them ? Whether they do 
 a not bring ready money as well as ' 
 <c jewels? Whether in Italy debts are 
 " not paid, and children portioned with 
 H them, as with gold and filver ? Whe- 
 u ther if the arts of Sculpture and 
 
 IIS 
 
 u Painting were encouraged a- ^ 
 u mong us, we might not furnifh our 
 <c Houfes in a much nobler manner 
 ic with our own manufactures ? n 
 
 I have added the fentiments of this 
 great and judicious man, as they give fo 
 much weight to what I have before ad- 
 vanced, and ferve to fhow, that I am 
 not lingular in my opinion. Mr Hume 
 fays, that " thefe arts add to the hap- 
 " pinefs of a nation, as they extend its 
 " eniovments." 
 
 There is no luxury fo innocent and 
 jufiifiable as the love of pictures; the 
 gratification that refults from it, is laft- 
 ing, harmlefs and noble. What plea- 
 fure do the parent, the friend, and the 
 
 lover 
 
PREFACE. 
 
 lover derive from the Painter's art? 
 which in fome degree alleviates the irk- 
 fomenefs of abfence, and preferves a part 
 of what is dear to us even from the grave ? 
 With what delightful magick does it pre- 
 sent the different beauties of nature to 
 our eyes, and tranfport us from one gay 
 fcene to another? 
 
 Mo Jo me Thebes mo Jo ponit Athenis. 
 
 To bring the cafcades of Tivoli, the 
 horrors of the Alps, the variegated banks 
 of the Rhine, the verdant fields of Eng- 
 land, covered with the moft beautiful 
 animals in the world, all into fight, mnft 
 engage our veneration to the art that 
 produces fuch effe&s ; that prefents not 
 only the heroes of paft and prefent ages, 
 but brings even their adtions before our 
 eyes ; and places us without danger in 
 thofe fields, where theSoldier gathered his 
 laurels; that enables us to contemplate the 
 fury of the tempeft, and the dreadful 
 lightnings that feem to flafh before our 
 eyes, and all thehorrorsof the deep, with a 
 
 philo^ 
 
PREFACE. 
 
 philofophic unconcern; and at the fame 
 time can bid us fee and admire a Warren 
 and an Anfon, a Ruffel and a Blake, 
 who faced and palled through thofe hor- 
 rors with intrepidity, to the advantage of 
 their country, and their own immortal 
 honour. 
 
 I hope that every conliderate perfon, 
 will be convinced of the ufefulnefs and 
 excellence of this art, and of courfe how 
 much it is our intereft to encourage it at 
 home: for if we reflect, that the molt 
 eminent Painters of Italy were employed 
 in churches and palaces, and executed 
 great part of their works in frefco, it will 
 plainly appear, that a very imall number 
 of their pictures, could ever poflibly be 
 expofed to fale; the choiceft of which 
 have been fecured for royal colle&ions; 
 others are deftroyed by the injuries of 
 time ; few or none but what having been 
 damaged and dirty, have fuffered great- 
 ly by cleaning and repairing: what tricks 
 have not been played, by thofe who have 
 found their account in impoiing on the 
 
 curious, 
 
PREFACE. 
 
 curious, who have afpired at the reputa- 
 tion of poffeffing the works of the great 
 mafters, as too many colle&ions charged 
 with their pretended capital pictures 
 plainly fhew ? What chance have we then 
 of avoiding thofe impolitionsand frauds, 
 by which fo many have already fuffered, 
 but by encouraging our own artifts? 
 which we have the more reafon to do at 
 prefent, as it is hardly probable that the 
 art of Painting will ever recover its 
 fplendor in Italy, or that the modern ma- 
 ilers there fhould ever approach the an- 
 cient ones ; as the number of petty prin- 
 .ces is leffened, and even fuperftition is 
 grown cooler, and bigotry has loft its 
 influence on the minds of the people ; 
 the Italian Painters have no more incite- 
 ments to excel in great performances, but 
 are forced to work merely for fupport. 
 
 We have at prefent no want of men 
 of genius to cultivate the art ; and there 
 are many young men now riling among 
 us, who difcover a furprizing difpoiition 
 to excel, and promife one day to become 
 
 orna- 
 
PREFACE. 
 
 ornaments to their profeffion, if their 
 happy difpofitions are not checked for 
 want of encouragement. I hope this 
 will not be the cafe. I &m fure that our 
 country has as many perfons that are ca-> 
 pable of patronizing the arts, as any 
 under the fun. 
 
 From them that are able we have rea- 
 fon to expert this patronage, which will 
 redound fo much to their own honour j 
 and with the afliftance of fuch a patriot 
 fpirit, I fee no reafon to doubt that 
 Britain may rival modern Italy, or an- 
 cient Greece in the polite arts of Paint- 
 ing and Sculpture, and that the galle- 
 ries of our nobility and gentry may be 
 filled with excellent unadulterated Pic- 
 tures by the hands of our own ma- 
 ilers. 
 
T H E 
 
 LIVES 
 
 OF EMINENT 
 
 PAINTERS. 
 
 ANDREA SCBIAFONE, 
 
 $fe A S certainly a great Painter, though* 
 like other artitts, he had his faults. 
 Sebenigo in Dalmatia, in the Vene- 
 tian territory, gave him birth in 1522. 
 His patents, whofe circumftances 
 were mean, lent him to Venice whilfl: 
 he was very young. His firft employment being to 
 ferve thofe Painters that kept (hops, his mind opened, 
 and the ftrength of his inclination for thearr, ferved 
 
 B him 
 
2 The LIVES of 
 
 him infteadof a mailer. Great genius's are born io. 
 Time difcovers and expands their parts, but does 
 not give them. The works of Giorgione, Titian, 
 and Parmefan, perfected Schiavone. 
 
 cHe ufualJy painted feats, fronts of houfes, &hd 
 fametimes pictures, which hardly maintained him. 
 He was forced to carry his works to the dealers hi 
 ielF. Titian pitied ' his condition, and Tet him to 
 work with other Painters in the library of St Mark. 
 He painted, in concurrence with Tintoret, the vifi- 
 tation of the Virgin for the fathers of the holy crofs. 
 This work was efteemed, though it was rather hard ; 
 but Tintoret excelled him in the dehgn and force 
 of his colouring. The fame Tintoret, when he 
 painted, had always before his eyes a picture of 
 Schiavone. His flyle and gout of colouring pleafed 
 him. He even advifed other Painters to do the 
 fame, comparing his colouring and manner to Baro- 
 chio, though his drawing could not ftand the com- 
 petition ; and he certainly would have found fault 
 with his brethren, if they had not defigned more cor- 
 rectly than Schiavone. This Painter is reckoned one 
 of the greateft colourifts of the Venetian fchool; his 
 manner is free, agreeable, and lively-, his tafte in 
 his drapery and his figures are much efteemed by all 
 Painters, they are graceful and eafy -, the heads of 
 his women are admirable, and thofe of his old men 
 well touched ; his attitudes are well chofen, and 
 contrafted with judgment * and the eafe with which 
 he worked, is worthy obfervation •, he ufed to make 
 his tints, and leave them feveral days prepared on 
 his pallet, without ufing them; by this means he 
 made his carnations fo frefh, that they fecm alive. 
 With iuch rare talents, Schiavone could hardly fu'p- 
 port himielf •, he was obliged to paint by praclice, 
 and to work quick, as he could not afford himfelf 
 time for itudy, the want of which prevented his add- 
 ing corrcctnefs to the other excellencies that mine 
 
 through 
 
eminent PAINTERS. 3 
 
 through his pictures. 'Tis certainly the colouring 
 that attracts the fpectator; yet, to be a good Painter, 
 a man fliould not attach himfelf to only one part of 
 his profefiion, but ought to endeavour to poffefs all 
 the feveral branches of it. Schiavone bore his po- 
 verty with patience, though he went ib meanly clad, 
 that no body would have taken him for a man ib 
 diftingui fried in his art. 
 
 This Painter is obliged to his acquaintance with 
 Aretine, to whofe friendihip he owes the elevation 
 of his thoughts in his pictures, and part of his re- 
 putation. He can be reproached with no fault, but 
 want of correctnefs. Schiavone died at Venice in 
 1582, in his 60th year, not leaving enough to bury 
 him: his friends fupplied that defect, and buried 
 him in the church of St Luke, where they put him 
 up an epitaph. In the gallery of the Arch-duke 
 are thirteen plates after him, engraved by Van Kefiel, 
 Boel, and others. In the collection of Crozat are 
 ten, by different m afters. 
 
 D O M I N I C O F E r I, 
 
 WAS born at Rome in 1589, and educated 
 under Civoli, a famous Florentine Painter. 
 We meet with no particular pafTages of his life in 
 the authors who have wrote of Painting; whether 
 through neglect, affectation, or jealoufy on their 
 iides, they take no notice of his talents in their 
 works, though he certainly deferved a very diftin 
 guifhing character for his abilities. 
 
 As foon as he quitted the fchool of Civoli, he 
 went to Mantua, where the Paintjngs of Julio Ro- 
 mano opened the way to him of becoming a great 
 Painter-, from them he took his colouring, the bold- 
 nefs of his characters, and a beautiful manner of 
 thinking. It were to be wifhed he had copied the 
 nice correctnefs of that matter. 
 
 B 2 Cardinal 
 
4 5fc LIVES gf 
 
 Cardinal Ferdinand Gonzagua, afterwards Duke 
 of Mantua, difcovered the merit of Feti ; he retained 
 him at his court, furnifhed him with means of con- 
 tinuing his fludies, and at laft employed him in 
 adorning his palace. 
 
 Feti painted with great force, fometimes too dark : 
 he was very delicate in his thoughts, with a gran- 
 deur of expreffion, and a mellownefs of pencil, that 
 relifhed with the connoifTeurs. His pictures are fcarce, 
 and much fought after; they are chiefly eafil pic- 
 tures, which are difperfed about in different hands ; 
 he painted very little for churches. Going to Ve- 
 nice, he abandoned himfelf to debauchery, which 
 foon put an end to his life in the year 1624, the 
 35th of his age. 
 
 The Duke of Mantua regretted him exceedingly, 
 and fent for his father and filler, whom he always 
 afterward took care of. This filler painted well ; 
 fhe became a nun, and exercifed her talent in the 
 convent, which fhe adorned with feveral of her 
 works. Other religious houfes in Mantua were alfo 
 decorated with her paintings. 
 
 There are ten fubjects engraved after this matter 
 in the Arch-duke's gallery, and nine in the collec- 
 tion of Crozat, by different hands. 
 
 ANDREA S AC C H I. 
 
 THIS Painter was eminent both for his natural 
 talents and for the raifing fo many able men 
 in his fchool. Perhaps it is as difficult to form a 
 man of abilities, as to acquire the character one's 
 felf. The Italian authors have not done juftice to 
 his merit, whom they ought to have reckoned 
 amongft their greatefl maflers. 
 
 Andrea Sacchi, or Oche', was born at Rome in 
 1599. Having received his firfl inflections from 
 his father, Beneditto Sacchi, he perfected himfelf 
 
 under 
 
eminent PAINTERS. 5; 
 
 under the famous Albano, and certainly was his 
 ableft difciple. His matter, who perceived him 
 fprightly, and dextrous at every thing, had the 
 greateft efteem for him, and (hewed a particular re- 
 gard to his education. Sacchi improved more by 
 his leflbns in an hour, than fome of his companions 
 did in a day. Albano forefeeing to what height he 
 would carry his art, bred him to work, and gave 
 him great encouragement. The fmall pictures Sac- 
 chi painted under his infpection, were much fought 
 after by the connoifTeurs, and got him fo much re- 
 putation, that his hand was not equal to the great- 
 nefs of their demand. The fpirit of the matter feem'd 
 to have patted entirely into the difciple, and com- 
 municated at the fame time the frettinefs of his pen- 
 cil, his colouring, and other talents. 
 
 He had eafy accefs to the palaces of the great, 
 where he was received with efteem, and met with 
 all the encouragement neceflary to the perfection of 
 his art. Cardinal Del Monte employed him to paint 
 his palace - 9 and Cardinal Barberini took him into his 
 fervice, and fet him to reprefent on the cieling in 
 a hall, the hiftory of divine providence. In that 
 work, even in the opinion of the Roman Painters, 
 Sacchi equalled the greateft mafters, particularly 
 thofe two who feemed to be the compafs he fleered 
 by, Corregio and Carrache. 
 
 His dcfigns were nobler than thofe of Albano : his 
 ideas were elevated : he gave great expreflion to his 
 figures: a grand tafte in his drapery, and a fimpli- 
 city that is feldom found in other Paintings, reigns 
 throughout. Sacchi formed his gout after all the 
 great mafters, without refembling any one, or ever 
 changing his manner. He loved his art extremely, 
 and finilhed his pictures with infinite care. It is 
 hardly credible, that a man agreeable and graceful 
 in his perfon and converfation, fond of company, 
 even giving up his time to it, mould make but few 
 
 B 3 friends. 
 
6 The LIVES of 
 
 friends. The manner in which he criticifed the work t 
 of men of abilities, and the little commerce he af- 
 fected to have with his fellow artifts, drew on him 
 their hatred. He was cotemporary with Pietro cii 
 Cortona, and Bernini, and very jealous of their 
 glory, with the latter of whom he had the follow- 
 ing adventure. 
 
 Bernini defiring to have him fee the chair of St 
 Peter, before he expofed it to public view, called 
 on him to take him in his coach-, but could by no 
 means perfuade him to drefs himfelf : Sacchi went 
 out with him in his cap and flippers. This air of 
 contempt did not end here \ but ftepping near the 
 window, at his entrance into the church of St Peter, 
 faid to Bernini, " This is the principal point of view 
 <c from which I will judge of your work:" and 
 whatever Bernini could fay to him, would not itir 
 a ftep nearer. Sacchi, confidering it attentively forne 
 time, critd out as loud as he could, " Thole figures 
 " ought to have been larger by a palm:" and went 
 out of the church without faying another word. 
 Bernini was fenfible of the juftnefs of his criticifm, 
 but did not, for all that, think fit to do his work 
 
 over again. 
 
 Sacchi, though not young, took it into his head 
 to make a journey to Venice and Lombardy, where 
 he fpent feveral years in ftudying Corregio, and 
 other great matters. At his return, he endeavoured 
 to approach to the manner of Corregio, but it was 
 too late to begin. He apprehended, he mould not 
 find the colouring of Raphael pleafe him as ufual \ 
 but having reviewed the apartments of the Vatican, 
 the miracle of the mafs at Bolfenna made him cry 
 out, * Here I find again Titian, Corregio, and, 
 u what is more than all, Raphael." 
 
 No body ever made more fenfible reflections on 
 Painting than Sacchi. He always coniidered his 
 ftibjects well, never leaving any thing. to chance-, 
 
 always 
 
eminent PAINTERS. % 
 
 always a friend to what was true, he. never departed 
 from it. This character gave him a timidity and 
 referve in his works, that prevented him iucceeding 
 fo well in great cornpofitions, as he did in his more 
 fimple fubjects. Andrea was never married ; he had 
 only one natural child. He never once defigned, 
 without coniulting nature; a principle which he al- 
 ways followed: for which reafon, his pictures have 
 a truth and correctnefs that furprize the fpectator. 
 St Romuald, in the church of the fame name, is a, 
 mafter-piece of his hand. The union, the accord, 
 the gout in the defign, and the difficulty of degrad- 
 ing the fix camaldules, all dreffed in white, are ob- 
 jects of admiration. 
 
 The gout, with which he had been attacked fe- 
 veral years, prevented his execution of the defigns 
 and cartoons which he had made for the roof of the 
 church of St Lewis. While he was at work at the 
 great altar of St Joieph a Capo le Caze, on a picture 
 in which that faint was reprefented waked by an an- 
 gel, he was feized with a diftemper which prevented 
 his fini filing it. He had before painted, in frefco, 
 a St Thereia, over the door of the fame church. 
 This diftemper proved a long one, and carried' him 
 ofF at Rome in 1661, when he was 62 years old. 
 His corpfe was buried in a magnificent manner at St 
 John de Lateran, where there is a fine epitaph to 
 his memory. 
 
 Casfar Fantetti, Joan. Baronius, G. Chateau, have 
 engraved after Andrea Sacchi. There are three 
 prints after him in the Crozat cabinet, and one in 
 the Hefperides, by C. Bloemart. 
 
 MICHAEL ANGELO di BATAGLIA, 
 
 WA S a name given to Michael Cerquozzi for 
 his excellence in painting battles. His turn 
 alfo for painting markets, fairs, and paftoral fub- 
 
 B 4 jects, 
 
8 ft LIVES 0/ 
 
 jccts, with a number of animals, gained him the 
 name of M. A. delle Bambocciate. He was born at 
 Rome in 1602. His father was a jeweller, named 
 Marcello Cerquozzi-, who foon perceived his fon's 
 talent for Painting, by ibme defigns he made. He 
 put him under James D'Afe, a Flemifli Painter, 
 then in credit at Rome. He worked under that 
 mailer three years •, then parted into the fchool of 
 Pietro Paolo Cortonefe, commonly called Gobbo del 
 Frutti ; whom he quitted, to follow the manner of 
 Peter de Laer, called Bambochio ; a manner that 
 then took with all the young folks at Rome 
 
 Michael Angelo furpafTed all his fellow fludents 
 in the goodnefs of his tafte. He had a manner of 
 Painting peculiar to himfelf. His chearful temper 
 appeared in his pictures. He work'd up the ridicule 
 in his pieces fo well, and gave them fo much force 
 and truth, that it was impoflible not to laugh at 
 them. He was fo fond of the Spaniards, that he af- 
 fected their drefs. He was very well made in his 
 perfon, and a rnoft delightful companion. By his 
 pleafant manner of Painting, and the jollity of his 
 humour, his painting room was always filled both 
 with Romans and Grangers. The quicknefs and fa- 
 cility of his pencil were fo great, that on the recital 
 of a battle, a fhipwreck, or an uncommon figure, 
 he would exprefs it directly on his canvas. His co- 
 louring was vigorous, and his touch light. He ne- 
 ver made defigns or fketches : he only re-touched 
 his pictures, till he had given them the utmoft per- 
 fection in his power. His works were fpread all 
 f:r Italy. He could hardly fupply the commiflions 
 received. By this means he grew rich apace, and 
 heaped together fo much money, that it embarraiTed 
 him. The cuftom at Rome of placing riches in the 
 mount of piety, was not to his taile. The fame; odd 
 turn that furniihed iuch extraordinary thoughts for 
 his pictures, fuggefted as fingular means of fecuring 
 
 his 
 
eminent PAINTERS. 9 
 
 his effects. In fhort, he refolved to bury his mo- 
 ney. To which purpofe, he fet out one night from 
 Rome on foot, to hide a large fum of money in a 
 very retired place he hadobferved in the neighbour- 
 hood of Trivoli. The length of the way, and the 
 weight of the money, prevented his getting there 
 before day-break, which determined him to bury it 
 under a hillock. As he was returning to Rome, the 
 fear leflfomebody mould find his money, made him 
 return to the place ^ and finding feveral fhepherds 
 there with their cattle, he kept watch all day long, 
 till the fhepherds retired, when he dug up his mo- 
 ney, which he had much ado to carry home-, where 
 he arrived half dead, having been two nights and a 
 day without fleeping, or taking any nourifhment. 
 This accident opened his eyes. He placed his mo- 
 ney in the ufual places, which he made ufe of after- 
 wards in pious foundations. But he could never re- 
 cover his health, whatever care his friends took to 
 procure him that bleffing. At the time when he 
 had the greateft hopes of it, a violent fever feized 
 him, and carried him off. He ended his days at 
 Rome in the year 1660, at the age of 58. His epi- 
 taph is fixed up in the church De Orfanelli, which 
 he had not forgot in his will. 
 
 This Painter was never married, nor do we know 
 of any of his difciples. He was extremely regular 
 in his manners, faithful to his word, charitable and 
 particularly kind to Painters. He fpoke well of every 
 body, even of thofe that depreciated his works. 
 Thefe good qualities gained him many friends, the 
 chief of which was Giaunthio Brandi, the famoUfcj 
 Painter. 
 
 It is to be obferved, that his laft works are beft. 
 He worked but little in churches; and his hiftory 
 pictures are much inferior to his others. He often 
 painted the figures in Vivinni's perfpe&ive pieces. 
 
 • We 
 
io The LIVES of 
 
 We know only of a vafe of flowers engraved after 
 liim by Coelmans, in the cabinet of Aix. 
 
 JOHN FRANCIS GRIMALDI, 
 
 IS beholden to the city of Bologna for his nativity, 
 in the year 1606. He ftudied under the Car- 
 racches, to whom he was related ; and his progrefs 
 fhewed his natural difpofuion. He foon became dif- 
 tinguiflied for his landfkips, and alfodefigned figures 
 well. 
 
 When he arrived at Rome, he copied all the beau- 
 tiful things that prefented themfelves. Innocent X. 
 did juftice to his merit, and fet him to paint in the 
 palace of the Vatican, and the gallery of Monte Ca- 
 vallo, in concert with PaulScor, and other able maf- 
 ters. This pontiff ufed to come to fee him work, 
 and talk familiarly with him. Prince Pamphili, his 
 nephew, was likewife fond of him ; and employed 
 him in adorning his houfe of Bel Refpiro, at the gate 
 of St Pancrace. The example of thefe Princes 
 made every body leek after Bolognefe, and think 
 it a pleafure to have his works. 
 
 His reputation reached Cardinal Mazarini at Pa- 
 ris, who lent for him, fettled a large penfion on 
 him, and employed him for three years in embel- 
 lishing his palace, and the Louvre, by the order of 
 Louis XIII. The troubles of the ftate, and the cla- 
 mours raifed againft the Cardinal, whofe party he 
 dpoufed with great warmth, put him fo much in 
 danger, that his friends advifed him to retire among 
 the J efuits. Bolognefe was of ufe to them, for he 
 painted them a decoration for the expofition of the 
 holy facrament during the holy-days, according to 
 the cuftom of Rome. This piece was mightily re- 
 Jifhed at Paris i the King honoured it with two vifits, 
 and commanded him to paint fuch another for his 
 chapel a: the Louvre, All thefe works being finifhed, 
 
 Francifco 
 
 
eminent PAINTERS. n 
 
 Francifco demanded leave of the King to return to 
 Italy. At his arrival at Rome, he found his great 
 patron, Innocent X. dead-, but his two fucceffors, 
 Alexander VII. and Clement IX. honoured him 
 equally with their friendfhip, and continued to find 
 full employ for his pencil, which embellifhed the 
 frizes of the new apartment and gallery of Monte Ca* 
 vallo. The Conftable Colonna, and Prince Pam- 
 phili, had Bolognefe in their turns; whilft his ca- 
 pacity and genius difplayed themfelves more and 
 more. 
 
 His colouring is vigorous and frefh, his touch 
 beautiful and light, his fites are pleafant, his frefco 
 admirable, his leafing enchanting, his landfkips, in 
 the tafte of Carrache, may ferve for models to thofe 
 that intend to apply to that branch of Painting, yet 
 they are fometimes too green. He underftood archi- 
 tecture, and has engraved in aqua fortis forty two 
 landfkips in an excellent manner, five of which are 
 after Titian. 
 
 Bolognefe was well made, with a behaviour that 
 inclined every body to love him; above all, the fa- 
 mous Algardi. The academy of St Luke twice 
 named him their Prince. He was generous, with- 
 out prof ufion-, refpedtful to the great, without mean- 
 nefs; and very charitable to the poor. A Sicilian 
 gentleman, that had retired from Medina with his 
 daughter, during the troubles of that country, was 
 reduced to the mifery of wanting bread. As he lived 
 over againft him, Bolognefe was foon informed of 
 it; and, in the dufk of the evening, knocking at the 
 Sicilian's door, without making himfelf known, tofled 
 in money, and retired. The thing happening more 
 than once, raifed the Sicilian's curiofity to know his 
 benefactor : therefore hiding himfelf behind the door, 
 he ftarted out on a fudden, and falling on his knees 
 to blefs and thank the hand that had relieved him, 
 
 Bolognefe 
 
12 The LIVES of 
 
 Bolognefe remained confufed, offered him his houfe, 
 and continued his friend till his death. 
 
 Several other pieces of generofity have diftin- 
 guifhed this artift. Being feized with the dropfy, he 
 iubmitted to the common fate of mortals, at Rome, 
 in the year 1680, in his 75th year; leaving a con- 
 fiderable fortune to fix children, of which the young- 
 eft, named Alexander, was a pretty good Painter. 
 
 G A S P A R D U G H E T; 
 
 Sirnamed 
 
 P O U S S I N, 
 
 THOUGH born at Rome in 1 6 1 3, was fon of 
 James Dughet, aParifian, fettled in that city. 
 His father, who had married one of his daughters to 
 the famous Pouflin, placed his fon Gafpar under 
 him; who had, from his earlieft youth, manifefted 
 an uncommon talent for Painting. Gafpar took the 
 name of Pouflin from the alliance betwixt them. 
 Pouflin, though he difcovered in him a particular 
 turn for landfkips, yet encouraged him in the ftudy 
 of figures, which conftitute one of its principal or- 
 naments. His beginnings were fo happy, that Pouf- 
 lin declared to his friends, that he fhould not have 
 believed that Gafpar's pictures were of his hand, if 
 he had not feen him paint them. Gafpar was paf- 
 jGonately fond of hunting, as well as of the country ; 
 "whilft he was purfuing his fport, he did not neglect 
 any opportunity of defigning the beautiful effeds of 
 nature. His pictures began to be fought after, when 
 a Milanefe Knight engaged him to come into his 
 country, which was renowned for hunting. This 
 wandering life did not agree with him •, he was born 
 for more ferious purpofes ; and the city of Rome had 
 charms enough to invite him back thicher in a very 
 
 little 
 
eminent PAINTERS. 13 
 
 iitcle time. The Duke of La Comia, for whom he 
 had painted fome pictures with which he was very- 
 well pleafed, made him come back to Peroufa and 
 Caftiglione, where he ftaid near a year. But hunt- . 
 ing and fifhing engaging him by turns, made him 
 very negligent and unfaithful to Painting : at laft 
 he took leave of the Duke, making him a prefent 
 of fome pictures. The Duke, in return, defrayed 
 his expences, and conducted him to Rome •, where 
 he arrived, loaded with the marks of the Duke's 
 bounty. 
 
 Gafpar, to have it more in his power to defign 
 after nature, hired four houfes; two in the higheft 
 quarters of Rome, one at Trivoli, and a fourth at 
 Frefcati. By the ftudies he made from them, he 
 acquired a great facility, and admirable touch, and 
 a great frefhnefs of colouring. Poufiln, who often 
 came to fee him work, took great pleafure in adorn- 
 ing his landfkips with excellent figures. 
 
 Continual labour, and the fatigue of hunting, the 
 amufement of his holy-days, flung him into a dan- 
 gerous diftemper. After a long illnefs, he retired 
 for the air to the Duke of Cornia's at Peroufa. That 
 nobleman carried him to Caftiglione and Florence, 
 where he met with a favourable reception from the 
 nobility, and received commiflions for a great num- 
 ber of pictures. He went again to Florence, whence 
 he returned to Rome, with a defign of fetting out 
 for Naples, where a year was hardly enough to fa- 
 tisfy his engagements to the curious who employed 
 him. 
 
 Gafpar, on his return to Rome, painted in frefco 
 feveral large landfkips, with figures of a confiderable 
 fize, in the church of St Martin del Monte. It was 
 then he firft began to imitate the manner of Claude 
 Lorrain. The Princes of Rome, and the Noblemen 
 of Italy, were not the only people that employed 
 him : his works were fought after by ftrangers. His 
 
 firft 
 
i 4 The LIVES of 
 
 firft manner was dry -, his laft, vague and agreeable ; 
 the fecond was befc, it ravifhed the fpe&ators with 
 more fimplicity, more truth, and more knowledge. 
 No body, before Gafpar, had drawn the winds and 
 ftorms into their pictures : the leaves teemed agitat- 
 ed; and the trees, though inanimate, ceafed to be fo 
 under his hand. His fites are beautiful, in a juft 
 degradation, with a fine management of his pencil ; 
 yet his trees are too green, and his maffes too much 
 of the fame colour. 
 
 This Painter, referved in converfation, loved his 
 fellow-Painters, and defpifed no body; he enjoyed 
 all he had in common with his friends. His chear- 
 Ful air, and pleafant humour, drew a great deal of 
 company about him ; fo that though he was once 
 worth 30,000 Roman crowns, and never married, 
 the pleafure he took in often entertaining his friends, 
 and a fit of ficknefs, which carried him off at the 
 end of two years, hardly left him enough to bury 
 him honourably in the church of St Sufanna, in the 
 year 1675, and the 6id of his age. 
 
 Gafpar graved himfelf eight landfkips, of which 
 four were in Rounds ; De Ligny graved two length- 
 ways; there is one in the cabinet of Aix. There is 
 a let of pieces lately done at London, by fever a! 
 hands, after this mailer. 
 
 SALVADOR ROSA, or SALVATORIEL, 
 
 EQJJALLY eminent in Painting and polite 
 learning, was the fon of a carpenter, born at 
 Naples in 1615. He was educated under Francifco 
 Francanzano, his relation, a Painter in that city •, and 
 found himfelf reduced to the neceflity of hanging 
 out his pictures in public for his fupport. Lanfranc, 
 pafling by, bought one •, and, to encourage him, 
 befpoke feveral more. Salvator afterwards ftudied 
 under Ribera, under whole directions he improved 
 
 greatly. 
 
eminent PAINTERS. 15 
 
 greatly. He continued with him till he was twenty ; 
 when, having loft his father, Ribera took him with 
 him to Rome. For four years he made con fiderable 
 ttudies, and then entered into the fervice of Cardinal 
 Brancacci, a Neapolitan ; who carried him to his 
 bifhopric of Viterbo, where he painted St Thomas 
 touching his Matter's wounds, and feveral other pic- 
 tures. Naples pottefTed him for fome time, but Rome 
 fuited him beft; yet every where he gained friends, 
 by his excellent talents for Painting and Poetry. 
 
 His reputation now beginning to be eftablifhed, 
 Prince John Charles de Medicis, who happened to 
 be at Rome, carried him to Florence, where he re- 
 mained nine years. He divided his time between 
 Poetry and Painting, for Salvator was a fatiric poet, 
 and his fatires have been reprinted feveral times; he 
 was alfo a good mufician. 
 
 The people of polite learning at Florence grew 
 fond of his converfation, and the lively {allies of his 
 wit, which were a conftant fund of pleafure and in- 
 flruction ; fo that his houfe became a kind of academy. 
 There he alfo often had comedies prefented, in which 
 he acted himfelf. The rooms in which he acted were 
 adorned with great elegance in a pictorefque man- 
 ner. His comedies grew fafhionable; and every body, 
 in imitation of him, affected to become actors. Not- 
 withftanding theie amufements, he executed feveral 
 great works for the Grand Duke, and the Prince, 
 his fon; who loaded him with their favours. He 
 w r as fome time at Volterra, with the Maffei, who 
 took him to their eftate, where he employed himfelf 
 in painting feveral pictures, though literature took 
 up the greater part of his time. He continued here 
 above a year, and in that time compofed his fatires. 
 Salvator is a greater Painter in landfkip than in hif- 
 tory; his pictures are adorned with fine figures of 
 Yoldiors; he has painted animals, battles, fea- views, 
 and fantaftica) fubjects, very well ; but his matter- 
 piece 
 
j6 K? LIVES of 
 
 piece was landfkip. His leafing is extremely light 
 and lively : it is likewife impoflible to engrave with 
 more fpirit, and a more beautiful touch, than ap- 
 pears in thole works that we have of his hand. 
 
 Though Salvator's ftile of Painting v/as very good, 
 his touch admirable, and his manner entirely his own, 
 as he has imitated no body, his genius was whimfi- 
 cal: for often, without confulting nature, he tr tided 
 too much to practice ; for which reaibn his figures 
 were gigantic, and lbmetimes uncorrect. He painted 
 very quick: he often began and rimmed a picture of 
 a middling fize in the fame day. His room was fur- 
 nifhed with a large looking-glafs, before which he 
 placed himfelf in thofe attitudes he wanted ; and this 
 was all his ftudy. His friend Lorenzo Lippi, find- 
 ing himfelf at a lofs in puttiug in the landfkips to a 
 hiftory he had painted, Salvator took up his pallet 
 and pencils, and in a little time laid in a piece of 
 landfkip which every body admired. After Salva- 
 tor left Florence and Volterra, he fixed himfelf at 
 Rome; where he took it into his head for fometime, 
 by fixing an extravagant price on his pictures, to 
 prevent any body from buying them. He took it 
 mighty ill to be praifed as a landfkip Painter; his 
 great vanity was being efteemed excellent in hiftory, 
 and to have it thought that he was fuperior to every- 
 body in the allegorical and poetic parts of Painting. 
 He did a great number of pictures in churches, which 
 are certain proofs of his capacity in treating hiftory. 
 His manner of living was that of a philofopher, which 
 he affected to (hew in his Paintings, by giving them 
 a moral fignification. He was lb fond of his liberty, 
 that he would never enter into the fervice of any 
 Prince, though often prefTed: amongft others, Don 
 Ferdinand of Auftria iblicited him, when he came 
 to Florence on account of the nuptials of the fon of 
 the Grand Duke with Margaret of Orleans. As Sal- 
 vator 
 
eminent PAINTERS. iy 
 
 vatbr was very lively in his Tallies of wit, I fhall men- 
 tion a few of them. 
 
 The Painters of Rome having refufed to admit 
 him into the academy of St Luke; one day, wheri 
 he knew they were affembled, on account of a holy- 
 day, in a church, where they had expofed their pic* 
 tures, he fen t one of himfelf, in which he had dif- 
 guifed his manner •, and pointing it out to them, 
 told them^ — <c That the author of it was a furgeon, 
 <c whom they had refufed admiffion into their acade- 
 " my % for which certainly they were in the wrongs 
 cc as they had fuch conftant occafion for him, to 
 <c fet the limbs of thofe poor figures which they lamed 
 cc every day fo unmercifully." 
 
 One day, as he was touching a bad fpinet, a per- 
 fon who flood by, told him, it was good for no- 
 thing: " But, fays he, I will make it worth an hun- 
 * c dred crowns ;" and immediately painted fo line 
 a piece on the cover of it, that it fold on the fpot 
 for that fum. 
 
 A certain perfon intending to adorn his gallery 
 with the portraits of his friends, kt Salvator to work ; 
 who made all their caricatures, in which he excelled 
 perfectly * not forgetting his own, which prevented 
 their refentment. His genius naturally led him to 
 that kind of Painting which partook of fatire. In 
 finifhing this Work, he was feized with a fever, fo 
 that it proved his lafb 
 
 This Painter was exceeding generous, and worked 
 more for reputation than to get money, as the fol- 
 lowing adventures clearly fhew. 
 
 A certain rich Knight had been haggling with 
 him for fome time about a large landfkip ; as he was 
 frequently coming after it, he always allied the price, 
 to which Salvator, on every demand, added an hun- 
 dred crowns. The Knight mentioned his furprize. 
 He replied,™" You'll find icahard matter, with all 
 
 G " your 
 
18 The L I V E S of 
 
 " your riches, to agree with me." And to prevent 
 any farther importunity, defaced the picture. 
 
 The Conftable Colonna having ordered a large pic- 
 ture, Salvator finifhed it with great care ; and fent 
 it him home, without mentioning any thing about 
 the price. The Conftable exprefTed his fatisfaction 
 by a purfe of gold, which he fent in return. Sal- 
 vator, charmed with this behaviour, and finding him- 
 felf greatly overpaid, painted and fent another pic- 
 ture to the Conftable, who made him the fame return. 
 He afterwards fent him a third, and a fourth; for 
 each of which, the Conftable advanced the fum : but 
 on receiving the fifth, he fent him two purfes, and 
 at the fame time word, that the conteft was by no 
 means equal between them -, as it was not near fo eafy 
 for him to fill a purfe, as it was for Salvator to paint 
 a picture. 
 
 After a long abode at Rome, Salvator was feized 
 with the dropfy ; during which illnefs he married his 
 maid, who was a Florentine, by whom he had had fe- 
 veral children. He had an extreme averfion to this 
 marriage, as the woman, who was a mean, low crea- 
 ture, had behaved more as miftrefs, than afervant to 
 him; and, at the fame time, had beftowed her favours, 
 without much refer ve, amongft his acquaintance. 
 Thefe confiderations fhocked him greatly, as he was 
 a man of nice honour; but his confeffor, fupported 
 by fome of his friends, urging all the arguments their 
 zeal could furnifh, and finding that his ftrongeft rea- 
 fons had not a proper weight, cried, — " But, Signior 
 <c Salvator, you muft marry her, if you hope to en- 
 u terparadife." He calmly replied,— " Then, if I 
 C6 cannot enter into paradife without being acuckold, 
 " I muft do it." 
 
 This chearfulnefs of temper never left him ; nor 
 did his diftemper, though tedious, ever alter it. Al- 
 luding to his name, Salvator, he looked upon it as 
 an earneft of his falvation, smd that God would never 
 
 fuffe* 
 
eminent PAINTERS. ig 
 
 fuffer the devil to pcrfecute a man that bore the name 
 of Salvator. He ended his days at Rome, in 1673-, 
 aged 5$. He was buried in the Chartreux, over 
 againft Carlo Marat, where his epitaph and repre- 
 fentation may be ktn in marble. 
 
 Salvator has engraved in aqua fortis the following 
 plates; — a book of different military habits, and other 
 fubjects of caprice* of 60 leaves, with the title ; — 
 feven upright prints, amongft which are, the Apollo, 
 Glaucus, two of St William, &c. fix frizes of Tri- 
 tons, River Gods, and Naiades; — feven other upright 
 prints of a larger fize, amongft which are Alexander 
 with Apelles, Diogenes, Plato, Democritus, and three 
 allegories-,— four of different forms, Polycrates, Re- 
 gulus, Oedipus, and the giants; — in all, eighty four 
 pieces: befides what have been engraved after him, 
 as — a fet of landfkips, by Goupy, of eight leaves ; 
 -—two large chiaro ofcuro's, by Pond;- one large 
 allegorical print, by Laurent. There are alfo fome 
 pieces, in the cabinet of the Emperor, engraved in 
 a- piclorefque tafte, by A. J. Prenner, which contains 
 four fuits, amounting to two hundred prints, after 
 different mailers. 
 
 JOHN BENEDITYO CASTIGLIONE, 
 
 WAS born at Genoa, in 161 6. He applied 
 himfelf early to the belles lettres, but the love- 
 of Painting got the better of his other ftudies. The 
 feveral fchools he paffed through fucceffively, pro- 
 cured him a tafte of colouring, and a very lively man- 
 ner, which made his works much fought after. He 
 began to ftudy under John Baptift Pagi, with whom 
 he did not ftay long, believing he could profit more 
 in thefchool of Andrea de Ferrara. This mafter, with 
 whom he worked a great while, took pleafure in af- 
 fifting the growing talents of the young man; who, 
 on his part, diftinguiflbed himfelf both by his Pai.nt- 
 
 C 2 ings 
 
20 ^ LIVES 0/ 
 
 ings and engravings. To complete his happinefs, 
 Vandyke came to fpend fome time at Genoa. Be- 
 neditto embraced the opportunity; in his fchool he 
 endeavoured to make himfelf perfect in that precious 
 tone of colouring, and that delicacy of pencil, fo fa- 
 miliar to Vandyke, who was his laft mailer. 
 
 Beneditto could not fail of forming a grand man- 
 ner-, he fucceeded equally in facred and profane hif- 
 tory. Portrait and landfkip were not out of his way,, 
 but his natural inclination led him to paftoral fub- 
 jects, marches, and animals, for which he made par- 
 ticular ftudies. No body ever fucceeded fo well in 
 that kind of Painting; his defign was elegant, his 
 touch was fkilful, and his pencil vigorous ; his un- 
 derftanding of the chiaro ofcuro was fo perfect, that 
 it ftruck and furprized all that looked on his works. 
 
 His defire of deierving the approbation of great 
 men increafmg, he painted a considerable time at 
 Rome. He afterwards went to Naples, Florence* 
 and Parma-, and left in all thofe cities proofs of his 
 knowledge. His fortune was not equal to his repu- 
 tation; but, like a truly great mind, without grafp- 
 ing at riches, he was contented with deferving them- 
 Venice, at laft, engaged him to perfect his colour- 
 ing. He made furprizing ftudies after Titian, Tin- 
 toret, and Paul Veronefe. The Senator Sacredo com- 
 ing to fee him paint, by his generous behaviour en- 
 gaged him to exercife his pencil in adorning his pa- 
 lace; where, exerting his abilities, he produced moft 
 admirable proofs of his (kill. 
 
 The city of Mantua finifhed his travels. He en- 
 tered into the Duke's fervice, who, on the report of 
 his merit, received him in the moft gracious manner. 
 The favoursfhewn him by that Prince, the noble gra- 
 tuities he beftowed on him, and a coach kept for his 
 fervice, added fpirit to his fkilful pencil. The Duke 
 of Mantua, who had a natural good tafte for beauti- 
 ful performances, found him full employment, and 
 
 his 
 
eminent PAINTERS. 21 
 
 his palace was adorned on all fides with the works of 
 Beneditto. Spite of the infirmities to which he was 
 fubjedt, he continued his works ; nor do his labours 
 at all difcover the uneafinefs he fuffered. At laft, 
 the gout, joining with his other diftempers, ended 
 his days in that city, in the year 1670, at the age of 
 
 54- 
 
 Beneditto engraved in aqua fords feveral prints, 
 
 in a lively manner; fuch as — Diogenes, with his 
 lanthorn;— a nativity -, — the beads going into the ark ; 
 — the fame fubjecl: in fmall ; — the raifing of Lazarus, 
 great and fmall ;— a flight into Egypt ; — a virgin with 
 Jefus-, — and an angel waking St Jofeph; — five land- 
 fkips, with fawns and fatyrs; — a magician, with fe- 
 veral animals ;— -Circe opening Achilles's tomb, to 
 look for his arms •, — two fets of mens heads, one of 
 fixteen, the other of fix, amongft which is his own, 
 and divers caprices and allegorical fubjects; — amount- 
 ing in all to forty feven fubjects: without including 
 what have been engraved after his pictures by Mace, 
 Chatillon, Corneille, M. L'Alhe, Coelmans, and 
 others. 
 
 PIETRO FRANCISCO MO LA. 
 
 IT is not eafy for any man to acquire a greater 
 name, during his life- time, than Pietro Francifco 
 Mola. He was born at Coldre, in the diocefe of 
 Como, in theMilanefe, in 1Q21. His father, John 
 Baptift, a Painter and Architect, foon found out and 
 encouraged his fon's inclination for his art. He car- 
 ried him to Rome, to the cavalier jofepin, toiludy, 
 during his flay in that city. When he returned to 
 Bologna, to begin the fort of Caftel Franco, by the 
 order of Urbin'VIIL he brought back his fon, whom 
 he placed under the directions of Albano. This m af- 
 ter, finding in his new difciple great talents, joined 
 to a fweetnefs of temper, would have married him 
 
 C 3 to 
 
22 The LIVES of 
 
 to one of his daughters. Mola, not inclined to fuch 
 an engagement, went to Venice, toftudy under Guer- 
 chino, whofe bold and vigorous manner, and the 
 works of Titian and Baffan, perfected him entirely. 
 The jealoufy of Guerchino obliged Mola to a fecond 
 feparation. Rome was his reiburce \ there he expofed 
 his new Venetian Manner, which gamed him a great 
 name. Innocent X. received him favourably, and 
 employed him in feveral parts of his palace. He was 
 fet to paint the chapel of Jefus, where he reprefented 
 the miracle of St Peter in prifon, and the converfion 
 of St Paul -, theie two pieces in frefco were extremely- 
 well relifhed, and procured him other works. 
 
 After the death of innocent X. Alexander VII. who 
 fucceeded him, alio took Mola under his protection, 
 and made ufe of his pencil to reprefent the hiftory of 
 Jofeph, in the gallery of Monte Cavallo, for which 
 the Pope rewarded him liberally. Whilft he painted 
 this Pontiff, he remained covered and fitting. Queen 
 Chriftina, of Sweden, fhewed him great marks of 
 her favour ; fhe received him among her officers, 
 fettled a handfome falary on him, and befpoke fe- 
 veral pictures of him for her cabinet. 
 
 Mola was but young when he found himfelf fur- 
 rounded with all thefe honours. Fortune feemed to 
 lead him by the hand. Cardinals, Roman Princes, 
 and religious houfes, flrove to give him new fubjects 
 to increafe his reputation, which had been too limited 
 if it had not pafTed the Alps. Lewis XIV. informed 
 of his abilities, ordered propofals to be made him to 
 come to his court, with all the allurements that might 
 be expected from fo generous and magnificent a 
 Prince. While he was preparing to fet out for Pa- 
 ris, and finifhing a picture that the Pope had com- 
 manded for the Church del Pace, a difpute which 
 he had for fome time before with Prince Pamphili, 
 about a cieling which he had painted in his palace of 
 Val Montane, and for the payment of which he was 
 
 obliged 
 
eminent PAINTERS. 23 
 
 obliged to fue that Prince, occafioned him fo much 
 vexation, that he fell Tick at Rome of a violent head* 
 ach, that fiezed him while he was painting, and car* 
 ried him off in fix hours, in the year 1666, at the 
 age of 45. 
 
 Mola was chief of the academy of St Luke ; his 
 genius was fruitful and lively; a grand defigner, and 
 yet a greater colourift, though often too dark. He 
 excelled in landfkip and caricatures. An admirable 
 eafe is obferved in all his pictures. So many qualities 
 have juflly entitled him to the character of a great 
 Painter. 
 
 There is another Mola, named John Baptift, who 
 was alfo a difciple of Albano, whole manner he fol- 
 lowed entirely. Authors have agreed that he was a 
 Frenchman ; his landfkip is excellent, but his figures 
 are dry and hard, wanting that mellownefs that was 
 fo peculiar to the pencil of his mailer Albano. The 
 time and place of his death are unknown. 
 
 Coelmans, Spierre, and Pietro Santi Bartoli, have 
 engraved after Francifco Mola. 
 
 PHILIPPO L AU R I 
 
 OWES his birth to the city of Rome, in 1623. 
 His father was originally of Antwerp, but 
 fettled in Italy, where he had two fons : the eldefl, 
 Francifco, became an able Painter, by the inftruc- 
 tion of Sacchi, and died when he was but twenty five 
 years old: Philip was the fecond. BaltThafar, who 
 was a good Painter, and a difciple of Paul Bril, per- 
 ceived with joy, that his fon Philip, without learn- 
 ing to draw, when he went to fchool, took the faces 
 of all his play-fellows. So remarkable a difpofition 
 was an earneft of his becoming a great Painter. His 
 father placed him under his fon Francifco, who 
 taught him the firil elements of his art. The pre- 
 mature death of his brother, obliged him to pafs into 
 
 C 4 the 
 
24 Tie L IV E S of 
 
 the fchool of Angelo Carofelli, his brother in law s 
 who had acquired fome reputation in Painting. Phi- 
 lip's progrefs was fo great, that he loon furpaffed 
 his mailer in every kind. In the mean time he loft 
 his father, and, foon after, his mafter; who was fo 
 fond of him, that to make him known, he brought 
 all the curious ftrangers that came to Rome, to fee 
 him. 
 
 Philip, who had ftudied much, foon quitted his 
 firft manner, and applied himfelf to paint fmall hif- 
 torical fubjects, with back grounds of landfkip, in 
 a lively beautiful manner. He alfo painted feveral^ 
 large pictures for churches, but did not fucceed fo 
 well in them as fmaller works. He left feveral pieces 
 unfinifhed. 
 
 Nature, who had not bellowed her graces on his 
 perfon, endowed his mind with many accomplifri- 
 ments. He was mailer of perfpeclive, had a turn 
 for poetry, and a knowledge of hiftory and fable. 
 His chearful temper, and the lively fallies of his wit, 
 rendered him dear to his friends. 
 
 His barber hearing he had prefented his apothe- 
 cary with a picture, for the care of him when he was 
 ill, flattered himfelf with hopes of the fame favour, 
 and begged a picture of him. Philip, who knew his 
 intention, made his caricature, imitating the ridicu- 
 lous geflures he ufed in talking to him •, he wrote 
 under the picture, — a This man looks for a dupe, 
 " and can't find him;' and fent it to the barber's at 
 a time he knew that feveral of his friends would 
 meet in his fhop. Every one of them was (truck 
 with the oddnefs of the character, and fell a laugh- 
 ing and joking the poor barber, whom they pre- 
 vented venting his rage on the picture ; and though 
 Philip diverted himfelf at his expence, he never ven- 
 tured to come under his hand afterward. 
 
 One cannot fay, that Lauri was one of the firft 
 Painters of Rome; yet he defigned well and grace- 
 fully. 
 
eminent PAINTERS. 25 
 fully. His landfldp was chearful, and in a good 
 tafte ; his colouring varied, being fometimes too 
 ftrong, fometimes too faint. The fubjects he ge- 
 nerally painted, were metamorphofes, bacchanals, 
 and often hiftorical fubjecls, which he treated with 
 great judgment. His pieces of this fort are fpread 
 all over Europe. 
 
 He would never marry, or give himfelf the trou- 
 ble of forming difciples. His pleafure was, to amufe 
 himfelf with his friends. He would, on public ho- 
 lidays, diftjnguifh himfelf by playing off fire- works* 
 He was always diverting himfelf with one merry 
 prank or other, the fallies of his lively imagination. 
 He loved expence, and by his mirth and good hu- 
 mour feemed to forget he grew old, till adiftemper 
 furprized and carried him off at Rome, in 1694, at 
 the age of 71. His corpfe was attended to St Lau- 
 rence in Lucina, his parifh church, by the academy 
 of St Luke, who had received him into their body 
 in 1652. He left a confiderable fortune to his great 
 nephews, befides feveral legacies. 
 
 The four feafons are engraved in four plates after 
 him. 
 
 CARLO C I G N A N I, 
 
 WA S born at Bologna, in 1628. He acquired 
 a high character in the place of his nativity, 
 having been at the head of the academy of Painting 
 there for a confiderable time. His father, Pompeo Cig- 
 nani, of an antient family of Bologna, obferving his 
 fon defign after the beffc pictures in his cabinet, readily 
 forefaw the ability he would one day difplay in that 
 art. Baptifta Cairo, a Bolognefe Painter, that Pom- 
 peo took into his houfe, firft cultivated this fprout- 
 ing genius, which grew up in the fchool of Albano, 
 who always loved him as his own fon. Cignani out- 
 stripped his comrades j he carried away all the prizes 
 
 in 
 
26 The L I V E S of 
 
 m the academy; and his firft e flays in Painting ap- 
 peared to be the works of a perfedr. mafter. Albano 
 declared every where, that he would be the greateft 
 fupport of his fchool ; and even employed him to 
 paint in his own works. 
 
 His reputation now rifing, he was fent for to Leg- 
 horn, where he finifhed a Judgment of Paris in a 
 mafterly manner. At his return to Bologna, Cardi- 
 nal Farnefe fet him to work in the great hall of the 
 
 o 
 
 public palace, where he painted, in two large pieces, 
 King Francis I. who healed the King's evil as he 
 patted through Bologna; and the entry of Pope 
 Paul III. into that city. The fame Cardinal car- 
 ried him to Rome, where he painted two pictures 
 in St Andrew de la Valle, and one in the Bafilic of 
 St Peter, which is fince fpoiled by the damps. Three 
 years pafied away whilft he was engaged in thefe la- 
 bours at Rome, after which he returned to Bologna, 
 where he was loaded with carefTes and employment; 
 all the churches and palaces of that city prefenting 
 to your view different teftimonies of his capacity. 
 
 Duke Ranucio, of Parma, ordered him to paint 
 the walls of a room, in the cieling of which Auguftin 
 Carrache had exprefTed the power of Love. This 
 Prince directed him to continue the fame fubjecl:, 
 which he treated with a great deal of elegance. There 
 was no civility the Duke did not fhew him, to en- 
 gage him to ftay at Parma ; but his domeftic affairs 
 obliged him to return to Bologna. As Toon as he 
 got home, his firft occupation was to fhew his acknow- 
 ledgment to that Prince, by fending him a picture 
 of the conception, for the church of that name which 
 he had built at Placentia. 
 
 Duke Francis Farnefe afterwards prefled him to re- 
 ceive the title of Count and Knighthood, which, thro* 
 modefty, he had refufed the Pope, and fcveral other 
 Princes* All thefe honours added to the public eftecm ; 
 his fchool acquired daily newdifciples ; and his works 
 
 increased 
 
eminent PAINTERS. 27 
 
 increafed the number of his admirers. Such fuccefs 
 .could not fail of being envied; his enemies publifhed 
 ftories to his difad vantage \ they fpoiled the pictures 
 he had made under the portico of the Servites, and 
 burnt the cartoons he had left there. 
 
 The Elector of Bavaria named Cignani for one of 
 thofe four moft celebrated Italian Painters, who were 
 each to furniih a piece towards embellifhing a churcfy 
 at Munich. He affigned them a confiderable fum 
 for their performance, and a reward for him that 
 fhould fucceed beft. Cignani fent a holy family ; and 
 if it had not been for the management of thofe that 
 envied him, had carried the prize. 
 
 The Great Duke of Tufcany, to mew his efteem 
 for this Painter, defired his own picture, and feveral 
 other works that adorn the fine gallery at Florence, 
 
 There was nothing wanting now to complete Cig- 
 nani's glory, but fome grand public work that mould 
 be worthy of him. The cupola of the Madona del 
 Fuoco was offered him in 1686, and he fat out for 
 that city to undertake it. 
 
 After having continued his fchool fome time at 
 Bologna, under the care of two of his beft difciples, 
 he removed it, and alfo his whole family, to Fprli. 
 Cardinal San Cefareo palling through that city, de«* 
 fired a piece by his hand. Cignani prefented him an 
 Adam and Eve which he had painted for a ftudy. 
 The Cardinal gave him five hundred piftoles, telling 
 him, that he had only paid for his cloth, and that 
 he looked upon himfelf ftill as obliged to him for the 
 picture. 
 
 The city of Forli gave him his freedom, after hav- 
 ing been twenty years at work upon that cupola, 
 which was not finifhed till 1 706. Hisfon Felix helped 
 him greatly in that grand piece of work. In it he 
 has reprefented paradife, with a large number of 
 £gures, which ferve to ihew the extent of his genius. 
 
 Pope 
 
28 a LIVES p/ 
 
 Pope Clement XL honoured him with his protec- 
 tion, procured him a number of pieces of work, and 
 declared him Prince of the academy at Bologna-, ho- 
 nouring that body with his own name, by calling it 
 the Clementine Academy. 
 
 He owed all his fuccefs to his merit ; this alone 
 raifed him to that degree of honour he enjoyed. He 
 finifhed his labours by the picture of the birth of Ju- 
 piter, which he painted at the age of fourfcore for 
 the Elector Palatine, in 1715. Cignani being fiezed 
 with a catarrh, which difabled him from working; 
 after labouring under it four years, finding himfelf 
 finking, he would have burnt a Danae for being too 
 naked, but his fon's interceflion, and promife to co- 
 ver it, preferved it. His death happened at Forli, 
 in 1 719, when he was 91 years old. His corps was 
 expofed under the cupola he had painted ; his ion 
 Felix celebrated his oblequies with great magnifi- 
 cence, and an elegant epitaph -, the academicians of 
 Bologna paid his memory the honours they owed it, 
 by a magnificent fervice, and a funeral oration at the 
 end of the year. Cignani had eighteen children, who 
 are all dead. 
 
 He had a good countenance, and an honed heart; 
 a generous mind, that inclined him to afiift and fup- 
 port his difciples, to do good to thofe that difobliged 
 him, and even to commend thofe that fpoke ill of 
 him. 
 
 In Cignani is found a frefhnefs and force of pen- 
 cil, a lightnefs of hand, an admirable compofition, 
 a correctnefs of defign, gracefulnefs, mellownefs, fer- 
 tility of genius, an eafe in fpreading his draperies; 
 in a word, he may be reckoned amongft the mod 
 graceful Painters. Above all things, he attached 
 himfelf to exprefs the pafiions of the foul in his cha- 
 racters. The new manner he had formed, was from 
 Guido and Caravagio, without ever lofmg fight of 
 the graces of Corregio. 
 
 When 
 

 eminent PAINTERS. 29 
 
 When he defigned, and the defign difpleafed him, 
 he tore it, and made another, faying, " Whatever 
 " change he made, it was always only a defign 
 cc warmed over again." His pictures, in the man- 
 ner of Carrache, feem larger than they are in effect. 
 The art of placing and difpofing his figures, and a 
 happy turn of compofition, were among the excellen- 
 cies of this Painter. He is reproached with finifh- 
 ing his pictures fo much, that he deftroyed the fpirit 
 of them; that his colouring was too ftrong, and he 
 gave his figures fo much relief, that they were not 
 united with his grounds. He was alfo generally 
 looked upon as properer to paint virgins and half 
 figures, than hiftorical fubjects. 
 
 Cignani efteemed Lewis XIV. above all the Princes 
 of his time, and equalled him to the greatefl men- 
 tioned in hiftory ; not for the fplendor of his con- 
 quefts, bnt merely for the love he exprefTed for the 
 arts and fciences. 
 
 There are few prints graved after Cignani; we 
 know of a St Katharine, by Dorigny ; an Aurora, by 
 Meloni ; and the Chaftity of Jofeph, by Jacomo 
 Frey. 
 
 CARLO MARATTl 
 
 WAS born at Camerano in 1625. His grand- 
 father, Matthew Maratti, having quitted 
 Sclavonia, where he was born, eftablifhed himfelf 
 with his wife and two fons at Camerano ; one of 
 which, named Thomas, marrying there, was father 
 of Carlo. 
 
 While he was yet a child, he covered the walls of 
 his father's houfe with virgins; and for want of co- 
 lours, made ufe of the juice of herbs and flowers. 
 He copied all prints that came to his hand, and in- 
 fteadof ftudying at fchool, hq drew every thing that 
 came into his fancy, A book of the principles of 
 
 Defign, 
 
30 The LIVES of 
 
 Defign, which Barnaby his half brother had lejt in 
 his mother's houfe, was found in his hands. Carlo 
 copied it entirely, and fent it to his brother* who 
 was then at Rome. 
 
 The furprizing progrefs of the child determined 
 Dominico Corraducci, his relation, to fend him to 
 Rome, though but eleven years old, to join his bro- 
 ther Barnaby, who after having inftru&ed him a year, 
 placed him in the fchool of Andrea Sacchi. 
 
 Carlo Maratti continued nineteen years in that 
 fchool, copying Raphael, and other great matters. 
 His brother Barnaby fold his defigns to ftrangers, 
 who valued them, as they difcovered the touch of a 
 great mailer. He copied a defign that Andrea Sac- 
 chi had given him for a ftudy, lb perfectly, that his 
 matter, in comparing them, miflook the copy for 
 his own drawing. Maratti continued a fludent, till 
 he found himfelf capable of depending on his own 
 knowledge. His matter, who did not love Bernini, 
 drew on him the enmity of that great man, who pre- 
 ferred much inferior Painters to him, to execute thofe 
 works that were under his direction. Notwithstand- 
 ing this, by the credit of his matter, and the merit of 
 his own works, he gained a reputation of excelling 
 in painting virgins, which got him at Rome the nick- 
 name of Carluccio delle Madone; they even faid, he 
 could paint nothing elk. Andrea refolving to fhew 
 him in his proper light, fet him to paint Conftan- 
 tine deftroying the idols, in the baptiftry of St John 
 of the Lateran. Maratti acquitted himfelf fo well, 
 that he filenced the common report, that he could 
 paint nothing but Madona's. The three chapels of 
 St Ifidore, that he painted afterwards, raifed his re- 
 putation fo high, that Alexander VII. defired to fee 
 him, and commanded him to paint a large picture 
 for the church del Pace. Clement IX. that fucceeded 
 him, fhewed the fame kindnefs to Carlo Maratti ; 
 and after he had painted his nephews, ordered him 
 
 to 
 
eminent PAINTERS. 51 
 
 to paint his own picture, with which he feemed greatly 
 pleafed. 
 
 The Pope, contrary to cuftom, made him fit in 
 his prefence, faying, — « That when a man was at his 
 " work, he c#ght to be at his eafe." Clement X. 
 his fucceffor, employed Carlo Maratti on the chapel 
 Altieri, in the church of Minerva; and on the eieling 
 of the great hall of the palace of Altieri, he took for 
 his fubject Clemency, in allufion to the name of the 
 Pope. Under the pontificate of Innocent XI. he exe- 
 cuted the great picture for the altar of St Francis Xa- 
 vier, in the church of Jefus ; and divers other pic- 
 tures for the Marquis Palavicini. The Pope ordered 
 him to cover the bread of the Virgin, which Guido 
 had painted in the private chapel of the Vatican ; oa 
 which occafion he made ufe of water colours, fo that 
 the colour might be wiped off with a fponge. If thefe 
 great works entirely ftopped all infinuations of his 
 want of abilities, they alfo occafioned him a violent 
 illnefs. 
 
 Maratti was in great favour with Alexander VIIL 
 who did not live long. In his time he finifhed the 
 great picture of St Charles al Corfo, which he worked 
 at upon the altar, that he might fit the proportion 
 more juftly to the place. The figures on the fore 
 ground are twenty tv/o palms high; it is pity there 
 is not more colouring in that piece. Innocent XIL 
 confirmed him in the poll of keeper of the Paintings 
 in the Vatican, which was conferred on him by In- 
 nocent XL with all the emoluments and expences ne- 
 ceflary to reftore and preferve the pictures. Carlo 
 Maratti had been always protected by Cardinal AI- 
 bani, who, after the death of Innocent, was chofen 
 Pope, by the name of Clement XL He was often 
 admitted to his audience; and thisPontiffcommandcd 
 from him an alTumption of the Virgin, for a chapel 
 qf the cathedral of Urbin, his country, where Cig- 
 nani had already painted a picture of the nativity of 
 
 the 
 
32 The L I V E S of 
 
 the Virgin. The Pope next appointed him to reftore 
 the Paintings in the chambers of the Vatican, as he 
 had, fome years before, done thofe in the Farnefe 
 gallery, and the lodge Chigi, painted by Raphael 
 This Painter fattened up the deling with eight hun- 
 dred <$nd fifty copper nails ; he fquirted up water* 
 and afterwards plaifler, through holes made for that 
 purpofe, to fatten the pieces of the plaiftering, which 
 was falling to ruins ; they alio fixed iron rivets to keep 
 it better together. Carlo, affifted by four of his dif- 
 ciples, painted the ground with ultramarine, with 
 water and crayons; in the fame manner they did the 
 head, and figures that wanted it; fo that the whole 
 may be wiped off with a fponge; that, as he faid* 
 fome abler hand might one day efface his work, and 
 do juftice to the great Raphael. The ultramarine 
 gives adrynefsto the figures, which lookcoarfe, like 
 the decoration of a theatre; and the carnations look 
 of a brick colour, which takes away entirely the 
 union of the figures with the ground. He ufed ano^ 
 ther method to clean the four chambers of the Vati- 
 can; he warned them with Greek wine, and then dried 
 them with large white towels, which brought out the 
 colours afrefh^ he afterwards varnifhed them over: 
 as to the frizes, and ornaments of chiaro ofcuro, they 
 were moftly repainted. This work fucceeded hap- 
 pily, and Clement was fo well pleafed, that he gave 
 the Painter a penfion, and the order of Chrift. The 
 ceremony was performed, by his order, in the Capi- 
 tol, on the day of diftribution of the prizes in Paint- 
 ing, Sculpture, and Architecture, among the young 
 artifts of the academy of St Luke, or" which Carlo 
 was head. The Pope carried his goodnefs (till far- 
 ther; to cure him of his debauchery, in the jubilee 
 year he made him marry a wife, with whom he af- 
 terwards lived forty years. 
 
 Carlo Maratti was employed to furnifli cartoons 
 For the mofaics in the fecond chapel, on the left hand, 
 
 entering 
 
eminent PAINTERS. 33 
 
 entering into St Peter's; in which he has reprefented 
 the conception of the Virgin, with a number of 
 figures. Ac upwards of fourfcore he painted two 
 great altar-pieces-, one is, the St Amadeus for Tu- 
 rin; the other, the baptifm of our Saviour for the 
 Chartreux at Naples. 
 
 At laft, his trembling hand refufed to execute the 
 conceptions of his mind : this, joined to the weak- 
 nefs of his fight, obliged him to renounce his art. 
 He now employed himfelf wholly in inftructing his 
 difciples ; till growing quite blind and infirm, he 
 was forced to keep his room, and then his bed. He 
 died with great fentiments of piety in 17 13, aged 89. 
 His remains were carried to the Chartreux church, 
 where he had caufed his tomb, adorned with his buft 
 in marble, to be built. He only left one daughter, 
 who inherited above 40,000 Roman crowns; 
 
 Few modern Painters have been fo much diftin- 
 guiflied as Carlo Maratti, or honoured and cherifhed 
 by fo many Princes. Lewis XIV. fent him the bre- 
 viate of his Painter in ordinary. He was a great de- 
 figner, his thoughts were elevated, his difpofitions 
 fine, his touch very fpritely, his pencil frefh and 
 mellow; he was knowing inhiftory, allegory, archi- 
 tecture and perfpeclive, which knowledge was of 
 great advantage to his works. The fimplicity and 
 noblenefs of the airs of his heads, and the graceful- 
 nefs fpread all over them, are particularities which 
 have given this Painter fo diftinguimed a reputation. 
 
 He was extremely modeft and charitable ; fpeak- 
 ing ill of no body; filencing thofe that judged with 
 ill nature of other peoples works; informing thofe 
 that afked his advice, without any affected fuperiority; 
 affable to his difciples and young folks ; he often gave 
 them his drawings, and furnilhed them with fteps to 
 meafure the beautiful figures of the antique ; no man 
 ever took more pains to revive the great Raphael and 
 Annibal Carrache, whofe bufts he got carved in 
 
 D marble, 
 
$4 The L I V E S of 
 
 marble, to place in the Rotunda. Carlo Maratti was 
 lively in hisconverfation; he loved to entertain him- 
 felfon the fubjectof his art, and hardly knew how to 
 leave talking of it ; his curiofity made him colled 
 pictures of great mailers, cartoons, and drawings; 
 for which laft his fondnefs was fo great, that he has 
 often given a picture of his own painting for a curious 
 drawing. 
 
 He engraved in aqua fortis feveral plates-, — a fet 
 of the life of the Virgin, in ten prints; — the Samari- 
 tan woman, after Carrache ; — the hiftory ot Helio- 
 dorus, after Raphael; — the martyrdom of St Andrew, 
 after Dominiquin; feveral Engravers have copied him : 
 all his works amount to above two hundred prints. 
 
 Out of a great number, his two moft eminent and 
 favourite difciples were Giufeppe Chiari, born at 
 Rome in 1654. He has done feveral public works,, 
 in which he has proved himfelf a worthy difciple of 
 Carlo Maratti ; who trufted him to-finifh the cartoons 
 for the mofaic of one of the little cupolas of St Peter. 
 He did one of the twelve Prophets in St John of the 
 Lateran, which were only given to the moft able 
 Painters of that time. He died of an apoplexy at 
 Rome, in 1727, at the age of 73. 
 
 Rome gave birth in the fame year to Giufeppe Paf- 
 ftri. He was placed under the inftru&ions of Ma- 
 ratti, who was fond of him, and made him copy all 
 the works of Lanfranc and Michael Angelo, and 
 obferve the delicacy of Guidoand Dominiquin, with 
 the colouring of Titian and Corregio. PalTeri painted 
 feveral good pictures, and worked a great deal m 
 churches. He died in 1714, aged 60. 
 
 1 
 
 LUCA J ORDANO, 
 
 S an inftance, that the fcholar fometimes furpafies 
 his mafter. 
 
 This 
 
eminent PAINTERS. 35 
 
 This Painter was born at Naples in 1632, in the 
 neighbourhood of Jofeph Ribera, whofe works at- 
 tracted him fo powerfully, that he left his childifh 
 amufements for the pleafure he found in looking on 
 them. So manifeft an inclination for Painting, de- 
 termined his father, a middling Painter, to place him 
 under the directions of that mailer; with whom he 
 made fo great advances, that, at feven years old, his 
 productions were furprifing. 
 
 Hearing of thofe excellent models for Painting, that 
 are at Venice and Rome, he quitted Naples privately, 
 to go to Rome. He attached himfelf to the manner of 
 Pietro da Cortona, whom he affifted in his great works. 
 His father, who had been looking for him, at lad found 
 him at work in St Peter's church. From Rome they 
 fat out together to Bologna, Parma, and laftly to Ve- 
 nice: at every place Luca made iketches and ftudies 
 from the works of all the great mafters, but efpecially 
 Paul Veronefe, whom he always propofed for a mo- 
 del to himfelf. His father, who fold his deflgns and 
 Sketches at a great price, kept him clofe to his work ; 
 and that he might not quit it, prepared his dinner for 
 him himfelf, often calling on him, Luca faPrefto; a 
 name which he always retained. It isfaid, that Jordano 
 had been fo great a copier, that he had defigned the 
 rooms and apartments of the Vatican a dozen times, 
 and the battle of Conftantine twenty. The number 
 of his ftudies gave him a furprifing facility, and gave 
 the firft rife to the elevation of his thoughts. A de- 
 fire of gaining a higher degree of perfection occa- 
 fioned Luca to fet out with his father to Florence, 
 where he began afrefh to ftudy -, copying the works 
 of Leonardo da Vinci, Michael Angelo, and Andrea 
 del Sarto. He went back to Rome, whence, after 
 a very friort flay, he returned to Naples, where he 
 married againft his father's inclinations, who appre- 
 hended fuch an engagement might lefTen his atten- 
 tion to his profeffion. After feeing the Paintings of 
 
 D a Rome 
 
36 Tie LIVES of 
 
 Rome and Venice, Luca quitted his mailer's man- 
 ner, and formed to himfelf a tafte and manner that 
 partook fomething of all the other excellent mailers; 
 which occafioned Bellori to write, that he was like 
 the ingenious bee, that had extracted his honey from 
 the flowers of the works of the bed artifts. His re- 
 putation was foon fo well eftablifhed, that all public 
 works were confided to him, which he executed with 
 the greater!: facility and knowledge. Some of his 
 pictures getting into Spain, pleafed Charles II. fo, that 
 he engaged him to come to his court in 1692, to 
 paint the Efcurial, in which he acquitted himfelf as 
 a great Painter. The King and Queen often went 
 to fee him work, and commanded him to be covered 
 in their prefence. In the fpace of two years he finifh- 
 ed the ten arched roofs and the flair-cafe of the Efcu- 
 rial. Afterwards, he painted the grand faloon of Buen 
 Retiro, the facrifly of the great church at Toledo, » 
 the chapel of the Lady of Atocha, the roof of the 
 royal chapel at Madrid, and feveral other works. 
 He was fo engaged to his bufinefs, that he did not 
 even reft from it on holidays, for which a Painter of 
 his acquaintance reproached him ; to whom he an- 
 fwered pleafantly, — " If I was to let my pencils reft, 
 " they would grow rebellious; and I mould not be 
 * c able to bring them to order, without trampling 
 <c on them." His lively humour, and fmart repar- 
 tees, amufed the whole court. The Queen of Spain 
 one day enquiring after his family, wanted to know 
 what fort of a woman his wife was : Luca painted her 
 on the fpot, in a picture he was at work upon, and 
 ihewed her to the Queen ; who was more furprized, 
 as flie had not perceived what he was about; but was 
 ib pleafed, that fhe took off her pearl necklace, and 
 defired him to prefent his wife with it in her name. 
 
 Jordano had fo happy a memory, that he recollected 
 the manners of all the great mafters, and had the art 
 of imitating them fo well, as to occafion frequent 
 
 miftakes. 
 
 
eminent PAINTERS. 37 
 
 miftakes. The King fhewed him a picture of Baf- 
 ian, exprefling his concern that he had not a com- 
 panion. Lucas painted one for him fo exactly in his 
 manner, that it was taken for a picture of that maf- 
 ter. The King, in return, knighted him, gave him 
 ieveral places, made one of his fons a Captain of 
 horfe, and nominated another Judge and Prefident 
 of the vicariate of Naples ; one of the King's coaches 
 attended him every evening to carry him out: nor 
 was this all ; the King carried his goodnefs ftill fur- 
 ther; marrying his daughters to gentlemen of his 
 court, and bellowing good places on them for por- 
 tions. 
 
 Philip V. kept him in his fervice after the death 
 of Charles II. which happened in the year 1700. 
 when he continued thofe great works he had begun; 
 and as his fbay was long in Spain, his wife, on a falfe 
 report, believed him dead; to undeceive her, he 
 painted himfelf on a card, and fent her his picture 
 by the poft. 
 
 On his return from Spain, he parted through Flo- 
 rence, where he painted on the cieling of the chapel 
 of Corfini, in the church del Carmine, the apotheofis 
 of the faint,' with a great number of figures. He alfo 
 adorned the gallery of the palace Richardi. Jordano 
 was the innocent caufe of the death of Carlino Dolce, 
 This Painter, who finifhed his works with top much 
 labour, and whom a conftant application to work to 
 a great age had not enriched, died with chagrin, on 
 Luca's reproaching him with the lofs of fo much 
 time. 
 
 The great works Jordano had executed in Spain, 
 gave him ftill greater repute when he returned to 
 Naples; fo that he could not fupply the eagernefs of 
 the citizens, though he worked fo quick. The Je- 
 fuits, who had befpoke a picture of St Francis Xa- 
 vier, complaining to the Viceroy that he would not 
 finifh it, and that it ought to be placed on the altar 
 
 D 3 of 
 
38 The LIVES of 
 
 of that faint on his feftival, which was juft: at hancU 
 Luca finding himfelf .prefled on all hands, painted 
 this piece in a day and an half. Oftentimes he painted 
 a Virgin holding a Jefus ; and, without any reft, in 
 an hour's time, would finifh a half length*, and for 
 difpatch, not waiting for the cleaning his pencils, 
 would lay on the colours with his finger. His man- 
 ner had great lightnefs and harmony ; he underftood 
 fore-fhortning, but as he trufted to the great prac- 
 tice of his hand, he often expofed to the public pic- 
 tures that were very indifferent, and very little 
 itudied ; in which he appears to have been incorrect, 
 and little knowing in anatomy. No body ever 
 painted fo much as Jordano, not even excepting Tin- 
 toret. His fchool grew into fuch repute, that there 
 was a great refort to it from Rome and all quarters. 
 He loved his difciples, whofe works he touched upon 
 with great readinefs; and afiifted them with his de- 
 figns, which he gave them with pleafure. His ge- 
 nerofity was fo great, that he made prefents of altar- 
 pieces to churches that were not in a condition to pur- 
 chafe them. He painted, gratis, the cupola of St 
 Bridget, for his reputation ; and touched it over a 
 fecond time. By a particular dexterity, that roof, 
 which is rather flat, feems very much elevated by the 
 lightnefs of the clouds which terminate the perfpec- 
 tive. 
 
 Two Neapolitans having fat for their pictures, ne- 
 ver thought of fending for them when they were 
 finifhed. Jordano having waited a great while with- 
 out hearing from them, painted an ox's head on one, 
 and put a Jew's cap on the other, and placed a fuii: 
 of old cloths in his arms, and expofed them to view 
 in this manner; on the news of which, they haftned 
 away with money in their hands, and begged him to 
 efface the ridicule that was annexed to their pictures. 
 
 Though his humour was gay, he always fpoke 
 well of his brother Painters, and received the hints 
 
 that 
 
emtfm PAINTERS. 39 
 
 that were given him on his own works with great do- 
 cility. The commerce he had with feveral men of 
 learning was of great ufe to him •, they furniflied him 
 with their elevated thoughts, reformed his own, 
 and inftruclxd him in hiftory and fable, which he 
 never had read. His labours were rewarded with 
 great riches, which he left his family, who loft him 
 at Naples in 1705, when he was 73 years old. His 
 monument is in the church of St Bridget, before the 
 chapel of St Nicholas de Bari, which is all of his 
 hand. 
 
 He has engraved three plates in aqua fortis; — one 
 of the Woman taken in adultery ; — another of the 
 Prophet Elias ordering the priefts of Baal to be killed 
 in the prefence of King Ahab; — and a St Ann. 
 Defplaces has engraved a chaility of Jofeph, and 
 A. J. Prenner two prints, in the collection of the 
 Emperor's pictures at Vienna* 
 
 GIRO F E R R I 
 
 TH E city of Rome boafls of having given birth 
 to Giro Ferri, in the year 1634. His father, 
 "Stephano, defcendedof a good family, Jeft him a for- 
 tune of above 30,000 crowns. This eafe in hiseir- 
 cumftances was no ohftruction to his tafte for Paint- 
 ing. He preferved his patrimony for his fon Peter, 
 and -his abilities at his pencil furniflied him with a 
 fufHciency to fupport his family. His genius was 
 elevated, his difpofitions beautiful, and his execution 
 grand. Nothing can approach ^nearer to his mafter 
 Pietro de Cortona, than his cielings, which are often 
 miftaken for Pietro's. Though lie fet great prices on 
 his works, he was in continual employ. Prince Bor- 
 ghefe, and Pope Alexander VII. had a great efteera 
 for him •, and his three fucceflbrs were no lefs favour- 
 able to him. 
 
 P 4 The 
 
40 OLIVES of 
 
 The Great Duke fent for him to Florence, and af- 
 figned him a large penfion to tinifh the works which 
 Pietro de Cortona had left imperfe£t. He entered fo 
 well into the fpirit of them, and acquitted himfelf fo 
 worthily, that the whole work feems to be of the 
 fame hand. The Great Duke nominated him chief 
 of the fchool of Florence, and he continued fo a 
 great while, 
 
 Ciro Ferri returned to Rome, where he appeared 
 a great architect, as well as a good Painter. Several 
 palaces and grand altars, viz. St John of the Flo- 
 rentines, and that of the Chiefa Nuova, were raifed 
 from his defigns. He diverted himfelf more with 
 Drawing than Painting. He was much importuned 
 for devices, figures for breviaries, and titles of books ; 
 feveral of which have been engraved by Spierre and 
 Bloemart. l"he Pope employed him in making car- 
 toons for the Vatican ; and no man has worked more 
 in different kinds, than he. His genius appeared in 
 its full ftrength, whether he was employed in paint- 
 ing the effects of his own invention, or compleating 
 thofe of his matter. 
 
 The cupola of St Agnes, in the palace of Navona, 
 was his laft work. The chagrin he felt in feeing the 
 angles of Bacici, which were directly under it, the 
 force of whofe colouring made his appear too weak, 
 was the caufe of his death. One day he told Lazaro 
 Baldi, his companion, that his cupola appeared very 
 different on the fcaffold, to what it did from below 5 
 and that the angles of Bacici gave him great pain. 
 
 Ciro Ferri falling fick, left that cupola unfinifhed. 
 He prayed Carlo Marat, on his death-bed, to com- 
 plete it. This Painter excufed himfelf afterwards 
 from complying with his requeft. If he had afked 
 Bacici, he would have finifhed it, as he told feveral 
 of his friends ; certainly no Painter would have ac- 
 quitted himfelf better. Jealoufy in his profeflion 
 
 was 
 
eminent PAINTERS. 41 
 
 was the caufe of Ciro's not doing it. His difciplc 
 Corbellini terminated that work in a manner that did 
 no honour to his mafter. 
 
 Rome loft Ciro Ferri in the year 1689, at the 
 age of 55 •, he was buried with great magnificence 
 at St Mary Tranftevere. The Engravers who have 
 copied Ciro Ferri, are Pietro Aquila, C. Bloemart, 
 Roullet, de la Haye, Spierre and others. There 
 are more than fixty prints after this mafter. 
 
 B A C I C I. 
 
 JOHN BAPTIST GAULI was born at 
 Genoa in 1639, of very poor parents who died 
 of the Plague. Abandoned, without fupport, not 
 knowing what would become of him, as he came 
 out of the fchool of Borgonzone, with his portfolio 
 under his arm, he perceived a galley juft ready to 
 fail with the envoy of the republic to Rome, and 
 offered to enter himfelf on board, but the captain 
 refuting him, our young Painter who was hardly 
 fourteen years old, addrefled the envoy himfelf, 
 who after afking him a few queftions, ordered him 
 to be received into the train of his retinue. 
 
 The envoy being arrived at Rome, kept Bacici 
 in his houfe, till he had an opportunity of placing 
 him with a French Painter •, who dealt in pictures, 
 and kept him clofe to his work. He ftaid with 
 him as long as the envoy continued at Rome. Af- 
 terwards he placed himfelf with another picture 
 merchant, who was a Genoefe, which was the be- 
 ginning of his fortune. Bernini and Mario di Fiori, 
 became acquainted with Bacici, by vifiting the 
 merchant, and introduced him to feveral families 
 for whom he painted fome excellent portraits ; but 
 his turn was for hiftory and large compofitions. 
 His firft attempts fucceeding, enabled him to take 
 
42 2f* LIVES of 
 
 a. houfe and live at his eafe. His firit public pic- 
 ture when he was but twenty years old was St Roch 
 with the Virgin, and St Anthony the Abbot, which 
 was placed in the church of that name. This pic- 
 ture railing his reputation, procured him an advan- 
 tageous match ; and Prince Pamphili gave him, in 
 preference to the mod able artifls in Rome, the four 
 angles of the cupola of St Agnes. Thefe great 
 -works finiihed his reputation, and Alexander VII. 
 ordered Bernini to bring him the Painter ; the Pope 
 gave him accefs to his palace, and commanded him 
 to paint his picture, whilft Bernini, who conducted 
 him in all things, had communicated to him the 
 elevation of his thoughts, and interefted himfelf ib 
 much in his favour, as to procure him the Painting 
 of the cupola of Jefus in preference to Ciro Ferri, 
 Carlo Marat and Brandi. The father general of the 
 Jefuits who had feen him work, and was pleafed 
 with his performance, fent him fix hundred pieces 
 of eight, hid under a large pafty placed in a filver 
 difh ; Bacici, whofe imagination was quick, believ- 
 ing this was all the recompence he was to have a- 
 bove the price agreed on, flung the difh on the 
 ground in the prefence of thofe who brought it, and 
 jdiftributed the money to the poor. The general 
 foon difabufed him by lending him a thoufand pif- 
 toles, and promiftng him Itill more, on which he 
 fet himfelf to work with that eagernefs and fire that 
 were fo natural to him. Sometime after, the father 
 general falling fick, and not being able to perfect 
 the promifes he had made to Bacici, he gave him 
 dying a note of hand with a blank fpace for the 
 fum to be filled up to his own fatisfaction. The 
 Jefuits would not accept the note. Bacici tore it, 
 and refufed to go on with the work ; but Bernini 
 obliged him as it concerned his honour to finilh it. 
 He was five years painting this grand machine, 
 
 which 
 
eminent PAINTERS. 43 
 
 which at this day is the admiration of all the 
 world. 
 
 Sonnets were made in praife of Bacici, every body 
 loved him ; his agreeable and lively convention* 
 his genteel behaviour, his air, every thing engaged 
 mankind in his favour. Alexander VIIL gave him 
 feveral marks of his good will, and his nephew 
 Cardinal Ottoboni protected him on every occafion, 
 as well as the Cardinal of San-Cefare. He fet out 
 by order of the laft to paint the hall of the public 
 palace at Genoa. The exceflive price he demanded 
 frightened the Genoefe fo, that they gave that work 
 to Francefchini : All his bufinefs ended in painting 
 the Doge, who made him a handfome prefent. 
 
 When he returned to Rome, work crouded in 
 upon him from all quarters. A Knight befpoke his 
 picture without agreeing about the price ; the Pain^ 
 ter, after it was finifhed, demanded a hundred crowns : 
 but the Knight furprized went away, and never 
 came back to fetch it. Bacici painted a grate under 
 the picture, with this infcription y St a prigione per de- 
 bito, and placed it in the moft confpicuous place in 
 his painting room. The uncle of the Knight, a man 
 in high ftation, being told of it, came to the Painter ; 
 and looking at the picture, faid, I believe this pic- 
 ture is my nephew's : It is even he, faid Bacici ; but 
 the poor gentleman has the misfortune to be in pri- 
 fon for debt ; the uncle paid the hundred crowns 
 down, and faid, that he thought it but juft to re- 
 Jeafe him. 
 
 This Painter was fo briflc and hafty, that having 
 agreed with a certain perfon to paint the roof of his 
 chapel, and fettled the price, he fet about making 
 fludies, and a coloured fketch, the perfon liking 
 them, told him the fludies and fketch ought to be 
 his into the bargain, upon which he put himfelf in- 
 to a violent paflion, dafhed his pencils and pallet 
 
 on 
 
44 The L 1 V E S of 
 
 on the ground, overturned his eafil, tore his cloth, 
 and refufed to paint the ceiling. 
 
 The Marquis Lorenzo Centorini, with whom he 
 got acquainted at Genoa, often went to fee him 
 work, while he was painting Innocent XII. The 
 whim took the Marquis to have the portrait of his 
 uncle Hippolitus, General of the gallies of the Re- 
 public, who had been dead twenty years, and whom 
 Bacici had never feen. Such a propofal made him 
 fmile, as he thought the Marquis had only made it 
 in jeft. But he itill perfifting, promifed to defcribe 
 his uncle to Bacici in fuch a manner as mould enable 
 him to form a refemblance from the defcription. 
 Bacici took a cloth rather to fatisfy his friend, than 
 with any idea of painting a portrait, but followed 
 his defcriptions exactly, blotting out and correcting 
 the head on four different cloths, till at laft it ap- 
 peared to the Marquis exceeding like •, from this 
 model he painted Hippolito at full length, drefl as 
 a warrior and commander of the gallies. The Ge- 
 noefe who often vifited Bacici were all (truck with 
 the likenefs of Hippolito, and trumpeted out this 
 inftance of his fkill, which met with a very gene- 
 rous acknowledgment. 
 
 Bacici worked exceeding quick, in two months 
 he painted the roof of the church of the Fathers de 
 Santi Apoftoli ; a difpatch that prejudiced both his 
 health and reputation, he was then 67 years old. 
 His agreement with thofe Fathers was for 2000 
 crowns, of which he had received 500 as earned. 
 Being come by agreement to receive the reft of that 
 fum, he took an acquittance out of his pocket, 
 and made a prefent of it to them, who in return 
 almoft ftifled him with their embraces, and bellow- 
 ed on him 1000 benedictions. As he was about 
 finifhing feveral cartoons for the Mofaics of the 
 httle cupola of St Peter, a work which Clement X. 
 had commanded, he heated himfelf fo in fixing them 
 
 in 
 
 
eminent PAINTERS. 4; 
 
 in their places, that he returned with a violent fe- 
 ver, which foon laid him in his grave. He died 
 April 10, 1709, at the age of feventy. He left his 
 children about 50,000 crowns. 
 
 This Painter was very lively in his touch, inde- 
 fatigable in bufinefs, of a great but whimfical ge- 
 nius, a good colourift, underftanding perfectly the 
 magic of fore-fhortening. His figures have fo much 
 force, that they feem to come out of the ceiling, yet 
 they are fometimes incorrect, often heavy, and his 
 draperies are too much manner'd. Bacici excelled 
 in portraits, of which he painted a great number, 
 kvtn Popes, and all the Cardinals of his time, having 
 fat to him. 
 
 The ftrong manner in which he painted his flrft 
 pieces, was changed by the advice of Bernini, into 
 a clearer tone of colouring, fuch as he ufed in the 
 Church de Santi Apoftoli, whereby he became infe- 
 rior to himfelf. Others fay, that this alteration hap- 
 pened from the grief occasioned by the death of his 
 fon Laurence, to whom he had given a box on the 
 ear, in the prefence of his comrades, amongft whom 
 he found him diverting himfelf, inftead of being a- 
 bout his bufinefs with his mailer, who was an ad- 
 vocate ; and that his fon, through refentment and 
 defpair, drowned himfelf in the Tiber. Bacici was 
 fo much affected by this accident, that he left off 
 handling his pencil for more than a year. There 
 are fome portraits graved after Bacici in the feries 
 of Cardinals, fold at Rome by Rofii. 
 
 FRANCIS SOLIMENE, 
 
 OF an ancient family originally of Salerno, was 
 born at the city of Nocera de Pagani, in the 
 territory of Naples, in the year 1657. His father 
 Angelo who was a good Painter, and a man of 
 learning, difcovered in him a genius fit for every 
 
 fcience. 
 
46 r& LIVES of 
 
 fcience. Francis fpent whole nights in the ftudies 
 of poetry and philofophy, and unknown to his fa- 
 ther defigned fo judicioufly in chiaro ofcuro, that 
 his performances iurprized all that faw them. An- 
 gelo, who defigned his fon for the ftudy of the law, 
 was at length informed of his inclination for draw- 
 ing, yet did not alter his purpofe, till after Cardinal 
 Orfini, * at a vifit, had the goodnefs to examine the 
 youth in philofophy : whofe fpritely anfwers pleaf- 
 ing his eminence greatly, Angelo told him that his 
 fon would ftill do better, if he did not waile fo much 
 of his time in drawing in private ; the prelate on 
 this defired to fee his defigns, which furprized him 
 fo, that he told the father, that he did injuilice 
 both to his fon, and the art of Painting, to endea- 
 vour to fupprefs that force of genius that was fo 
 natural, and fo well marked out. 
 
 On this, Solimene had full liberty to give himfelf 
 up to his inclination. Two years pail on, whilft 
 he ftudied under his father ; when the defire of 
 perfecting himfelf determined him to vifit Naples 
 in 1674, there he put himfelf under the direction of 
 Francifco Maria, who was reckoned an excellent 
 defigner : his mailer pointing out the difficulties of 
 his art in the moil difcouraging manner, and giv- 
 ing him little hopes of becoming an able man in his 
 profeflion, fo difgufled Solimene, that he quitted 
 him in a few days, to follow his own inclination ; 
 he guided himfelf by the works of Lanfranc, and 
 Calabrafe, in fludying compofition, and chiaro of- 
 curo-, thofe of Pietro Cortona and Luca Jordano 
 were the compafs by which he fleered to arrive at 
 his tone of colouring ; and laflly, he confulted Guido 
 and Carlo Maratti tor their beautiful manner of dra- 
 pery. By a well managed ftudy of thefe mailers, 
 Solimene formed himfelf a fure gout. Every fub- 
 ject of hiilory that rofe in his imagination, he im- 
 mediately 
 
 • Since Benedia XIII. 
 
eminent PAINTERS. 47 
 
 mediately committed to paper ; and often coloured 
 his defigns while he was at the academy. When 
 Francifco Maria* reprimanded him for painting his 
 model inftead of defigning it, his anfwer was, that 
 Paintings, and not Drawings were put up in churches, 
 and that by this means he made colouring become 
 eafier to him. 
 
 His firft pictures were, Judith holding Holo- 
 fernes's head, Saul, Abraham's Sacrifice, and Lot 
 and his Daughters, which he painted for a private 
 perfon. He was afterwards imployed to paint four 
 large figures in frefco for the church of St George, 
 a work that feemed an earnefl of his future reputa- 
 tion. Hearing the Jefuits intended to have the roof 
 of the chapel of St Anne painted, in the church 
 Jefu Nuovo, he fent them a fketch by an architec- 
 ture Painter, not daring to carry it himfelf, as he 
 feared a prejudice againft his youth might exclude 
 him. His defign was neverthelefs accepted, and 
 whilft he painted this chapel, the beft Painters of 
 Naples vifited him, aftonifhed that a meer boy 
 fhould furpafs them. The learned manner in which 
 he executed this work, difcovered a new ftyle, a fin- 
 gular compofition, a great firmnefs of pencil, and 
 fuch a life in his figures, that they feem all in mo- 
 tion. Luca Jordano was of the number of thofe 
 that came to fee him work, with whom he contract- 
 ed a lading friendfhip •, without that low jealoufy, 
 that is beneath the dignity of truly great minds. 
 
 At this time the Fathers of St Nicolo alia Carita, 
 and the Nuns of D\ Regina, and thofe of D a . Al- 
 vina employed him in the churches of their Con- 
 vents. The Theatin Fathers de S. Apoftoli, had 
 determined to beat down the Paintings of the arches 
 over the chapels of their church, and to give them 
 to Solimene. (This work, done by Jacomo del Po, 
 being fo unequal to the roof, painted by the famous 
 Lanfranc,) Solimene who was then but thirty years 
 
 old, 
 
48 ft LIVES c/ 
 
 old, would not let them be pulled down ; but paint-*' 
 ing them over again in oil, rendered them much 
 fuperior to what they had been originally. Now he 
 intirely changed his manner, his compofitions be- 
 came much richer, his defign from the naked gran- 
 der, the plaits in his drapery larger, he gaVe more 
 grace, and greater variety to the airs of his heads, 
 more nature, more action and motion to his figures. 
 He was admired for his great tafte in Painting his 
 clouds, iky, ground and trees, for the admirable 
 frefhnefs of his tints, the harmony of the whole, and 
 the tender union and great force of his colouring. 
 His reputation was now at its heighth 3 and great 
 works were offered him from all quarters. The 
 Fathers of Mount Caflin fent for him to paint their 
 church : After he had worked on it a confiderable 
 time, he went to Rome to examine the fine Paint- 
 ings of Raphael, Polidore, Carrache, Dominichino, 
 Guido, Lanfranc, and Carlo Maratti, with whofe 
 picture of the death of St Francis Xavier he was 
 fo inraptured, that he cried in a tranfport, that no 
 hand but that of an angel had painted that piece. He 
 continued a month in that city, in which time he 
 painted the Rape of Orithyia for Cardinal Spada. 
 
 While he was imployed in Painting at Mount 
 Cafiin, Philip V. arrived at Naples, who com- 
 manded him thither to paint his portrait. This mo- 
 narch made him fit in his prefence, and diftinguilh- 
 ed him highly by the favours he ihewed him. 
 
 His reputation was as great in other countries, as 
 at Naples : the Kings of France and Spain made 
 him very advantageous propoials, to ingage him 
 into their fervices •, but Solimene was too fond of 
 his family to leave them for any advantage. Seve- 
 ral Popes, the Emperor, the King of Portugal, the 
 King of Sardinia, the Elector or Mentz, Prince 
 Eugene of Savoy, and the Commonwealths of Venice 
 and Genoa, found in their turns imployment for his 
 
 pencil, 
 
eminent PAINTERS. 49 
 
 pencil, and honoured him with their letters in a 
 manner much to his reputation. 
 
 Jordano, on his return from Spain, had begun 
 twelve pictures for the royal chapel at Madrid, but 
 he dying, Philip V. fent Solimene orders to finifh 
 them. He would not touch on his fketches, but 
 taking the fame thoughts, and the fame figures of 
 which he made frefli ftudies from the naked, and 
 following Luca's manner, he painted a moft excel- 
 lent fet of pictures. 
 
 Solimene modelled often, particularly for feve- 
 ral works that he caufed to be executed in filver, 
 bronze and marble. There are two children worked 
 up with the greateft beauty by him in terra cotta. 
 
 The Jefuits of Jefu Nuovo, were delirous of ad- 
 ding to Solimene's reputation, by letting him to 
 work on the great cupola of their church painted 
 by Luca Jordano, which was throv/n down by an 
 earthquake. This cupola prefented him with one 
 of thofe noble opportunities (fo rare in Painting,) 
 which enable an artift to difplay the greatnefs of his 
 genius, in its full extent, Though Solimene thought 
 that to paint a cupola was the higheft proof of the 
 abilities of a great mafter ; yet the low price thofe 
 fathers offered, prevented his undertaking it, for 
 their offer was far fhort of 16000 crowns, which he 
 demanded in confideration of the length of time 
 and the laborious ftudies required for fo great a 
 work. 
 
 So that at laft it was given to Paulo Matthei, who 
 finifhed it in fixty-fix days in a very middling man- 
 ner : on w r hich occafion Solimene (having examined 
 it,) faid, he would have acted more judicioufly to 
 have imployed fixty-fix months, and with proper 
 ftudies to have finifhed it well, than to have done 
 it quick, only for the falfe pride of appearing a man 
 of difpatch. It is aftonifhing how Solimene fu ex- 
 ceeded equally in great and fmall pictures, in oil 
 
 E and 
 
50 The LIVES of 
 
 and frefco, in hidory, portrait, landikip, animals 
 flowers, fruit, perfpective and architecture. His 
 extenfive talents prevented his ever being under a 
 necefiity of calling in the afliftance of another hand 
 to his hiftory Painting. He often laid in ornaments 
 in diftemper, where the frefhnefs of his tints is fur- 
 prizing, and theie pieces have fo much force, that 
 you would think them painted in oil. He painted 
 all after nature, being fearful that too fervile an at- 
 tachment to the antique mould damp, as he faid, 
 the fire of his imagination •, this quality he certain- 
 ly pofTefTed, joined with a fine tafte, an elevation 
 of thought, and a rich competition. To his ge- 
 nius are likewife owing the defigns of feveral pala- 
 ces, and of the altar of the Pignatelli chapel in the 
 church of the Holy Apoftles, which he modelled in- 
 terra cctta. 
 
 A readinefs to criticize the works of others did 
 not proceed from malice in him, but from thegreat- 
 neis of his knowledge, nor did his vanity fhut his 
 eyes to his own defects. He told the Italian author 
 of his life, that he had advanced a great many fal- 
 fitics in extolling the character of his works, which 
 had got him a great deal of money ; to which the 
 author replied, Oh, the vanity of thofe who think 
 they are connoifeurs in Painting, when you your- 
 felf underftand fo little of your own merit, and 
 the value of your works! If I have, anfwered So- 
 iimene, feme of the requifites of a good Painter, 
 yet I want a great deal to deferve being called either 
 perfect, or univerial, as Raphael, Corregio, Paul 
 Veronefe, Annibal Carrache and Dominichino juftly 
 merited. He ufed to fay of Luca Jordano, whom 
 he loved above all the mailers, that his readinefs in 
 Painting was not from the quicknefs of his hand, 
 but from his knowledge in his art, and the clear- 
 neis of his ideas. It was from him that Solimene 
 borrowed his freedom of Painting, and from Cala- 
 
 brefc 
 
eminent PAINTERS. 51 
 
 brefe his line tone of colouring, from which he was 
 ufually called, II Cavalier Calabrefe Nobilitato ; this 
 he readily acknowledged, for when a certain man . 
 of learning, fpeaking of the fine ceiling of his houfe, 
 told him he had made a good ufe of Jordano, (bien 
 Giordaniato) he anfwered very well, For that pur- 
 pofe I have endeavoured to imitate fo great a man, 
 who is certainly without his equal among the mo- 
 derns in the management of his colours, and has cer- 
 tainly by overcoming all its difficulties obtained the 
 perfect maftery of his art. It was a ufual faying 
 of his, that a Painter mould charm the lover of 
 Painting, with the force of defign, the magic of 
 his colouring, and the agreement and harmony of 
 the whole. When a by-ftander was furprized at his 
 rubbing out fome figures, and afked him the reafon, 
 he replied, If you faw with my eyes, you would not 
 have afked why. The great Duke of Tufcany, with, 
 difficulty prevailed on Solimene's modefty, to fend 
 him his picture, which he wanted to place in his 
 gallery, amongft other Painters. The Emperor 
 Charles VI. knighted him on account of a picture 
 he fent him, the fubject is Count Althan presenting 
 on his knees a book to that Prince in the middle of 
 his court, all the portraits are faid to be very like. 
 In the year 1701, he came and Hayed at Rome dur- 
 ing the holy year ; here the Pope and Cardinals took 
 great notice of him, but Carlo Maratti was the only 
 Painter he vifited. 
 
 Nothing can be more elegant than the houfe he 
 lived in, near the building called, Regii Studii. It 
 was built from his defigns, and in it he has painted 
 feveral pieces to ferve as ftudies to young Painters. 
 His natural inclination to form youth, was highly 
 commendable. He infinuated the principles of his 
 art to them in a mod agreeable manner : his method 
 of making them fenfible of the beauties of the great 
 mailers, was the refult of his reflections. He con- 
 
 E 2 tinuallv 
 
52 The LIVES of 
 
 tinnally inculcated the neceflity of feeking out beau- 
 tiful forms, and the proportions of nature, to join 
 ty-ith the elegance of the antique. 
 
 His fchool was always crouded with difciples, 
 v/ho came from all countries to him. His affabi- 
 lity and eafy manner of conveying his inftructions, 
 contributing as much to attract them, as his repu- 
 tation as a Painter. 
 
 His principal pupils were Jacintho Corrado, Se- 
 baftian Concha, Francifco deMura, Giufeppe Guer- 
 ra, Nicolo Marca Roffi, Jofeph de Caftelamare, 
 known at court for his portrait Painting ; but his 
 favorite difciple was Ferdinando fan Felice Cavaliere 
 Napolitano, for whom Solimene generoufly painted 
 a gallery, that ferves for an academy for young 
 Painters. This difciple made a good ufe of the ad- 
 vice, and the new ornaments in architecture his 
 mafter invented, which he has imployed to advan- 
 tage in the fronts of feveral palaces in Naples ; and 
 as a proof of his acknowledgement, he has erected a 
 marble monument, with an epitaph fetting forth die 
 great talents of his mafter. 
 
 This Painter is alfo known by his fonnets, which 
 have been printed feveral times in collections of 
 poetry. It is aftonifhing, that at fourfcore his me- 
 mory mould fupply him with the mod beautiful 
 paffages of the poets, in the application of which he 
 was very happy. Thefe qualifications engaged the 
 befl company of Naples to frequent his houfe. He 
 was agreeable in his raillery, and lively in his repar- 
 tees, but always kept within the juft bounds of de- 
 cency and good nature. Solimene always lived in 
 a diftinguifhed manner, his cuftom of drefling him- 
 felf as an Abbe, gave him the name of Abbe Soli- 
 mene. He injoytd a benefice, and though he had 
 advantageous offers, refufed to marry himfelf, 
 though he was of a different opinion in regard to 
 his brother Thomas, Doctor of Lavs, and Judge of 
 
 the 
 
eminent PAINTERS. 53 
 
 the Admiralty The children of this brother, 'who 
 turned out well, and applied themfelves to the fcien- 
 ces) Solimene made his own; for them he amaffed^ 
 his riches, which are faid to have amounted to more 
 than 300,000 crowns, and feveral dignified eflates, 
 which added the luftre of titles to his family : his 
 ordinary' diverfion was hunting, with which he 
 amufed himfelf often in the neighbourhood of his 
 country houfe, called Barra; and mufic, for which 
 purpofe there was an afTembly of the bell fympho- 
 nifts every night at his houfe, to relieve and divert 
 his mind after the fatigues of his bufinefs. 
 
 This Painter injoyed a perfect flate of health to 
 the age of 84, at which time he was commiffioned 
 by the Queen Dowager of Spain to paint thofe faints 
 whofe names the Princes her fons bore, when he 
 happened to get a fall, which difordered him fo, 
 that he had much ado to fmifh his work. Pie be- 
 came blind and deaf two years before he died, dur- 
 ing which time, he was vifited by his difciples, 
 who profited as much by his difcourfes on the dif- 
 ficulties of his art, and the means of furmounting 
 them, as they did by feeing him paint. He ufed 
 to fay, that being deprived of his corporeal eyes, 
 his mind faw clearer, and that the eyes of his un- 
 derftanding were more opened. At lafl he died at 
 La Barra, one of his feats, fituate about four miles 
 from Naples, in the year 1747, in the 88th year of 
 his age. From thence his body was removed to 
 Naples, to a chapel he had built in the church of 
 the Dominicans. 
 
 He was one of thofe genius's, that furmounting 
 the common law of nature, preferved his fire amidft 
 the froft of old age. 
 
 Yet, if we may be allowed to throw fome dark 
 friades over the bright colours of this picture we 
 have drawn, it is certain that the hiftory of Helio-' 
 dorus, painted in the church Jefu Nuovo, has been 
 
 E 3 much 
 
54 & LIVES p/ 
 
 much cenfured. There is no expreflion of that horr 
 ror, fo facrilegious an action, (as feizing the facred 
 treafure of the temple) fhould infpire •, on the con- 
 trary a tranquility and tamenefs reigns through the 
 whole, particularly in fome groups of women, who 
 though repreiented handfome enough, feem quite 
 unconcerned at what's going on. 
 
 Giufeppe Magliari has engraved St William of 
 Vercelli after Solimene ; feveral prints from his de- 
 figns have been publifhed at London. Goupy has 
 engraved Zeuxis Painting, and Baron a Repofe in 
 Egypt. Peter Gaultier has done an Ecce Homo, 
 and a Mater dolorofa, the four quarters of the world 
 in ovals, the battle of the Centaurs, the defeat of 
 Darius by Alexander, a Vifitation, the hiftory of 
 Beerfheba, a St Michael treading down the devil. 
 Farjat and Louvemont have alfo engraved feveral 
 plates from his works, of a leiTer fize. 
 
 SEBASTIAN RICCI. 
 
 WAS born at Belluno in the ftate of Venice, 
 in 1659. At twelve years old his parents 
 placed him with Frederick Corvelli, with whom he 
 continued till he was twenty ; when the defire of 
 perfecting himfelf led him to Bologna: the number 
 of fine Paintings difperfed about that city, anfwer- 
 ed his end. Ranuccio Duke of Parma, hearing of 
 Ricci, fet him to work at Placentia, and afterward 
 fent him to Rome to the Farnefe palace, and fur- 
 nifhed him with proper helps for purfuing his flu- 
 dies. The death of this prince obliged Ricci to 
 leave Rome ; the lofs of fo great a protector could 
 not but be a fenfible affliction to him. Intent to a- 
 mufe and improve himfelf, every thing that was 
 beautiful at Florence, Bologna, Modena and Parma, 
 employed his attention in his return. At laft he 
 fettled himfelf at Milan, where he had not con- 
 tinued 
 
eminent PAINTERS. 55 
 
 tinued long, without eftablifbing his reputation. He 
 afterwards removed to Venice, where he found con- 
 ftant employment for three years. His works and 
 ftudies were univerfaliy approved and efteemed by 
 the befl judges of Painting. 
 
 The King of the Romans ordered him to paint a 
 large faloon, and feveral apartments at Vienna, where 
 he received the applaufe of the whole court, and the 
 rewards due to his merit. As foon as he returned to 
 Venice, the Grand Duke of Tufcany fent for him to 
 Florence, to execute feveral Paintings in his own 
 chambers; in which he fuccecded to that Prince's 
 fatis faction. Ricci, though accufiomed to work for 
 Princes, and proud enough of the honour of work- 
 ing for crowned heads, was yet tempted, by the ac- 
 counts he heard of the generofity of the Englifh, to 
 vifit that nation: and, in order thereto, he fettled 
 his affairs, took leave of his friends, and paffing thro* 
 Paris, where he was received into the academy of 
 Painting, he arrived at London. 
 
 He undertook this journey at the folicitation of 
 his nephew Marco, who having been ill ufed by Pel- 
 legrini, with whom he came to England to paint in 
 concert-, (for Pellegrini, meeting with greater en- 
 couragement, refufed to ftand to their agreement, 
 and deferred him ;) Marco, in revenge, invited his 
 uncle over, whofe fuperior merit in hiftory painting 
 foon obliged Pellegrini to quit the kingdom. The 
 Duke of Norfolk, and the Earl of Burlington, found 
 him confiderable employment. The flair- cafe and 
 deling in Norfolk houfe, and the works he did for 
 that great and judicious patron of .arts, the Earl of 
 Burlington, are proofs of his abilities. He alfo painted 
 for the hofpital at Chelfea, the afceniion of our Sa- 
 viour, in a half cupola over the altar in the chapel. 
 After a confiderable abode in England, he returned 
 to Venice, where he received abundance of commif- 
 fions for pictures from France, Spain, Portugal, and 
 
 E 4 the 
 
56 a LIVES of 
 
 the King of Sardinia. Notwithflanding his frequent 
 travels, he enriched Venice with a great number of\/ 
 excellent Paintings. He kept up the honour of his 
 proiefiion with a proper dignity through his whole 
 life, and was an inttance of great merit meeting with 
 a proper regard and encouragement. 
 
 Ricci's genius was fertile, his ideas and his execu-* 
 tion grand, his touch light, and his difpofitions beau- 
 tiful. He had great freedom, harmony, and a fine 
 tone of colouring, though fometimes too dark. Born 
 for labour, he would undertake feveral works at a 
 time; which obliged him to paint all from practice, 
 and to follow his fancy. To bring his figures for-* 
 ward, he laid brown touches on the fides of his out- 
 lines, and rumpled his draperies exceedingly, which 
 often renders his Paintings hard. If he had confulted 
 nature, his figures had been more correct. 
 
 This Painter was naturally chearful, and very good 
 natured-, but, in his latter years, was greatly incom- 
 moded with the ftone, which induced him to be cut. 
 He died foon after at Venice, in 1734, in the 75th 
 year of his age. 
 
 He left no children, but a large fortune to his wife. 
 His nephew, Marco Ricci, an excellent landfkip 
 Painter, died five years before him. 
 
 Faldoni and Liotart, who have lately finifhed fe^ 
 veral fubjects of facred hiflory, are the only Engravr 
 ers who have worked after Ricci. 
 
 P E ? I 7 O T. 
 
 A M O N G S T the Painters of a particular tdent^ 
 ji\ John Petitot enjoys fo eminent a rank, that he 
 ought not to be paffed by in filence. He is, (if we 
 may be allowed the exprefiaon) the Raphael in ena- 
 mel-, which, under his hand, acquired Juch a degree 
 of perfection, as to furpafs miniature, and even equal 
 painting in oil. This art, though in little, is very 
 
 confiderable 
 
eminent PAINTERS. 57 
 
 confiderable when carried to its height of perfection. 
 John Petitot was born at Geneva, in the year 1 607, 
 of a father who was a fculptor and architect, who af- 
 ter having pafTed part of his life in Italy, retired to 
 that city. His fon was defigned to be a jeweller ; 
 and by the frequent employment in enameling, he 
 acquired fo fine a tafte, and fo precious a tone of co- 
 louring, that Mr Bordier, who afterwards became 
 his brother in law, advifed Petitot to attach himfelf 
 to portrait, believing he might pufh his art ftill on 
 to greater lengths ; and though both the one and the 
 other wanted feveral colours which they could not 
 bring to bear the fire, yet they fucceeded to admira- 
 tion. Petitot did the heads and hands, in which his 
 colouring was excellent ; Bordier painted the hair, 
 the draperies, and the grounds. 
 
 Thefe two friends, agreeing in their work and their 
 projects, fet out for Italy. The long (lay they made 
 there, frequenting the beft chymifts, joined to a 
 ftrong defire of learning, improved them in the pre- 
 paration of their colours : but the completion of their 
 fuccefs was referved for a voyage which they made 
 afterwards to England. There they found Sir Theo- 
 dore de Mayern, firft phyfician to King Charles I. and 
 a great chymift; he had, by his experiments, dif- 
 covered the principal colours to be ufed for enamel, 
 and the proper means of vitrifying them. Thefe, by 
 their beauty, furpaffed all the enameling of Venice 
 and Limoges. Sir Theodore Mayern introduced Pe- 
 titot to King Charles I. who retained him in his fer- 
 vice, and gave him a lodging in White-hall. We 
 are allured that Vandyke, who was then at Lon- 
 don, feeing fome defigns at a goldfmith's, who was 
 at work for the King, and hearing they were Peti- 
 tot's, defired his acquaintance, advifed him to leave 
 off working for the goldfmiths, and apply himfelf to 
 paint portrait in enamel. 'Tis certain, Vandyke 
 guided him in thofe portraits he painted after him ; 
 
 and 
 
58 The LIVES of 
 
 and his advice contributed greatly to the ability of 
 Petitot, whofe belt pictures are after that matter. 
 
 King Charles often went to fee him work, as he 
 took pleafure both in Painting and chymical experi- 
 ments, to which his phyiician had given him a turn. 
 Petitot painted that Monarch, and the whole royal 
 family, feveral times. The diftinguifhing marks of 
 favour fhewn him by that Prince, were only inter- 
 rupted by his unhappy and tragical end, which was 
 a terrible ftroke to Petitot, who did not quit the 
 royal family, but followed them in their flight to 
 Paris in 1649, where he was looked on as one of 
 their moft zealous fervants. Charles II. after the lois 
 of the battle of Worcefter in 1651, went to France; 
 and during the four years that Prince ftaid there, he 
 vifited Petitot, and often eat with him. Then it was 
 that his name became eminent, and that all the court 
 of France grew fond of being painted in enamel. 
 When Charles II. returned to England, Lewis XIV. 
 retained Petitot in his fervice, gave him a penfion 
 and a lodging in the galleries of the Louvre. Thefe 
 new favours, added to a confiderable fortune he had 
 already acquired, encouraged him to marry Marga- 
 ret Cuper in 1651. The famous minifter, Drelin- 
 court, performed the ceremony at Charenton. Af- 
 terwards, Bordier became his brother in law, and 
 ever remained in a firm union with Petitot: they lived 
 together, till their families growing too numerous, 
 obliged them to feparate. Their friendfhip was found- 
 ed on the harmony oi their fentiments, and their re- 
 ciprocal merit, much more than a principle of inter 
 reft. They had gained, as a reward for their difco- 
 veries and their labours, a million, which they di- 
 vided at Paris •, and they continued friends, without 
 ever having a quarrel, or even a mifunderftanding 
 between them, in the fpace of fifty years. Thefe were 
 John Petitot's own words to one of his friends. 
 
 Petitot 
 
eminent PAINTERS. 59 
 
 Petitot copied at Paris feveral portraits of Mig^ 
 nard and Le Brun; yet his talent was not only copy- 
 ing a portrait with an exact refemblance, but alfo de- 
 signing a head mod perfectly after nature. To this 
 he alfo joined a foftnefs, and livelinefs of colouring, 
 which will never change, and which will ever render 
 his works valuable. Petitot painted Louis XIV. 
 Mary Ann of Auftria, his mother, and Mary The- 
 refa, his wife, feveral times. As he was a zealous 
 proteftant, at the revocation of the edict of Nantz 
 in 1685, afraid of being taken up, he demanded the 
 King's permiffion to retire to Geneva ; who finding 
 him prefling, and fearing he mould efcape, cruelly 
 caufed him to be arrefted, and fent to Fort F Eveque, 
 where the Bifhop of Meaux was appointed to inftruct 
 him. Yet neither the eloquence of the great Bofluet, 
 nor the terrors of a dungeon, could prevail. Peti- 
 ]tot was not convinced •, but the vexation and confine- 
 ment threw the good old man, now near eighty, into 
 a violent fever. The King being informed of it, or- 
 dered him to be releafed. The Painter no fooner 
 found himfelf at liberty, than, terrified at what he 
 had fuffered, he efcaped with his wife, in 1685, to 
 Geneva, after having lived at Paris thirty fix years. 
 His children, remaining in that city, and fearing the 
 King's refentment, flung themfelves on his mercy, 
 and implored his protection. The King received 
 them favourably, and told them, he could forgive 
 an old man the whim of defiring to be buried with 
 his fathers. 
 
 When Petitot returned into his own country, he 
 cultivated his art with great paffion, and had the fa- 
 tisfaction of deferving to the end of life thqefteemof 
 all connoifTeurs. One of his greateft talents was, to 
 conceal, with the beauty of his pencil, the labour and 
 fludies that his art particularly required. That pa- 
 tience that is infeparable from the tedioufnefs of work- 
 ing in enamel, was no check to him. He might have 
 
 faid, 
 
60 Trje LIVES cf 
 
 faid, as Zeuxis did to thofe Painters that bragged of 
 their difpatch, — " I am a long time indeed finifhing 
 " my works, but what I paint is for eternity." 
 
 The King and Queen of Poland, defiring to have 
 their pictures painted by Petitot, though then above 
 fourfcore, fent the oirginals to Paris, believing him 
 to be there. The gentleman who was charged with 
 the commiiTion, went on to Geneva. The Queen was 
 reprefented fitting on a trophy, holding the King's 
 picture. As there were two heads in the fame piece, 
 they gave him an hundred louis d'ors, and he executed 
 it as if he had been in the flower of his age. The con*- 
 courfe of his friends, and the refort of the curious 
 who came to fee him, was fo great, that he was obliged 
 to quit Geneva, and retire to Veray, a little town in 
 the canton of Bern, where he worked in quiet. He 
 was about the picture of his wife, when a diftemper 
 carried him off in one day, in the year 1691, aged 
 84. His life was always exemplary, and his end was 
 the fame: he preferved his ufual candor and eafe of 
 temper to his laft hour. He had feventeen children 
 by his marriage ; only one of his fons applied himfelf 
 to Painting, who fettled at London. His father fent 
 him over feveral of his works, to ferve him for mo- 
 dels. This fon is dead, and his family is now fettled 
 at Dublin. 
 
 Petitot. may be called the inventor of painting in 
 enamel ; though Bordier, his brother in law, made 
 feveral attempts before him, and Sir Theodore de 
 Mayern had facilitated the means of employing the 
 moft beautiful colours, it was ftill Petitot that com- 
 pleted the work. He made ufe of gold and filver 
 plates, and rarely enamel'd on copper. When he firft 
 came in vogue, his price was twenty louis's a head, 
 which he foon railed to forty. His cuftom was, to 
 carry a Painter with him, who painted the picture in 
 oil i after which, Petitot fketched out his work, which 
 he always fmifhed after the life. When he painted 
 
 the 
 
eminent PAINTERS. 6t 
 
 the King of France, he took thofe pictures that moft 
 refembled him for his patterns ; and the King after- 
 wards gave him a fitting or two to finim his work. 
 He laboured with great affiduity, and never laid down 
 his pencil but with reluctance; faying, that he al- 
 ways found new beauties in his art to charm him. 
 
 Gunft, a good Dutch Engraver, has engraved the 
 picture of Chevreau after Petitos. 
 
 DAVID TENTERS, the Elder. 
 
 TH E prejudice in favour of the fon is fo great, 
 that the father is generally efteemed but a 
 middling Painter, and his pictures not worth the en- 
 quiry of a collector : his hand is fo little diftinguifhed, 
 that the Paintings of the father are taken for thofe of 
 the fon in moft fine collections. The father was cer- 
 tainly the inventor of the manner, which the fon, who 
 was his difciple, only improved with what little was 
 wanting to the perfection of his pencil by the rules 
 of art. 
 
 David Teniers, called the Elder, was born at Ant- 
 werp in 1582. He received the firft rudiments of 
 his art from the famous Rubens, who foon perceived 
 in him the happy advances towards excelling in his 
 profeflion, that raifed him to the head of his fchool. 
 The matter was aftonifhed at his fuccefs, and though 
 he followed the manner of Brower, Rubens looked 
 on him as his moft deferving difciple, by the bright- 
 nefs of genius that appeared in his defigns. 
 
 Teniers on leaving his fchool, began to be much 
 employed; and in a very little time was in a con- 
 dition to undertake the voyage to Italy. At Rome 
 he fixed himfelf with Adam Elfheimer, who was 
 then in great vogue ; of whofe manner he became a 
 perfect mailer, without neglecting at the fame time 
 the ftudy of other great mailers, endeavouring to pe- 
 netrate into the deepefl myfleries of their practice. 
 
 An 
 
62 The LIVES of 
 
 An abode of ten years in Italy, enabled him to be-* 
 come one of the firft in his ftyle of Painting. A 
 happy union of the fchools of Rubens and Elfheimer 
 formed in him a manner as agreeable as diverting. 
 
 "When Teniers returned into his own country, he 
 entirely employed himfelf in painting fmall pictures, 
 filled with figures of perfons drinking, chymiits, fairs, 
 and merry-makings; with a number of countrymen 
 and women. He fpread fo much tafte and truth thro' 
 his pictures, that nature hardly produced a jufter ef- 
 fect. The demand for them was univerfal, even his 
 matter thought them an ornament to his cabinet ; nor 
 could his glory as an artift be raifed to a higher 
 pitch, than to have pleafed the penetrating judg- 
 ment of the great Rubens. 
 
 David Teniers drew his own character in his pic- 
 tures, and in the fubjects he ufually expreffcd ; every 
 thing tends to joy and pleafure. Always employed 
 in copying after nature, whatfoever prefented itfelf ; 
 he taught his two fons to follow his example, and ufed 
 them to paint nothing but from that infallible model : 
 by which means they both became excellent Painters. 
 Thefe are the only difciples we know of David Te- 
 niers the elder, who died at Antwerp in 1649, at 
 the age of 6y. 
 
 The diftinction between the works of the father 
 and the fon is, that in the fon's you difcover a finer 
 touch, and a frefher pencil, greater choice of atti- 
 tudes, and a better difpofition of his figures. The 
 father retained fomething of the tone of Italy in his 
 colouring, which was ftronger than his fon's; but his 
 pictures have lefs harmony and union. Befides, the 
 fon ufed to put — David feniers, junior * at the bot- 
 tom of his pictures ; which, with the date of the year, 
 will point out what of right belongs to the father. 
 Thefe are the principal marks that diftinguifh them; 
 though, to fay the truth, when the father took pains 
 to finifh his picture, he very nearly refembled his 
 fon. Their prints are confounded. 
 
 to 
 
eminent PAINTERS. 63 
 
 DAVID TENIER S, the Younger. 
 
 HIS Ton David, born at Antwerp in 161 o, was his 
 difciple, and nick-named, tfke ape of Paintings 
 for there was no manner of Painting but what he imi- 
 tated fo perfectly, as to deceive even the niceft judges. 
 He improved greatly on the talents and merit of his 
 father, by works that contain all the excellencies of 
 art, with the utmofl neatnefs and perfection. For- 
 tune affifted his merit, and his reputation introduced 
 him to the favour of the great. The Arch-Duke, 
 Leopold William, made him gentleman of his bed- 
 chamber. All the pictures of his gallery were copied 
 by Teniers, and engraved by his direction. Thefe 
 little pictures are fo perfectly in the tafte of the maf- 
 ters he has imitated, that one cannot help admiring 
 how he was able to vary his pencil to fo many dif- 
 ferent manners. " Thefe copies, fays my author, 
 " I have feen at Blenheim, the Duke of Marlbo- 
 " rough's feat." 
 
 Teniers took a voyage to England, to buy feveral 
 pictures of the great Italian mailers for Count Fuen- 
 faldegna, who, on his return, heaped his favours on 
 him. Don John of Auflria, and the King of Spain, 
 fet fo great a value on his pictures, that they built a 
 gallery fet apart to preferve them. Prince William 
 of Orange honoured him with his friendfhip : Rubens 
 efteemed his works; and, as the fon of his difciple, 
 affifted him with his advice. 
 
 His principal talent was landfkip, adorned v/ith 
 fmall figures. He painted men drinking and fmoke- 
 ing; chymifts elaboratories, corps de garde, temp- 
 tations of St Anthony, and country fairs and merry- 
 makings. His fmall pictures are fuperior to his large 
 ones. His execution difplays the greateft eafe; the 
 leafing of his trees is light, his fkies are admirable, 
 his fmall figures have an exquifite exprefiion, and a 
 moft lively touch j and the characters are marked out 
 
 with 
 
64 ^ LIVES 0/ 
 
 with the greateft truth. His works, by the thinnefs 
 of the colours, feem to have been finifhed at once; 
 they are generally clear in all their parts; and Te- 
 niers had the art, without dark fhades, to relieve his 
 lights by other lights, fo well managed as to produce 
 his effect; an art, few befides himfelf have attained. 
 Sometimes this great mailer, differing from himfelf, 
 has deviated in his colouring to a grey, and fometimes 
 to a redifh caft. Some pretend to find fault with his 
 figures for being rather too fhort, and reproach him 
 for not having enough varied his compofition. The 
 city of Antwerp lamented his lofs in the year 1694, 
 when he was 84 years old. 
 
 His brother Abraham was a good Painter; equal, 
 if not fuperior to his father and brother in the ex- 
 preflion of his characters, and his underftanding of 
 the chiaro ofcuro; though inferior in the fpritelinefs 
 of his touch, and the lightnefs of his pencil. 
 
 David the Younger's difciples are Van Helmont, 
 and Dominic Rickaerts. There are abundance of 
 prints engraved after him. He has engraved him- 
 felf an old man fitting, and a village merry-making. 
 The chief Engravers that have copied him, his fa- 
 ther, and brother, are F. Vanderfteen, Coryn Boel, 
 Vandenteyng, Van Brugen, Hollar, J. Gole, Coel- 
 mans, A. J. Premier, Le Bas, Laurent, Chefnu, &c. 
 
 FRANCIS S N T D E R S, 
 
 WA S born at Antwerp, in the year 1587, and 
 received his firft inftruction in the art of 
 Painting from Henry Van Balen. His genius at firft 
 difplayed itfelf only in painting fruit. He afterwards 
 attempted animals, in which kind of fludy he fuc- 
 ceeded fo well, that he furpaffed all that had ever 
 excelled before him. Snyder's inclination led him 
 to vifit Italy, where he ftaid a confiderable time : the 
 works of Caftiglione he met with there, proved a 
 
 fpur 
 
eminent PAINTERS. 65 
 
 fpur to his genius to attempt outdoing him in Paint- 
 ing animals. When he returned to Flanders, he 
 fixed his ordinary abode at Bruffels ; he was made 
 Painter to Ferdinand and Ifabella, Arch-Duke and 
 Dutchefs, and became attached to rhe houfe of the 
 Cardinal Infant of Spain. The grand compofitions of 
 battles and huntings, he executed for the king of 
 Spain, and the Arch-Duke Leopold William, de- 
 ferve all the elogiums that can be polTibly conferred 
 on them : Befides hunting-pieces, he painted kitch- 
 ens, fruit and landfkips, in fuch a manner as gave dig- 
 nity to thofe fubjects that feemed incapable of it. 
 
 When his pictures required large figures, Rubens 
 and Jordaans took pleafure in aflifting him, and 
 thofe able men had fo perfect an underftanding of 
 the tints with each other, that the whole feemed to 
 be the performance of the fame hand. Rubens in 
 his turn borrowed the affiftance of Snyders's pencil 
 to paint the ground of his pictures ; thus they mu- 
 tually afiifted each other in their labours, whilft Sny- 
 ders's manly and vigorous manner fupportedits me- 
 rit, though in conjunction with the work of that 
 great matter : and thofe pictures wherein the pencils of 
 fuch uncommon genius's -are united, will always be 
 the admiration of true judges. 
 
 Snyders defigned his animals in fo grand a man- 
 ner, that their (kin and hair feem real ; an exceeding 
 light touch with great juftice and boldnefs, a rich 
 compofirion full of underftanding and knowledge, 
 and a true and vigorous colouring, always united in 
 their full force to the perfection of his works. 
 
 He died in the year 1657, at the age of 70 ; but 
 his reputation will remain, and his works will pre- 
 ferve his memory with all thofe who have a tafte for 
 the arts, and know how to diftinguifh what is truly 
 beautiful. 
 
 Snyders has engraved a book of animals of fix- 
 teen leaves, great and fmall. Joullain has done a 
 
 F boar- 
 
66 The L I V E S of 
 
 boar-hunting from a picture of Defportes after hisde- 
 fign. There is a book of fix middling fized huntings, 
 with views of different caftles, publifhed by Drevet. 
 A boar and a flag-hunting, by Lucas Vofterman. 
 A large boar-hunting perfectly well executed, by J. 
 Zaal, and two plates in the Emperor's cabinet, by 
 A. J. Prenner. 
 
 FRANK HALS. 
 
 THIS great portrait Painter, Vandyke alone has 
 furpaffed in painting portrait ; few others have 
 equalPd. The following ftory fhews how that Pain- 
 ter efteem'd him : When Vandyke had determin'd to 
 go over to England, he went to Haerlem on pur- 
 pofe to fee Hals. He had call'd feveral times at his 
 houfe to no purpofe, as he fpent the greateft part 
 of his life in a tavern -, at laft the painter of Ant- 
 werp fent for him home, with orders to acquaint 
 him, that a perfon waited for him to come and paint 
 his pidure. As foon as Hals came in, Vandyke 
 told him that he was a ftranger, and wanted his 
 portrait, but had but two hours to fpare for fitting. 
 Hals took the firft cloth that came to hand, laid his 
 pallet in a flovenly manner, and began to paint •, 
 after a little time he begg'd the favour of Van* 
 dyke to fland up that he might fee what he had done. 
 The model feem'd very well fatisfied with the copy, 
 and after chatting on indifferent things, Vandyke 
 told Hals, that he thought Painting a mighty eafy 
 bufinefs, and that he would try what he could do at 
 the eafe), then taking another cloth, defired Hals to 
 fit down in the place he had quitted -, Hals, tho* 
 furpriz'd, foon perceived that he had to do with one 
 that was acquainted with the pallet, and knew how 
 to ufe it :• In a little time Vandyke defir'd him to get 
 up, when Hals looking at the picture, he run 
 ftraight to him and embraced him, crying out with 
 
 tranfport s 
 
eminent V A I NT E R S. 67 
 
 tranfport, — " You are Vandyke, for no man alive 
 " but he can do what you have done. 5 '— 
 
 Vandyke would fain have ingaged Hals to have 
 follow'd him to England, promifing him a fortune 
 far fuperior to his prefent condition, which was 
 wretched enough ; but could not prevail with the 
 utmoft perfuafion. Befotted to his bottle, he told 
 Vandyke that he was perfectly happy, and defired 
 no better (late than what he then enjoy'd. They 
 parted with regret Vandyke fent away his picture 
 that Hals had juft painted, and put a confiderable 
 number of ducats into the hands of his children ; 
 which Franck foon. got into his own, to fpend at the 
 tavern. 
 
 Hals painted Portrait with a ftrong refemblance, 
 in a beautiful manner, and with great art: He 
 mark'd out his figure with great exactnefs, his co- 
 lours were tenderly mix'd, but he knew how to 
 give them force by the bold flrokes of his pencil : 
 He did the fame by his lights \ and being afk'd the 
 reafon of this practice, anfwered, becaufe he work'd 
 for his reputation ; a mailer ought to conceal the 
 fervile labour and painful exactness, that portrait 
 painting requires. Vandyke ufed frequently to fay, 
 that Hals would have been the greateft portrait Pain- 
 ter, if he would have given more tendernefs to his 
 colours, for he did not know any one that was fo 
 perfectly mafter of his pencil ; nor are there any 
 pictures that have a greater force, or more lively ex- 
 prefiion than his. 
 
 Franck Hals died at the age of 76, on the 20th 
 of Auguft 1666. 
 
 He left feveral children who were either painters 
 or muficians, and lived the fame fort of life as their 
 father. 
 
 His brother, Dirck Hals, painted feveral con verna- 
 tions and animals very well. He died before his 
 brother in 1656. 
 
 F 2 Hi s 
 
6$ ^ LIVE S. of 
 
 His principal difciples were Adrian, Brower, 
 Van Balen, &c. 
 
 PETER N E E F S. 
 
 A Painter ought to neglect no part of his art, 
 how inconfiderable foever it appears ; evtry 
 branch of Painting if practifed with judgment and 
 delicacy, will have its admirers, and confer a laftjng 
 honour on the artift. The talent of painting archi- 
 tecture has immortalized the names of Auguftine, 
 TafTo, Viviano, Ghifolfi, Steenwick and Peter Neefs. 
 
 This Jaft has not taken for his objects of (fudy 
 the architecture of temples or palaces, or the re- 
 mains of thofe beautiful works, that have efcaped 
 the ruins of time, but has chofen the Gothic ftruc- 
 tures of antient churches with fo much tafte and 
 underftanding, that he certainly deferves a place in 
 this abridgment. 
 
 The hiftory of Painting prefents us with two Pe- 
 ter Neefs, both difciples of Steenwick, one father 
 of the other, but much abler than his fon : Peter 
 Neefs the father was born at Antwerp, about the 
 year 1580. After having imbibed the firft tincture 
 of his art of defign from Steenwick, finding in him- 
 felf no turn either for treating fubjects of fancy or 
 portrait, he attached himfelf to architecture, per- 
 spective, and to painting the in fide of churches, 
 with fuch minute nicety, and fteady patience, as all 
 mud admire, few will be able to imitate. His ex- 
 actnefs in reprefenting the fmalleft parts, can hardly 
 be conceived, yet he difpofcs his lights fo properly, 
 that his pictures have a furprizing effect. The 
 finalleil ridges in the channel'd ornaments of the 
 roofs, and the leaft projection of the cornifhes, are 
 mark'd out with the greateft attention, and it is very 
 remarkable that in fpite of the great number of 
 
 rid^e* 
 
eminent PAINTERS. 69 
 
 ridges and profiles, his manner never appears dry, 
 or hard : As he painted figures but indifferently, 
 Van Tulden, Teniers, and others, fupplied that defect 
 for him •, yet he always took care that the union of 
 the two pencils fhould be imperceptible. 
 
 Whatever inquiries have been made in Holland 
 about the particularities of his life or death, have 
 been fruitlefs. 
 
 His difciples are unknown. 
 
 There is only one plate engraved after him that 
 we know of, which is in the colk&ion of the emperor's 
 pictures, by A. J. Prenner. 
 
 JOHN Van G O W E N, 
 
 TH E fon of Jofeph, was born at Leyden in 
 1596. His father, a lover of drawing and 
 painting, refolved to have his fon inflrucled in that 
 art. He was firft placed with Schilperoort a land- 
 fkip Painter, whom he quitted to enter himfelf un- 
 der M. John Nicolai a Burgomafter, and a good 
 Painter. Young Van Gowen feemed very difficult 
 in fixing, he left this mafter for De Man, and Henry 
 Klock, and at laft fettled with William Gerrets, 
 who lived at Hoorn : This matter ingaged him for 
 two years •, in this time keeping clofe to his bufinefs, 
 he made fuch a progrefs that he found he was able to 
 work for himfelf •, on which he returned to his father, 
 and continued his ftudies alone till he was nineteen ; 
 when the whim of travelling took him. He vifited 
 the principal cities of France, where he exerted his 
 talent, but particularly at Paris : From hence he 
 turned back, and returned to his father, who being 
 a good judge, and finding his fon greatly advanced, 
 perfuaded that nothing but the inftruction and af- 
 fiftance of an able artift, was wanting to make his 
 fon one : He fet out with him for Haerlem, where 
 fee placed him under Ifaiah Vandervelde 5 this cele- 
 
 F 3 bratea 
 
70 The LIVES of 
 
 brated landfkip Painter had the fotisfaction of feeing 
 his pupil become a great matter. 
 
 His ftyle of Painting is quite natural, as he never 
 painted any thing till he had defigned it from na- 
 ture •, his iandfkips are much varied, and generally 
 reprefented rivers, fmall boats with fifhermen, or 
 elfe filled with peafants returning from market. His 
 offfkip always terminates in either a little town or 
 village : An eafy, expeditious touch reigns thro' 
 the whole. His pictures have all a greyifh caff, 
 which is not at all owing to his manner of working, 
 for they looked otherwile when they came from un- 
 der his hand ; his ufmg a blue then much in vogue 
 (called blue of Haerlem) which has difappointed 
 other Painters befides him, is the only caufe of it. 
 
 When Van Gowen quitted Vandervelde he fixed 
 and married at Leyden, where his pictures were 
 much fought after. He continued his labours there 
 with great afliduity till 1631, when he removed from 
 Leyden to the Hague, where he lived till the time 
 of his death, which happened in the latter end of 
 April in the year 1656. 
 
 LUCAS Van U D E N. 
 
 TH E city of Antwerp produced this Painter to 
 the world in 1595. He received his firft 
 leflbns from his father, but owed to nature and his 
 own good parts, his perfection in his art : By the 
 ftrength of his own good genius, and a clofe atten- 
 tion to the effects of nature, he formed a grand and 
 pleafing manner, and acquired an eminent rank 
 amongft the landfkip Painters. To gain this end, he 
 ufed to rife before day-break, when he ftedfalfly 
 obferved the effects the light of the fun produced 
 on the various objects that came within his view, from 
 his firft appearance above the" horizon, to the time 
 of his finking below it again ; the effects of thefe ftu- 
 
 dies 
 
eminent PAINTERS. 71 
 
 dies and reflections, were the fubjects of his pictures. 
 In this manner Mola, Francifco Bolognefe, Gafpar, 
 Nicolas Pouflin, and Claude Lorrain, formed their 
 tafte by a clofe attention to nature. He was fo im- 
 ployed in his ftudies, that he hardly found time tQ 
 work to maintain himfelf •, like Guillerot a difciple of 
 Bourdon, who never quitted the country, where he 
 defigned perpetually, till neceflity forced him to re- 
 turn to town and paint a picture to maintain himfelf 
 and his horfe. Van Uden's condition was not much 
 better, till fortune brought Rubens acquainted with 
 him, who being pleafed with the truth of his land- 
 fkips, imployed him to paint the back grounds and 
 fkies in his pictures, introduced him into feveral 
 houfes,- and procured him imployment. 
 
 We can give him no higher character,than thatRu- 
 bens approved and made ufe of his pencil : The 
 touch of his trees is fo frefli and light, that the wind 
 feems to agitate and force its way through the leaves, 
 his fkies are clear and varied in their clouds, his 
 offfkips difcover a vaft extent of country, and 
 nothing can be better executed than his fmall figures, 
 which are defigned very correctly. Thefe qualifica- 
 tions certainly juftify his title to the character of one 
 of the beft landfkip Painters •, efpecially as this 
 branch of Painting was juft emerging from the un- 
 natural tafte of the preceeding age. The rawnefs of 
 his colouring is his principal fault. 
 
 Van Uden died about the year 1660, aged 65, 
 We can get no information of his family or condi- 
 tion, nor whether he formed any difciples worthy 
 of him. He had a brother named James, who fol- 
 lowed his manner, but inferior to Lucas. 
 
 There are feveral plates ingraved by his hand* 
 both from his own works, and thofe of Titian. 
 
 F 4 JO HN 
 
72 a LIVES of 
 
 JOHN M I E L. 
 
 BORN at Vlanderen two leagues from Antwerp, 
 in the year 1599, was a difciple of Gerrard 
 Scghers. After he had worked fome time with him, 
 his genius which readily turned to every kind of 
 Painting, inclined him to go to Italy ; here his ftudy 
 of the works of the greateft mailers, gained him fo 
 much reputation among the Painters of his time, 
 that he was frequently chofen to execute great and 
 public works. Andrea Sacchi who had been fond 
 of getting him into his fchool, employed him in his 
 works. But one day as he was working on a picture 
 Sacchi had painted for the Barberini palace, in which 
 it was necefTary to introduce the Pope's cavalry, 
 John Miel, inftead of painting them with the dig- 
 nity proper to the fubjeci, gave a lofe to his natural 
 inclination for the grotefque, which fo provoked the 
 gravity of Sacchi, that he turned him out of doors, 
 and bid him find fome other place to exert his buf- 
 foonry in. John Miel being piqued at thefe words, 
 and aflifted with the advice of Bernini, who had ta- 
 ken a liking to him (probably in oppofition to Sac-, 
 chi) applied himfelf to the ftudy of large figures, 
 and to improve himfelf made a journey into Lorn" 
 bardy, (whence having copied the works of Car- 
 rache, and the cupola of Corregio) he came back to 
 Rome a much abler Painter than he fet out ; nor did 
 he wantimployment on his return. 
 
 Alexander the Vllth fet him to paint the hiftory of 
 Mofes, ftriking the rock in the gallery of Monte 
 Cavallo, in which picture he gave proofs of uncom- 
 mon capacity. 
 
 In moft parts of Europe, he is beft known by his 
 paftoral and droll compofitions ; his excellence in 
 thefe low fubjects did not hinder him treating hifto- 
 rical ones in a noble manner, in the chapels and fe- 
 
 veraj 
 
eminent PAINTERS. 73 
 
 veral churches in Rome : Yet it muft be allowed, 
 that the natural bent of his genius was to the gro- 
 tefque ftile, in which he fucceeded fo well, that his 
 works are not inferior in that kind of Painting to thofe 
 of Michael Angelo de Bataglia, or of Peter de Laar, 
 called Bambochio. 
 
 His colouring is vigorous, and his figures and ani- 
 mals well defigned, his landfkip is in the ftyle of 
 Carrache, his fkies which he always kept clear, add 
 to the force of the lively and tranfparent colours in 
 the foregrounds ; it were to be wifhed he had a bet- 
 ter tafte of defign in his hiftorical pictures, and a 
 little more dignity in the airs of his heads : Defects 
 that are owing to his fondnefs for painting ludicrous 
 fubjects, which depraved his tafte and checked the 
 elevation of his thoughts. He was received into 
 the academy of St. Luke at Rome in 1648. Miel 
 was in fo much repute, that Charles Emanuel 
 duke of Savoy fent for him to Turin, to paint the 
 faloon of the Venneria, and kept him five years in 
 his fervice. Here he fhewed himfelf as great a 
 mafter as at Rome ; ihe various fubje&s he chofe 
 from Fable, the hunting-pieces which he painted in 
 the moil natural manner, gained him the efteem of 
 that prince and his whole court, who exprefled his 
 regard for him in honouring him with the order of 
 St. Mark, and beftowing on him a crofs fet with 
 diamonds of considerable value : All thefe favours 
 could not make him eafy at Turin, he afked leave 
 of the prince to return to Rome ; which not being 
 able to obtain, the vexation occafioned a diftemper 
 that put an end to his life in the year 1 664, and the 
 65th of his age. He was buried in St. John's, the 
 cathedral church of Turin. 
 
 His difciples were John Aflfelyn, known by his 
 beautiful landfkip, and Chriitopher Orlandi. John 
 Miel has ingraved three large battles, which are in- 
 serted in the folio edition of Famianus Strada's hif- 
 
 tory 
 
74 tte L1Y E$ ef 
 
 tpry of the wars of Flanders, a holy family, and 
 four rural fubjects, ingravtd at Rome. Twenty one 
 fubjects of hiftory and huntings, in a book of the 
 Veneris asc ingraved by Tainiere, a title to a book 
 which prefents St. Francis Xavier in Japan, and the 
 virgin of Trapani, graved by C. Bloemart. Coel- 
 mans has given us a print of the four feafons in one 
 picture, ana Beaumont two rural fubjects ingra\ 
 at Paris. 
 
 JOHN DAVID de H E E M 
 
 TH I S able artift, defcended of an honourable 
 family, was born at Utrecht in 1604. He 
 excelled in painting Bowers, fruit, veiTels of gold 
 and filver, rr.ufkal inftruments and Turky carpets : 
 He reprefented theft: objects with lb much art, that 
 their fcemmg reality would often iurprize the be- 
 holder. He had the particula: talent of exprefTing 
 the brilliancy of glafs and cryftal, and marking 
 out with great truth all the objects that were reflected 
 in them, efpecially on the fide they receive the 
 light. 
 
 De Heem married a handfome wire, with whom 
 he lived in the greateft harmony, whofe amiable 
 character rendered his happinefs compleat. The 
 value and demand of his works nfcraaferi every day, 
 as his chief pleafure was in his profcffion •, he pur- 
 fued it with great application, and fortune was the 
 reward of his induftry : This lbn-fhine of his af- 
 fairs was at laft clouded by the troubles with which 
 Holland and the other united provinces were afflicted 
 in 1671, which obliged him to quit Utrecht, and 
 retire to Antwerp with all his family, which con- 
 fided of four daughters, and two fons, who both 
 became able Painters. 
 
 He bred up this numerous family with great care 
 and attention, and had the happinefs of feeing them 
 
 all 
 
eminent PAINTERS. 7^ 
 
 all well fettled. John David, made but a ftiort ftay 
 at Antwerp, ai he died there in 1674, in his 70th 
 year. 
 
 This Painter has left feveral abledifciples, amongffe 
 others Abraham Mignon, Henry Schook, and his 
 two fons. 
 
 The beauty of his works is furprizing ; the liveli* 
 nefs of his labour makes them appear rather the ef- 
 fect of the pleafure the author took in painting them, 
 than produced from the neceffity of his employment ; 
 the inchanting eafinefs that fhines through them, 
 amufes us fo agreeably, that art difappears, and we 
 attend only to that beautiful nature, to which he was 
 beholden for his talents, and that genius that fet 
 them in fo fair a light. The colouring in his pic- 
 tures is admirable, the frefrinefs of his tints furpriz- 
 ing, and his touch extremely light. The infects and 
 reptiles he has painted in them feem animated, and 
 feeking their prey upon the beautiful flowers his pen- 
 cil has produced. 
 
 Cornelius de Heem, his fon and difciple, has ac- 
 quired a reputation to deferve mentioning in this hif- 
 tory, though inferior to his father in exprefiing 
 fruits and flowers in living colours ; he has been able 
 like him to make himfelf admired. Sandrart fays, 
 that he offered 450 Florins for a picture of his two 
 foot fquare, and though the owner of the picture 
 was his friend, he could not get it at that price. 
 
 This Painter in particular excelled in painting 
 veffels and carpets. Houbraken mentions a picture 
 of the father's that having pafTed through feveral 
 hands, at a very great price, the laft pofTefTor by 
 making a prefent of it to a perfon in power, pro- 
 cured a considerable employment for himfelf, as an 
 acknowledgment for fo valuable a gift. 
 
 GERR ARD 
 
76 The L I V E S of 
 
 G E R R A R D TERBURG. 
 
 WH O was born at Zwol in OveriiTel, in the 
 year 1608, was an honour to his profefiion : 
 His family was ancient, and much efteemed in their 
 own province. He received the firft rules of his art 
 from his father, who was a Painter, and had lived 
 feveral years at Rome : It was planting in a fertile 
 foil, that in a little time produced excellent fruits ; 
 for young Terburg very foon became an excellent 
 Painter, and his reputation eflablifhed through all 
 the low countries. 
 
 While he was young he travelled into Germany, 
 France, Italy, Spain, and England, and left proofs 
 of his merit behind him in all thefe countries. The 
 congrefs held for the peace at Munfter, drew him 
 thither, where he became acquainted with the Pain- 
 ter of count Pigoranda, ambaifador of Spain. This 
 Painter being employed on a large wcrk by the 
 count, being at a lofs in the execution, defired Ter- 
 burg to aiTiit him ; which he did with great fuccefs. 
 The ambaffador perceiving it, infifted on knowing 
 the hand, and on being informed, made Terburg 
 paint his portrait, and introduced him to all the 
 other minifters of the congrefs, who likewife de- 
 fired theirs. The count carried Terburg to Madrid, 
 where the king and his court found him full employ ; 
 the ladies took fo much pleafure in being painted by 
 him, and the cavaliers grew fo jealous of him, that 
 to avoid the confequences he quitted Madrid, and 
 came to L.ondon •, here he found a great deal of imploy^ 
 ment as well as at Paris, whence (his progrefs ended) 
 he returned into his own country, where he fettled 
 at Deventer, and married there. 
 
 Terburg defigned only after nature, and chiefly 
 painted droll and gallant fubjecls. His pictures are 
 beautifully finifhed, with a delightful touch, a flow 
 
 of 
 
eminent PAINTERS. 77 
 
 of colours, and a furprizing underftanding ; above 
 all, his tranfparencies and reflections will furprize 
 every true judge of the chiaro ofcuro. His cuftom 
 was to drefs his figures in fattin, which he painted to 
 admiration ; and there are few pictures of his but 
 what are defigned in this manner : One cannot fay- 
 that Terburg has the fame delicacy in his defign and 
 touch, as his difciple Netfcher, the celebrated Mieris, 
 and Gerard Dow ; his pencil is not fo light, and his 
 figures are heavier. 
 
 For his great probity he was chofen burgomafter 
 at Devencer •, whether the bufinefs of his pod took 
 up too much of his time, or whether he was tedious 
 in working, his pictures are very rare ; there are 
 none of them flnifhed carelefly, and the perfection 
 of his ftyle difplays itfelf through all their parts ; 
 his excellence was in painting portrait, in which he 
 even gave you the character of the perfon he paint- 
 ed. His death happened at Deventer in 1681, 
 when he had attained the 73d year of his age. He 
 was carried from thence, and interred at Zwol, the 
 place of his nativity. 
 
 Netfcher was his difciple. 
 
 The moft celebrated and beautiful piece that Ter- 
 burg did, is the congrefs of Munfter, in which he 
 has reprefented from the life all the plenipotentia- 
 ries, ambafTadors, and the principal noblemen that 
 were prefent at the figning the treaty of peace. 
 
 Van Tomer, Theodore Matham, Snyder hoef, 
 and H. Bury, have engraved after this matter. 
 
 HERMAN SACHTLEFEN. 
 
 THIS landfkip Painter was born at Rotterdam 
 in 1609, where his father, in compliance with 
 his ion's natural inclination to defigning, put him 
 under the direction of Van Gowen, a famous land- 
 fkip Painter, who, by following nature clofely 
 
 through 
 
?S The LIVES of 
 
 through all her varieties, acquired a diftinguifhed 
 name amongft the Painters. 
 
 The difciple, of a genius fuperior to his mailer, 
 at firft produced only fimple effects, as they appear 
 in nature and unafiifted by art ; he foon diicovered 
 that they wanted imbellifhment, and that nature 
 muft be improved ; fuch were the reflections which 
 Sachtlevcn knew how to make a profitable ufe of in 
 his profeflion, and which prompted him to ftudy 
 cloiely the fkilful touches of the moil famous Pain- 
 ters ; the grandnefs of their manners, and the eleva- 
 tion of their thoughts, were the conilant objects of 
 his inquiries •, 'tis by fludying in this manner that a 
 Painter mould learn to think. His mailer had a 
 collection of prints and defigns of the beil Painters, 
 which infpired Herman with a refolution of making 
 a more compleat one, difpofed in a topographical 
 and chronological order, by the help of which, 
 without quitting his clofet, he might know the tafte 
 of every nation, and judge of the talents of all the 
 able men in Europe. 
 
 The more he fearched into the theory of his art, 
 the more his ideas were inlarged, the more his pic- 
 tures advanced both in merit and price, they came 
 into greater favour among the lovers of Painting, 
 who agreed that he underilood the magic of colours 
 beyond any of the Flemifh mailers. This reputation 
 had no other effect on his modeily, than incouraging 
 him to endeavour to merit it. 
 
 As the views of the low countries have very little 
 variety, and a fmall extent, and are befides choaked 
 up with trees •, and mountains and rocks very un- 
 common there, Herman was obliged to feek more 
 piclorefque fcenes in the countries of Liege, Maef- 
 trecht, and Cleve. Thefe objects, worthy imitation, 
 the fine choice of nature, and the fkill he had to 
 make a proper ufe of it, were fo many different 
 Heps that ferved to raife him to perfection. 
 
 Though 
 
 
eminent PAINTERS. 79 
 
 Though he never fubmitted his judgment to the 
 vulgar opinions or the reigning tafte, he yielded to 
 the inclination that his countrymen have for the 
 voyage of Italy, which perfected his knowledge. 
 He vifited Rome in 1629, with eyes that nothing 
 could efcape-, the advances he made, rendered many- 
 jealous of his fuperior talents, the confequence of 
 true merit. One of his companions, while he was 
 defigning in the country, obferving him more fuc- 
 cefsful in the management of his paper than him- 
 felf, fnatched it out of his hand and tore it : to 
 which infult Herman only returned coolly, I defy 
 you to do better ; a proof of his natural moderation, 
 worthy a great artift, whofe right way of getting 
 the better of his enemies is by excelling them. 
 
 Sachtleven fpent a great deal of time in finilhing 
 his works, and never thought any thing done, 
 while there was any thing could be added to its per- 
 fection : After a confiderable flay in Italy, he re- 
 turned into his own country, and fettled at Utrecht. 
 The quantity of fine ftudies he had made during his 
 travels, furnifhed materials for a great number of 
 pictures : His landfkips deferve to be admired for the 
 clearnefs of his diftance, for their ferenity and light- 
 nefs, a degradation that difcovers in an agreeable 
 manner the different plans of his fcites, and trees 
 that are perfectly well touched. 
 
 The only difciple of his we know of, is John 
 Griffier, commonly called the gentleman of U- 
 trecht. 
 
 Sachtleven was very charitable, • he would even 
 aflift whole families that were induftrious, to enable 
 them to carry on their bufinefs, and that in fuch a 
 manner as even fpared them the confufion of ac- 
 knowledging it. 
 
 He died at Utrecht in 1685, at the age of 70. 
 
 In this life and fome few others, (as Deheem, 
 Lingelback, &c.; my author for want of materials, 
 
 becomes 
 
Bo the LIVES of 
 
 becomes a panegyrift, and celebrates his heroes with 
 no fmall pomp of words. This ferves to give the 
 reader fome infight into his own favourite tafte, 
 which is that of the French in general ; who though 
 they may colled the works of the great Italian maf- 
 ters for oftentation, are only fond of the neat, high 
 finifhcd, gay furniture pidures of the Dutch and 
 Flemifh mailers. 
 
 His difciple John Griffier was born at Amfter- 
 dam in 1658, he came to London, where he mar- 
 ried, and bought a (loop to defign the beautiful 
 views on the Thames, returning to Holland, he 
 was fhipwrecked in his velTel near the Texel. Grif- 
 fier bought another (loop at Rotterdam. Coafting 
 about Holland with his family, he ftruck on a fand- 
 bank where he ftuck eight days, till a high tide car- 
 ried him cT; thus he proceeded voyaging and paint- 
 ing for feveral years •, at laft he returned to England, 
 where he continued till his death. 
 
 Cornelius Sachtleven was inferior in merit to his 
 brother Herman. He has painted a great number of 
 fmall landfkips : he died at Rotterdam. 
 
 O 5 f A D E. 
 
 ADRIAN Van OSTADE was born at Lubcc 
 in 1610, he came to Haerlem very young, to 
 itudy under Franck Hals, who was then in efteem as 
 a Painter. Adrian formed under him a good tafte 
 in colouring, adopted the manner of the country, 
 and fettled there. Nature guided his pencil in every 
 thing he undertook : he diverted himfelf with clowns, 
 and drunkards, whofe geftures and mod trifling 
 actions were the fubject of his deeped meditation. 
 The compofitions of his little pictures are not more 
 elevated than thofe of Tenors, Brower, and the 
 other Flemings : They are always fmoakings, ale- 
 houfe^ or kitchens. He is perhaps one of the Dutch 
 
 matters, 
 
eminent PAINTERS. 81 
 
 mailers, who beft underftood the chiaro ofcuro ; 
 his figures are very lively, and he often painted 
 them in the landfkips of the bed Painters among 
 his countrymen; nothing can excel his pictures of 
 (tables, the light is fpread fo judiciouQy, that the 
 fpectator is furprized ; all that one could wifli in 
 this mafter is a lighter ftroke in his defigning, and 
 not to have made his figures fo fhort. He exercifed 
 his art feveral years in the city of Haerlem with a 
 great deal of reputation and fuccefs, till the approach 
 of the French troops alarmed him in the year 1672. 
 Refolved to return into his own country, to fecure 
 himfelf againft all hazard of the events of war, 
 he fold his pictures, furniture and all his other 
 effects. Being arrived at Amfterdam to embark 
 himfelf, he met with a lover of Painting, who en- 
 gaged him to accept a lodging in his houfe : Adrian, 
 obliged by his civilities, quitted the project of his 
 voyage, and worked feveral years in making that 
 beautiful fet of coloured defigns, which has fince 
 paft into the cabinet of Jonas Witzen ; in which are 
 feveral inns, taverns, fmoaking-houfes, (tables, 
 peafant's houfes, feen from without, and often with- 
 in ; with an uncommon understanding of colour 
 and truth beyond exprefiion. 
 
 The pictures of this mafter are not equal ; the 
 middling ones which are attributed improperly to 
 him, are of his brother Ifaac, who was his difciple, 
 and painted in the fame tafte, without being able to 
 attain the excellence of Adrian. He was born at 
 Lubec, and lived ufually at Haerlem, where death 
 furprized him very young, denying him time to 
 perfect himfelf. 
 
 The city of Amfterdam loft Adrian van Oftade in 
 1685, at the age of jr } > very much regretted by all 
 true lovers of Painting. 
 
 His prints graved by his own hand in aqua fortis, 
 large and frnall, make a fet of fifty four pieces ; 
 
 G Vicher 
 
82 the LIVES of 
 
 Vicher and Snyderhoef, and others, have alfo ingraved 
 after him. 
 
 JOHN A S S E L T N. 
 
 AL L we know of .this artift is, that he was born 
 in Holland in 1610, his matter was Ifaiah 
 Vandervelde the battle Painter, brother to William 
 the fea- piece Painter at the Hague. AfTelyn has 
 diftinguifhed himfelf with fuccefs in painting hiftory, 
 battles, and animals, particularly horfes and Jand- 
 flrip. 
 
 He travelled fir ft into France, and afterwards into 
 Italy, where he was fo taken with the manner of 
 Bambochio, that he followed it ever after ; this 
 Painter was one of his friends at Rome, where 
 AfTelyn arrived when he was twenty years old, in the 
 year 1630, The community of Flemifh Painters, 
 nick-named him Crabbete, becaufe he had one hand 
 with his fingers fo diftorted that he could hardly 
 hold his pallet : His chief ftudies were taken in the 
 neighbourhood of Rome, where he was continually 
 imployed in defigning. In his return from Italy, 
 he ftopt fome time at Lyons, to fatisfy the defire of 
 the curious in that city, his numerous ftudies en- 
 abled him to furnifh them with a variety of pictures. 
 During his abode here he was fmitten with the 
 charms of a merchant's daughter of Antwerp, who 
 happened to be then at Lyons, whom he married in 
 1645, and carried home with him to Amfterdam, 
 together with her elder fifter, who had married 
 Nicholas de Helkoftade, another Painter. His coun- 
 trymen received him with great fatisfaclion, which 
 was much heightened by the fight of his works. 
 He was the firft that difcovered to them a frefh and 
 clear manner of painting landfkips, like Claude 
 Lorrain : They admired the eafy boklnefs of his 
 pictures, and the freedom and lightnefs of touch- 
 that 
 
eminent PAINTERS. 83 
 
 that appeared through the whole. All the Painters 
 now began to imitate his new ftyle of Painting, and 
 to reform the dark brown manner they had hitherto 
 followed. The very green tints of Fouquier and 
 Paul Brill, as well as thole that were too blue, fuch 
 as Brughel and Savery made ufe of, were intirely 
 banifhed ; and the tafte of AfTelyn and Herman 
 Swanvelt, was wholly followed, as approaching 
 neareft to nature. AfTelyn grew into repute at Am- 
 fterdam, and fold his pictures at a high price ; they 
 were fometimes hiftories or battles, but chiefly land- 
 fkip adorned with antiquities, and furnifhed with 
 animals and figures well reprefented. His colouring 
 is extremely frefh, and his touch admirable, and 
 nature appears in full luftre through his works : 
 Sandrart fpeaking of him, fays, I have in my col- 
 lection a picture of his hand, reprefenting the Ponte 
 Salario near Rome, guarded by Cuirafllers, and at- 
 tacked by Pandours \ the fkirmilh is defcribed with 
 the greateft truth, and painted with the utmoft 
 care. The opinion of this author, who was himfelf 
 a Painter, and a great connoifTeur, is a good tefti- 
 mony of the ability of AfTelyn. 
 
 John AfTelyn died at Amftcrdam in 1660, being 
 fifty years old. 
 
 Perelle has ingraved after him twenty four plates 
 of landfkips and ruins painted in Italy. 
 
 JOHN W TN A NT S. 
 
 THIS matter, born at Haerlcm about the year 
 1620, is believed to have inftru&ed the fa- 
 mous Wouverman. No author has fpoken of him, 
 and the Dutch, with all their prolixity, have left his 
 name out of their catalogue, notwithstanding this 
 artift is defervedly worthy of mention. In his works 
 aneafy and judicious touch, a clearnefs in his lights, 
 that attracts the Spectator, (though they want a pro- 
 
 G 2 per 
 
84 & LIVES 0/ 
 
 per breadth) a fine choice of country, and beautiful 
 fides, are found united ; laftly, his pictures (which are 
 not common) pafs often for Wouverman's. It is 
 faid, that the figures which adorn the pictures of Wy- 
 nants, are not of his own hand •, and that he pro- 
 cured Van Tulden, Oftade, Wouverman, Lingel- 
 back, and others, to paint them for him : Which, 
 far from finking the value of his works, ferves to 
 raife it. In this he only follows the example of 
 other of Painters of great note. The famous Claude 
 de Lorrain, who may be juftly called the prince of 
 Jandfkip, did fo before him ; and though he was 
 continually making ftudies in the academy to defign 
 his figures, he could never perfectly fucceed, but 
 was obliged for his figures to Philippo Lauri, and 
 Courtois. He ufed to jeft on his own ignorance, fay- 
 ing, he only fold his landfkip, but gave the figures 
 into the bargain. 
 
 On the contrary, Wynants, was extremely care- 
 ful to conceal his unfkilfulnefs in defigning his fi- 
 gures, and to procure others to paint them for him, 
 unknown to his friends : Men have a natural difpo- 
 fition to over-rate their own good qualities, and di- 
 minifh their defects. Having fold two pictures to a 
 Burgomafter, the figures were not to his liking, on 
 which he defired the Painter to make fome alteration 
 on the fpot, and add another figure ; Wynants be- 
 ing unable to do it, was obliged to call in another 
 hand to his afliftance, which difcovered his incapa- 
 city, and did him hurt with the lovers of Painting— 
 For all this, he took great pleafure in finding fault 
 with others, without confidering how much his own 
 defects expo fed him to cenfure. This criticizing fpi- 
 rit drew on this artift many enemies, who were con- 
 tinually finding fault with his works •, and perhaps 
 this is the reafon the writers of his own profefTion 
 keep fo profound a filence in regard to him. PJay 
 and debauchery, fo common among his countrymen, 
 
 greatly 
 
eminent PAINTERS. 85 
 
 greatly checked his talents ; he gave up much of his 
 time to them, and is faid to have diftinguifhed his 
 ingenuity as much in his pleafures, as in the practice 
 of his art. We are ignorant of the time and place of 
 his death. 
 
 BARTOLOMEO, 
 
 SIRNAMED Breenberg, was born at Utrecht 
 about 1620. His natural inclination led him to 
 Fainting, in which he made fo great a progrefs, 
 that he very foon deferved to be ranked amongft the 
 good Painters. To com pleat himfelf he fet out for 
 Italy, where he fpent the greater! part of his life : 
 The profpects round about Rome, are fo many 
 Jiving pictures ; the great number of antiquities and 
 ruins, furnifh admirable fabricks for a landfkip Pain- 
 ter ; the trees indeed are not fo happy for his ftudy, 
 except in fome places, as at Albano, Frefcati, and 
 Tivoli ; in moft other places the trees are flumped, 
 and of very fcurvy forms for a Painter. The fine 
 views were enough for Bartolomeo, they fupplied 
 the ground of his pictures, which he adorned after- 
 wards with excellent fmall figures and animals, 
 which he had the art of touching to great perfection. 
 He ufed chiefly to paint in little, whenever he at- 
 tempted grand compofitions, his figures proved in- 
 correct and of bad gout. This Painter is fprightly 
 in his touch, his tafte in colouring is very good ; 
 his pictures have force and delicacy ; this, with the 
 perfection of his animals and fmall figures, occafions 
 his works to be much fought after. 
 
 It is remarked that he has two manners, which 
 fometimes confound the curious ; his firft, by the 
 bad choice of his colours, is grown dark in his fkies, 
 trees and fore-grounds: He afterwards made ufe of 
 Ultramarine and better colours, which render his 
 ^aft manner much fuperior and more eligible. There 
 
 G 3 k 
 
86 fe LIVE S of 
 
 is a famenefs in his animals and figures, which eafily 
 diftinguifhes his works. He died in the year 1660, 
 at forty years old. 
 
 Bartolomeo, has etched twenty four fmall land- 
 fkips with a great elegance of touch, thefe are very 
 fcarce : There are others engraved after him by H. 
 Naewenck, and other Flemifh engravers. 
 
 PHILIP WOUFERMAN. 
 
 MY author in this life is engaged in contradict- 
 ing Houbraken, who, while he undervalues 
 the ulents of this Painter, reprefents his fortune in a 
 much higher light than the French author is willing 
 to allow ; therefore as I cannot fettle the difpute, I 
 ftiuft prefent the reader with the account as I find it. 
 
 PhilipWouverman's works have all the excellencies 
 we can wifh, high finifhing, correctnefs, agreeable 
 compofitions, and a tafte for colouring, joined with 
 a force that approaches to the Carraches. He was 
 horn at Haerlern in 1620, of a father named Paul 
 Wouverman, a midling hiftory Painter : Houbraken 
 does not feem to love this famous artift. He feems 
 even defirous of leifening his merit, by infmuating 
 that his fuccefs was owing to his patrons and his 
 lucky flars ; whereas he was only beholden to the 
 greatnefs of his talents. He learnt the principles of 
 his art of John Wynants, an excellent Painter of the 
 city of Haerlern ; and not of his father, as that author 
 fays. This fchool was much fitter to form Wouver- 
 man for the great man he afterwards turned out : 
 Here he quickly fucceeded in acquiring the whole 
 manner of Wynants, and furpaded him in the ele- 
 gance of his figures. 
 
 It does not appear he ever was in Italy, or ever 
 quitted the city ot Haerlern \ though no man ever de- 
 ierved more the encouragement and protection of 
 fome powerful prince than he did. His example 
 
 proves, 
 
eminent PAINTERS. 87 
 
 proves, that oftentimes the greateft merit remains 
 without either recompence or honour. Nothing 
 can be more worthy of our notice, than the beauty 
 of his compofition, the choice of his fubjects, his 
 inchanting colouring, the correctnefs of his figures, 
 their fine expreffive turn, the beautiful touch of his 
 trees, his underftanding in the chiaro ofcuro, the 
 perfection of his horfes and animals, the fpirit that 
 animates the whole, and the beauty and richnefs of 
 the fore- grounds of his pictures. 
 
 The pieces he painted in his latter time, have a 
 grey or a bluiffi caff ; they are finifhed with too 
 much labour, and his grounds look too much like 
 velvet ; but thofe he did in his beft time are free 
 from thofe faults, and equal in colourings and cor- 
 rectnefs, any thing Italy can produce. 
 
 "Wouverman generally inriched his landfkips 
 with huntings, halts, and incampments of armies, 
 and other fubjects where horfes naturally enter, 
 which he defigned better than any Painter of his 
 time ; there are alfo fome battles and attacks of vil- 
 lages by his hand. 
 
 Theie beautiful works which gained him great re- 
 putation did not inrich him ; though the author be- 
 fore mentioned fays other wife, and reports, that he 
 married his daughter to Fromant a Painter, and 
 gave 20,000 florins for her fortune. But the ac- 
 count I have heard of Wouverman in the country, 
 by no means confirms this pretended affluence of for- 
 tune : on the contrary, I wasaiTured that this Painter, 
 charged with a numerous family, and indifferently 
 paid for his work, lived very meanly, and though 
 he painted very quick, had much ado to maintain 
 himfelf •, how laborious he was, the great number of 
 his pictures (difperfed every where) certifies. 
 
 Thefe circumftances, if true, are very inconfiftent 
 with that happinefs and thofe great patrons Houbra- 
 ken mentions, fince Maximilian elector of Bavaria, 
 
 G 4 and 
 
 
88 ft LIVES- of 
 
 and governor of the low countries, only brought 
 Wouverman's pictures into efttem after his death. 
 
 The mifery of his condition, which is but too well 
 proved, determined him not to breed up any of his 
 children to Painting. In his lad hours, (which hap- 
 pened at Haerlem in 1668, when he was 48 years 
 old) he burnt a box filled with his Undies and de- 
 figns, which he had made in his life-time-, I have, 
 faid he, been fo ill repaid for all my labours, that 
 I would not have thofe defigns in gage my fon to 
 embrace fo miferable a profeffion as mine : This fon 
 followed his advice, and became a Chartreux frier. 
 
 The Dutch author a Alans feveral other reafons for 
 this proceeding \ the fir (I, according to fome, is the 
 Fear that thefe helps mould prevent his fon from tak- 
 ing pains to form iludies lor himfelf, by relying too 
 much on the labours of his father. 
 
 The fecond is, according to others, that having 
 lived in a mifunderftanding with his brother Peter, 
 he was unwilling he fhoulri receive any advantage of 
 the reflections and improvements he had made in his 
 life-time. 
 
 The third fuppofed reafon, taxes the great genius 
 of Philip with plagiarifm, infinuating that he had 
 found means, after the death of Bambochio, to buy 
 all his fludies and compofitions ; and that having 
 concealed this treafure during his life-time, to keep 
 it fecret after his death, he committed them to the 
 flames: "but our author forgets what he had advanced 
 himfelf, that Bambochio had fo eafy a practice and 
 \o fruitful an imagination, that he made neither de- 
 figns nor ftudies, but painted his fubjects off-hand 
 on his cloth : So that this treafure could not have 
 been very conllderable, belides the great difference 
 in the manner and tafte of compoiltion of the two 
 Painters, render this fuppofiticn improbable. 
 
 His clifcipies were John Greffler and his own fon, 
 d alio two brothers who painted in his manner ; 
 
 the 
 
 
eminent PAINTERS. 89 
 
 the ddtfti Peter Wouverman, whom we may rank 
 with the good Painters of his time, whofe pictures 
 reprefented (tables, fowling and hawking, his hor- 
 fes were well defigned •, but he was not equal to his 
 brother Philip : John, the youngeft, lived at Haerlem, 
 he painted landfkips very well ; but as he died in the 
 flower of his age, two years before his brother Phi- 
 lip, we have but few of his works. 
 
 Several mafters have ingraved after Philip Wou- 
 verman, viz. Dancker Dankerts, Vifcher, Gafpar 
 Bouttals, and A. J. Prenner; their prints amount to 
 fixteen, great and fmall. Mr Moyreau has ingraved 
 upwards of fifty after the mod beautiful pictures of 
 this mafter in Paris, where Le Bas, Baumont, 
 Cochin, Laurent, are continually imployed in work- 
 ing after him, and Major at London ; io that it is 
 impoflible to fix the number of his prints, which is 
 daily increafing. 
 
 J JMES COURTOIS, named BORGOGNONE. 
 
 TH E father of James Courtois, named John, 
 was a Painter, he had this fon in 1621, in the 
 town of St Hippolite, in the Franche Comte, whom 
 he eafily infpired with the ambition of excelling in 
 his profefTion : The Italian name by which he is beft 
 known, is, Giacomo Cortefe detto il Borgognone. 
 At fifteen Courtois went to Milan, where getting 
 acquainted with a French officer, he followed. the 
 army three years; during which time he defigned 
 marches, fieges, fkirmifhes, and thofe battles in 
 which he was prefent. He afterwards put himfelf 
 under one Jerom a Painter of Lorrain, who im* 
 ployed him in his painting room, where Guido fee- 
 ing a landfkip of his, defired to know the author, 
 and took him with him to Bologna, where he con- 
 traded a friend fhip with Albano. Thefe two great 
 mafters gave him all the inftructions in their power, 
 
 inftructions 
 
9 o the LIVES of 
 
 inftru&ions of which Borgognone made fuch excel- 
 Jent life in his battles : Florence incited his curiofity, 
 at laft Rome finiflied his progrefs, as well as that of 
 two Dutch men his companions •, whofe tafte he 
 adopted. The Ciftertian fathers received them into 
 their convent of the holy crofs in Jerufalem, where 
 he painted feveral pieces of hiftory •, which he 
 fhewed to Pietro de Cortona and Bambochio, who 
 wanted to fee him paint. The friend fhip of Cortona 
 furnifhed him with an addition of knowledge : Bam- 
 bochio was his chief companion in ftudying and de- 
 figning the beautiful objecls about Rome. Borgog- 
 none having faved up a little money, was incouraged 
 to take a houfe, and painted from fancy feveral 
 battles, without being relblved what kind of Paint- 
 ing to apply himfelf to ; till the fight of the battle of 
 Confhintine, painted by Julio Romano intircly de- 
 termined him. Count Carpegna befpoke feveral of him, 
 on the recommendation of Michael Angelo di Batta- 
 glia,. who coming to fee Borgognone without making 
 himfelf known, was fo ftruck, that he publiflied his 
 merit wherever he went. Courtois gave his colours 
 an eclat and a freflinefs that heightened their natural 
 beauty, and where his fubjects required it, a furpriz- 
 ing boldnefs and force : Prince Matthias of Medicis, 
 governor or Sienna, for whom he did a great deal of 
 work in his beautiful houfe of L'Appegio •, brought 
 him from Florence to Sienna •, (there he married, 
 and had the misfortune of growing very jealous of 
 his wife.) Fie paffed from thence through the Swifs 
 cantons into his own country, and returning back 
 through Venice, (where he was detained a year, the 
 plague then raging in Rome : ) the Procurator Se- 
 gredo fet him to work in painting for his gallery 
 the mod bloody battles mentioned in holy fcripture. 
 Becoming a widower without children after feven 
 rs wedlock, he fell under a fufpicion of having 
 poiibned his wife, which obliged him to take fheiter 
 
 amongft 
 
eminent PAINTERS. 91 
 
 amongft the Jefuits, whofe habit protected him from 
 profecution ; in return he adorned their convent 
 with feveral pictures : Fie afterwards fet out for 
 Rome, where his reputation had preceedtd him. 
 The grand duke wanting the picture of Borgognorie 
 for his gallery, commanded him to his country houfe 
 at Caftello, two miles from Florence: He painted 
 himfelf in his religious habit, with his hands in the 
 fleeves, and in the diftance, an admirable battle : 
 At his return to Rome, he kt about the defigns for 
 the tribune of Jefus, in which Jofhua was reprefent- 
 ed flopping the fun ; and made a coloured fketch 
 for that work, which he defigned to execute in con- 
 cert with his brother William ; but in his return 
 from Caftle Gandolfo, where he had been to take 
 the air, was {truck with an apoplexy. His death 
 happened at Rome in 1676, the 55th year of his 
 
 age. 
 
 Nothing can be more fought after than his works; 
 they pofTefs an underftanding and fire not to be 
 found in other battle Painters. Courtois feldom 
 made fketches or defigns •, the handle of his pencil 
 which he fharpened, ferved him to trace out his 
 thoughts upon the cloth, and he painted his picture 
 on, till it was finifhed, without leaving it. Parrocel 
 the elder is his only difciple we know of. 
 
 Gerrard Audran has ingraved one piece of the 
 Crulade after his mafter : There is a book of fix 
 leaves by L. V. Junior of battles, and another book 
 of the fame fort of fubjects, of eight leaves, of his 
 hand. 
 
 His brother William was a difciple of Pietro 
 Cortona, he frequently afiifted Borgognone in his 
 great works, was a good Painter, and died rich, 
 leaving his fortune to an only daughter. There was 
 another brother a capuchin, whofe labours were con- 
 fined to the houfes of his own order. 
 
 JOHN 
 
92 ft LIVES 0/ 
 
 JOHN W E E N I N X. 
 
 JOHN WEENINX, an able architect of 
 Amfterdam, bred his fon (born in 1621) up to 
 his own profeffion, his dying foon (lopped the pro- 
 grefs of his (on, who remained under the care of his 
 mother and guardians : They placed him fuccefTively 
 under a Draper and a Printer, whofe paper he 
 fcribled over with imall figures of men and animals. 
 His mother, willing to indulge his natural inclination, 
 placed him with an indifferent Painter, who gave him 
 lb me leflbns ; but Abraham Bloemart was intended 
 for his mailer. By Weeninx's fuccefsful application 
 to his fludits, and by rhe good example of his maf- 
 ter, he made a quick progrefs. The love of glory 
 among mankind is generally born with talents to ac- 
 quire it -, he was likewife two years under Nicholas 
 Mojaart, whofe manner he took fo well, that the 
 works of the mailer were hardly diftinguifhed from 
 thofe of the difciple. 
 
 At eighteen years old Weeninx left his matter, 
 and married Jofina the daughter of Giles Hondi- 
 cooter, grandfather of Melchior, fo famous for 
 painting fowls ; his abilities began to gain him 
 friends and patrons, when the inclination tor travel- 
 ing feized him : He left his houfe, without taking 
 Jeave either of his wife or mother, who foon made 
 a clofe fearch after him, and at laft found him at 
 Rotterdam, juft ready to imbark for Italy. Weeninx 
 returned to pacify them, and they confented to part 
 with him for four months. 
 
 The Dutch Painters on his arrival at Rome re- 
 ceived him into their fociety; and he found fo much 
 imployment, that inflead of four months he conti- 
 nued four years there. Cardinal Pamphili was his 
 protector •, this prelate appointed Weeninx director 
 of feveral works then going on for the Pope's apart- 
 ments i 
 
eminent PAINTERS. 93 
 
 ments ; his friends obferving him melancholy, 
 whilft fortune was thus fmiling on him, afked him 
 the reafon, he confeffed it was the concern he felt at 
 being abfent from his wife and fon. Cardinal Pam- 
 phili being informed of it, and afraid of lofing 
 him, agreed with his friends in advifing him to fend 
 for them to Rome, and iffued orders for defraying 
 their expences through the Pope's territories. This 
 would have fucceeded, if his wife's relations, pro- 
 fefs'd enemies of the Roman fee, had not diffuaded 
 her from the voyage. Weeninx not hearing from 
 them, gueft at the obftacle, and {et out from Italy 
 to return to his wife, without taking leave either of 
 the Pope or Cardinal. He only left a letter inti- 
 mating his intention of returning again in three 
 months. 
 
 He was received with great fatisfadlion at his re- 
 turn to Amlterdam, but was not a jot more faithful 
 to the promife he made to the CardinaJ, than to that 
 he had before made his wife, though he prefled him 
 greatly to return to Italy •, he indeed fent his emi- 
 nence fome pictures over in his ftead. The air of 
 Utrecht agreed better with his health than that of 
 Rome •, but the interruption he met with from the 
 number of people that vifitedhim, determined him co 
 remove to the caftle of Haar, two leagues from that 
 city. 
 
 Weeninx was fo much matter of his art, that he 
 was heard to fay, that it grieved him to the very 
 foul, that he could not exprefs his conceptions with 
 his pencil as perfectly as he formed them in his mind. 
 He had an excellent practice that rendered him fu- 
 perior to any other Painter. He painted hiftory, 
 figures, animals, portrait, fea-pieces and flowers, in 
 a manner that was both grand and beautiful : His 
 tone of colouring had nothing of the manner of his 
 country : His difpatch was furprizing. He would 
 often fketch and finilh a picture fix or feven foot 
 
 hish* 
 
94 ^ LIVES c/ 
 
 high, of a bull-baiting, or other fuch fubject after 
 nature, in a day's time : Onefummer'sday he paint- 
 ed three portraits, three quarter pieces, as big as the 
 life. 
 
 It muft be owned, he fucceeded better in large 
 pictures than in fmall ones •, he had not the art of 
 contracting his ideas into a narrow fpace •, and his 
 touch was not nice enough : Notwithstanding he has 
 done fome fmall pictures as perfect for the finifhing, 
 as thofe of Mieris, or Gerrard Dow ; but his touch 
 is much inferior, wanting the fpirit that gives a value 
 to the works of thofe Painters : His figures want 
 elegance and correctnefs. 
 
 He died at Termay, two leagues from Utrecht, in 
 the year 1660, being thirty nine years old. He left 
 one fon named John, who was his difciple ; as was 
 alfo Berchem, who greatly furpafTed him. 
 
 Verkolic has ingraved a grotefque fubject from a 
 picture of his. 
 
 BERCHEM. 
 
 NICHOLAS BERCHEM, called by fome 
 Cornelius, but falfely, was born at Amfter- 
 dam id the year 1624; his father, named Klaafie, 
 was but a midling painter of fifh, and tables co- 
 vered with plates, china difhes, and fuch like : 
 KlaafTe having given his fon the firft rudiments of 
 his art, found himfelf unequal to the tads; of cul- 
 tivating the excellent difpofition he obferved in him, 
 therefore placed him with Van Gowen, Nicolas Mo- 
 jaart, Peter Grebber, John Wils, and laftly with John 
 Baptift Weeninx ^ all thefe matters had the honour 
 of aflifting to form fo diftinguiihed and excellent a 
 Painter ; they fay that Berchem is a nickname given 
 him from fome of his friends, calling on him to 
 fave himfelf on fome (probably ludicrous) occafion. 
 Berghem fignifying, fave him : Indefatigable at his 
 
 eafil, 
 
eminent PAINTERS. 9$ 
 
 eafil, Berchem acquired a manner both eafy and ex- 
 peditious. To fee him work, Painting appeared a 
 meer diverfion to him. 
 
 He pofiHTecl a clearnefs and ftrength of judgment, 
 and a furprizing force and eafe in exprefling his 
 thoughts, he painted human figures, animals, and 
 landfkip, with equal truth and beauty. His choice 
 of nature (which was his conftant model) was judi- 
 cious, and though his fubjects were generally of the 
 low or familiar kind •, he gave them all the beauty 
 and elegance their natures were capable of admit- 
 ting : His peafants have a truth and eafe in their ac- 
 tions, and the expreffions of their character, that de- 
 lights and furprizes ; the poftures of his animals are 
 well chofen. His groups are well difpofed, his 
 landfkips are admirable, the leafing of his trees is 
 light and well touched, his fkies are clear, and his 
 clouds flow with a furprizing thinnefs : the time of 
 the day, and the feafon of the year, are admirably 
 marked out in his pictures, the brightnefs, warmth, 
 and glow of colouring that appears over his land- 
 fkips, has never been excelled: The breadth and 
 juft diftribution of his lights, the harmony of his 
 colouring, and the juft degradation of his tints, the 
 correctnefs of his defign, and the elegance of his 
 compofition, are the diftinguifhing characters of his 
 pictures, and where any of thefe marks are wanting, 
 no authority ought to be fufficient to fix his name to 
 the piece. 
 
 His wife, the daughter of John Wills, one of his 1 
 mailers, through her avarice allowed him no reft : 
 as induftrious as he was at his bufinefs, fhe ufually t 
 kept herftlf under his painting room, and when fhe ' 
 neither heard him fing or ftir, fhe ftruck upon the 
 cieling to roufe him : fhe got from him all the mo- 
 ney he earned by his labour, fo that he was obliged 
 to borrow from his fcholars, when he wanted money 
 to buy prints that were offered him, which was the 
 
 onlv 
 
96 Jfc LIVES «/ 
 
 only pleafure he had -, and his collection of this kind 
 was found confiderable after his death. 
 
 Berchem joined a great regularity of conduct with 
 a fweet and amiable temper. He and John Bot each 
 painted a picture for a Burgomafter of Dort, re- 
 prefenting a mountainous country covered with 
 flocks of fheep, and herds of cattle. This magif- 
 trate having promifed an extraordinary gratuity to 
 the Painter that ihould acquit himfelf bed, when 
 they each prefented their picture, found them both 
 fo excellent, that he rewarded them both equally. 
 
 A picture of his of the calling of St Matthew, 
 in which there is a great number of animals, is alfo- 
 much talked of. 
 
 All the cabinets in Europe are furnifhed with tefti- 
 monials of the capacity of this able mailer. 
 
 He palTed part of his life in thecaftle of Bentheim, 
 whofe agreeable fituation furnifhed him with the 
 views and animals that form his pictures ; he has alfo 
 frequently painted the view of that caftle. He died 
 at Haerlem in 1683, at the age of fixty, and was 
 buried in the weft church of that city. 
 
 There are many prints graved by, and after him ; 
 the former amount to forty eight, the latter to 133, 
 graved by Vifcher, Danker Dankerts, Snyderhoef, 
 Groenfvelt, Avelini, Le Bas, and others. 
 
 PAUL POTTER. 
 
 TH E grandfather of Paul Potter was fecretary 
 and receiver of upper and lower Zwol, and 
 his wife a defcendant of the houfe of Egmont : 
 Their fon Peter, notwithstanding the advantages of 
 his birth, was fo little favoured by fortune, that he 
 was obliged to learn to paint in the city of Enchuyien - 9 
 he afterward married very advantageouQy, and in 
 1625 had a fon named Paul Potter. If the genius of 
 the fon joined to a continued application, had not 
 
 made 
 
eminent PAINTERS. 97 
 
 made amends for the poornefs of the father's talents, 
 he had never been able to have fo greatly diftin- 
 guifhed himfelf from the croud of Painters. The 
 fine pictures that adorn the cities of Amfterdam and 
 the Hague, were of great ufe to him in his ftudies, 
 for which reafon he fettled himfelf at the Hague : 
 He hardly began to be known, when the charms of a 
 damfel in his neighbourhood proved fatal to his li- 
 berty, fhe was daughter of an architect of fome re- 
 putation. Potter aflked the father's confent, who 
 made a difficulty of granting it, as he painted only 
 animals *, but the merit of Paul, and the efteem he 
 had acquired among the connoifTeurs, at laft pre- 
 vailed on the father to give him his daughter : The 
 architect, by his accefs to people of the higheft rank, 
 procured imployment for his fon in law. Potter by 
 his ability in his art, his prudence,, politenefs and 
 learning, drew the foreign minifters to vifit him, and 
 prince Maurice of NafTau would often go to fee him 
 work ; his natural good fenfe, improved by an ap- 
 plication to reading, fupplied him with fo agreeable 
 a fund of converfation that thefe great men found an 
 an entertainment in frequenting him ; when one was 
 thoroughly acquainted with him, it was impofllble to 
 quit him : His wife, who had an inclination for gal- 
 lantry, was pleafed with the great refort to her huf- 
 band, as it gave her an opportunity of gaining ad- 
 mirers : Her hufband, wholly taken up with his bufi- 
 nefs, took no notice of her coquetting, till at laft 
 ihe grew fo fecure that fhe neglected even the com- 
 mon care of faving appearances, fo that he at laft 
 furprized her with one of her gallants, and brought 
 in her friends as witnefTes of her fhame : they were 
 violently inraged, and fhe was fo fhocked, that 
 convinced of her folly, fhe became wifer for the 
 future : Potter was afterwards indulgent enough to 
 forgive her. The princefs dowager Amelia, countefs 
 of Solmes, ordered him to paint a picture for a 
 
 H chimnev- 
 
9 S -ft LIVES o/ 
 
 chimney- piece Tor one of the fine apartments of the 
 old court': This picture reprefe&ted a beautiful land- 
 fkip, in which he painted a cow {taking ; a favou- 
 rite courtier infinuated that it was an unleemly ob- 
 ject to be continually in the view of a princefs, and 
 diiTuaded her from taking it ; fo that Potter was ob- 
 liged to take his picture back again. This trifling 
 abfurdity gave the picture a reputation; the curi- 
 ous bid upon one another for it, and it has pad fuc- 
 ceflively into fome of the beff cabinets in Flanders. 
 Houbraken fays it fold for'2oco Florins to Mynheer 
 Jacob Vanhoeck, who placed it over againft a cele- 
 brated picture of Gerard Dow. 
 
 In 1652 Potter removed to Amfterdam at the fe- 
 licitation of a Burgomafter, who efteemed him, 
 and employed him to paint feveral pictures for him •„ 
 amongft them are four ingenious fables, wherein the 
 animals feem alive ; another of feveral horfes which 
 {land round a farrier at work ; and another that re- 
 prefents a black and white horle. This Painter was 
 remarkable for his induftry and attention, he never 
 walked out without a book, in which he defigned- 
 every thmg he obferved that might be of fervice to 
 his pictures. In the winter he ingraved in aqua 
 fortis the defigns he made after nature, which are 
 much fought after. 
 
 His great application to his bufinefs fhortened his 
 days, he became confumptive, and died at Amfter- 
 damin-1654, when he was but 29 years old. His 
 pictures are his only remains, they are now come 
 greatly into vogue ; the greennefs of his trees, and 
 the carelefs manner of his leafing are-fufficient marks 
 to diftinguifh them by : His ikies, his trees, and 
 his diftances, are painted very negligently, but his 
 animals are highly finilhed and touched up with 
 great fpirit. 
 
 J He has etched four landfkips with a great num- 
 ber of figures, and animals lengthways, andafmall 
 
 book 
 
eminent PAINTERS. 99 
 
 book of bulls and cows in eight leaves. There are 
 alfo thirty leaves of different animals ingraved after 
 him, by Mate de Bic. 
 
 JOHN LINGELBACK, 
 
 WA S born at Francfort on the Maine in 1625. 
 We are ignorant of the names of either his 
 father or his mafter ; yet we may judge of the abi- 
 lities of the latter, by the fuperior talents of the 
 fcholar, whofe iirft beginnings contributed to efta- 
 blifh that reputation he afterwards fupported fo well. 
 At the age of fifteen he went to Holland to improve 
 his ftudies, his pictures there acquired a greater de- 
 gree of perfection, which even then produced a great 
 demand for them ; his fmall figures were fo true, 
 that nature feemed to have formed them ; they were 
 likewife accompanied with a frefh and delightful land- 
 fkip. 
 
 Lingelback paffed into France in 1642. This 
 voyage increafed the number of his admirers, and 
 the price of his works : The number of able men 
 he found there delighted him, and infpired him with 
 an emulation, which prompted him to make the 
 voyage of Italy ; and having faved up money 
 enough in two years ftay at Paris, he fet out for 
 Rome ; where he revived his ftudies with great ap- 
 plication : Nothing efcaped his inquiry in the neigh- 
 bourhood of that famous city. The fea profpects, 
 vefTels, antiquities, fountains, fairs, the mountebanks 
 and preachers that are (ttn there in publick places; 
 were the fubjects of his beft pictures. Whilft his 
 art feemed to ingage his whole attention, love broke 
 in upon his ftudies : A young woman, daughter of 
 an architect, was continually at her window, which 
 was over againft his, this was enough to ftop all at- 
 tention to his pencil in fo young a man : Tender 
 looks, expreflive geftures, and billet-doux, were his 
 
 H 2 v w^ole 
 
ioo The LIVES of 
 
 whole employment ; thefe produced rendezvous in 
 churches and on walks, our lovers talked to each 
 other out of the windows, and every thing Teemed 
 to go on fwimmingly : At laft the damfel found 
 means to introduce her lover into her father's houfe, 
 from whence, as he was retiring one night, he was 
 furprized by two brothers of his miftrefs>, who at- 
 tacked him brifkJy ; but Lingelback defended him- 
 fclf with fo much bravery, that he wounded them 
 both, and got off himfeJf with a flight fcratch -, 
 happy to have efcaped fo well. This proved a warn- 
 ing to him to bid adieu to intriguing, fo general, 
 but yet fo dangerous in that city. On this accident he 
 applied himfelf afrefh to his ftudies, which by his 
 fuccefs made him amends for the lofs of his miflrefs. 
 He remained in Italy till 1650, when he returned 
 through Germany toAmfterdam : At his return, the 
 progrefs he had made in France and Italy, foon 
 difcovered itfelf, by the greatnefs of his abilities in 
 his art. 
 
 His pictures are adorned with ruins of antiquity, 
 animals, waggons filled with beautiful figures ; his 
 diftances are of a clear blue, and his fkies, which are 
 lightly clouded, have a chearful air, and give a 
 Xlrength to his fore-grounds ; nor can any thing be 
 better underftood than the degradation of his colours : 
 his genius was fo fertile, that he never repeated the 
 fame fubject in his pictures. His character was al- 
 ways that of an honeft man •, honour always prevailed 
 with him over intereft ; therefore as there is no praife 
 equal to that of deferving it, this Painter merits it 
 from truth, not from flattery. 
 
 This Painter, though his merit is very real, (fays 
 my author) is little known in France : his works 
 have difcovered it at Paris, and begin to find a place 
 in collections. They poflefs a fine tone of colour- 
 ing, a pleafant and lively touch through the whole, 
 and a lightnefs of pencil and a neatnefs that is very un- 
 common. 
 
eminent PAINTERS. 101 
 
 common. This defcription gives but a flight idea of 
 the talents of John Lingelback, whofe pictures are 
 not yet come quite into falhion •, for there is a fafhion 
 in Paintings as well as in cloaths. Teniers has had 
 a long reign. Polemburch, Wouverman, Gerrard 
 Dow, Miens, and Schalken fucceeded him-, at 
 prefent it is A. Oftade, Metzu, Potter, Vandervel- 
 de, Vanhuyfum, and Vanderwerf. The curious not 
 only fet thefe matters now above the former, but ea- 
 gerly bid upon one another for them at fales, and run 
 them up to an extravagant price ; though thefe fort of 
 preferences are not extraordinary in Holland, and 
 Flanders, where they only love the Painters of their 
 own country, fhewing little regard for the Italian, 
 or French mailers. 
 
 The time of Lingelback's death, fet fortune, 
 children, or difciples we are ignorant of. 
 
 He has ingraved fome landfkips. 
 
 VAND E R ME E R. 
 
 THERE are two Vander Meers, John, and his 
 brother Vander Meer de Jonghe, that is the 
 young : John Vander Meer was born at Lifle in 
 Flanders in 1627. He was the difciple of nature. 
 The pleafure he took in defigning landfkips and views 
 of the fea, determined his application to that kind 
 of Painting. The difficulty of reprefenting (hips, 
 with their cordage and furniture, (which ufually per- 
 plexes other Painters) was none to him : He had by 
 practice acquired an eafe in expreffing them in all 
 pofitions : His pictures are filled with animals and 
 fmall figures, which he defigned with great tafte and 
 fpirit. There is nothing exceeds his touch, nor 
 can any thing be gayer than his composition. 
 
 Vander Meer fet out for Rome in company with 
 Henry Verfcuring a Dutch Painter, and a difciple of 
 
 H 3 John 
 
ic2 the LIVES of 
 
 John Bot, born at Gorcum in 1627, who returned 
 after two voyages to Italy to his own country, as 
 mentioned in De Pile's lives. 
 
 Vander Meer iiay'd a great while in Italy, the 
 great number of ftudies he made there, were of in- 
 finite lervice to him in the beautiful grounds that give 
 fuch a richnefs to his works. He returned into his 
 own country, where he continued to paint many 
 years, and where he ended his days in an advanced 
 age, There is no fault to be found with his works, 
 except that he fometimes is a little too blue in his 
 back- grounds. 
 
 His brother Vander Mter de Jonghe, who was 
 alive in 1686, has not followed the fame tafte ; he 
 has painted fheep even better than Berchem, or any 
 other Dutch matter. They are fo highly finifhed, 
 that you think you can feel their wool : This Pain- 
 ter has no touch, ail is fmooth, and admirably .uni- 
 ted. His compofitions are generally a fhepherd and 
 fhepherdefs fitting on a hillock in a iandfkip, watch- 
 ing their fheep and goats ; which can hardly be 
 enough admired : His figures, grounds, flcjes, 
 and trees, are all painted in an excellent gout. 
 There are very rarely horfes, cows, or other cattle in 
 his pictures ; fheep and rams are his favourite ob- 
 jects. 
 
 We neither know of any difciple of, or print in- 
 graved after, either of theie mafters. 
 
 BACKHUTSEN. 
 
 LUDOLF BACKHUYSEN was born in the 
 year 1631, in the city of Embden. His father 
 was fecretary of the dates, and his grandfather a 
 minifter. He followed his ftudies till he was fixteen 
 years old, when he was fent to Amfterdam to learn 
 commerce, which he ioon quitted for Painting. At 
 that age, without having learnt \ he defigned fea- 
 
 views 
 
eminent PAINTERS. 103 
 
 views and vefTels, in a manner fo beautiful and new* 
 that his defigns have fetched ico florins. On which 
 fuccefs he was advifed to take up the pallet : Evercjy 
 ing, a good landfkip Painter, taught him how to em- 
 ploy his colours, and Houbraken fays he trucked 
 his firft picture for ten florins : The. Painter whom he 
 found mod communicative, was Henry Dubbels* 
 one of the ancients of the community of Painters, 
 who unveiled to him the myfteries of his art, which 
 Backhuy fen knew how to improve to his advantage. 
 As foon as he faw a ftorm rifing, he embraced {he 
 critical minute, got on board a vellel, and put out 
 to fea ; where he obferved and (ketched out with his 
 pencil, the forms of the clouds, the ftormy fkies, 
 and their different effects on the agitated water, the 
 breaking of the waves againft the rocks, and the 
 froth and foam of the fea : On his return he Pout 
 himfelf up in his painting room, and from his 
 /ketches exprefied on his canvas the objects that 
 were then ftrongly painted in his imagination. Thi$ 
 Painter reprefented nature jure as he faw it, fometimes 
 in too fervile a manner ; yet his pictures, for the beau- 
 tiful agreement of all their parts, defer ve a place in 
 the mod curious cabinets. 
 
 In 1665, the Burgomafters of Am fterdam or- 
 dered him to paint a large picture, in which was re- 
 prefented a great number of (hips and figures, for 
 which they paid him 1300 florins, and made a pre- 
 fent of it to Louis XIV. The king of Pruffia, 
 the elector of Saxony, and the great duke of Flo- 
 rence were defirous of his pictures, and fome princes 
 .fought his acquaintance, amongft others the Czar 
 Peter I : This prince, who was extremely curious in 
 every thing relating to the art of fhip-buiiding, or- 
 dered him to paint, and defign for him all forts of 
 vefTels. 
 
 Backhuy fen was a quiet man, that loved his pro- 
 feflion, and knew how to employ his time ufefully, to 
 
 H 4 the 
 
104 The LIVES/ 
 
 the advantage of his family : Befides Painting, he 
 taught feveral children of the principal merchants to 
 write, by an eafy and quick method, which he had 
 invented, and reduced to certain rules : It is faid 
 that he was fenfible of the beauties of poetry, and 
 well acquainted with the moft eminent poets of his 
 time. He exercifed his feveral talents to the laft, in 
 fpite of the gravel and (tone, with v/hich he was 
 cruelly tormented, and which at length brought on 
 his laft hour, in the year 1709, when he was 78 
 years old. 
 
 He had himfelf fet by a number of bottles in his 
 life-time fealed, to be prefented to his friends that 
 fhould attend his funeral, according to the cuftom of 
 Amfterdam •, and after his death they found a little 
 bag in which were as many florins as he was years 
 old, which were defigned for thofe that carried him 
 to the grave, and who were named in a memoran- 
 dum he left : Thefe were all Painters of his acquaint- 
 ance, whom he defired to fpend it together. 
 
 At the age of fixty one he ingraved in aqua fortis 
 the maritime views of Lye, a little arm of trie fea in 
 the county of Holland. 
 
 ADRIAN VANDER KABEL, 
 
 WAS born at the caftle of Ryfwick near the 
 Hague in 1631. John Van Gowen, a fkilful 
 Painter of landfkip, had the charge of cultivating 
 Adrian's happy talents for Painting, and the pleafure 
 of finding the quicknefs of his improvement anfwer 
 his care. Adrian took great delight in painting fea- 
 views, and animals, without neglecting human fi- 
 gures, which he defigned in a good tafte. The in- 
 clination to travel (fo natural to young people) 
 tempted him, as it does others •, after having painted 
 fome time in his own country, he could not refill his 
 defire of vifiting the neighbouring provinces, but 
 
 coming 
 
eminent PAINTERS. 105 
 
 coming into France, he fixed in the city of Lyons. 
 Here he ftudied the manner of Caftiglione, and the 
 Jandfkips of Salvator Rofa, and entered fo thoroughly 
 into their tafte, that his pictures have often been 
 miftaken for pieces of thofe mafters ; his manner 
 varied, fometimes he aimed at imitating Mola, and 
 Carrache, like them he painted dark, or rather, the 
 bad colours he made ufe of have changed his pic- 
 tures, for he was too able a matter to have painted 
 them fuch as they now appear. The nice Flemifh 
 tafte never ingaged him, but his manner, which is 
 grand and free, approaches the Italian : His trees 
 and his fmall figures are very correct and well 
 touched, and his animals, which are often the princi- 
 pal object of his pictures, are equally excellent. 
 The quantity of his works, fhew how laborious this 
 painter was * he has alfo etched feveral plates in fo 
 perfect a tafte, that the touch and leafing of his trees, 
 are fome of the beft ftudies that can employ the at- 
 tention of a ftudent that defigns to excel in landfkip. 
 His conduct was not fo well regulated in his life as 
 in the purfuit of his art: His debaucheries continu- 
 ally drawing him into fome fcrape or other. No- 
 thing was more common than to fee Vander Kabel 
 drunk, as he fpent his time with fots, and de- 
 bauchees * he was often for want of money obliged to 
 bilk the taverns. Once not being able to pay his reck- 
 oning in a houfe where he had parTed two whole days, 
 he could find no other expedient, than painting a 
 fign, which he gave his landlady, who afterwards 
 difpofed of it very advantageoufly. 
 
 Another time, having quarrelled with fome fhar- 
 pers, who were drinking at the fame houfe with him, 
 he had a narrow efcape for his life, by the guards in-' 
 terpofing in time ; yet as there was a man dange- 
 roufly wounded, it coft him his liberty, for he was 
 thrown into prifon 5 whence it was feveral months 
 
 before 
 
io6 The LIVES of 
 
 before he got free -, by the l.clp of a fum of money 
 which his triends furnifhed him withal. 
 
 It was a hard matter to get him to finim a pi&ure, 
 the only way was to join with him in his parties ; 
 which was not agreeable to every body. Vander Kabel 
 painted dead game very well : as he loved good eat- 
 ing, he took care to bellow time enough on that 
 fort of pictures, that he might have a pretence of 
 demanding frefh game to paint from, of his cufto- 
 jners ; which he would eat at the tavern with his pot 
 companions. Notwithftanding his inclination for 
 debauchery, Vander Kabel's temper was companion- 
 ate, tender and generous, his wit was lively, his 
 converfation jovial, and his countenance exceeding 
 jpritely. 
 
 He died at Lyons in 1695, aged 64, leaving a na- 
 tural fon behind him, who was a Painter, and very 
 likely his difciple. He had likewife a brother, who 
 painted fruit well. 
 
 He has etched two large upright landfkips, in one 
 of which is a St Bruno, in the other a St Jcrom, two 
 other large ones length-ways, twelve of a middling 
 fize, and thirty fix fmall ones, of which fix are up- 
 rights. 
 
 J. Coelmans has engraved a St Bruno and four 
 other landfkips, animals, and fea-views, in the ca* 
 binet of Aix. 
 
 ANTHONY FRANCIS VANDERMEULEN, 
 
 DESCENDED from an honourable family 
 at Bruffels, was born in that city in 1634. 
 As his inclination for Painting difcovered itfelf early, 
 the inftructions of an able mailer, joined with the 
 b^nt of his own genius, foon taught him to excel. 
 The talents he received from nature, being improved 
 by art, fixed his reputation fo, that his fmall, well 
 touched landfkips, inriched with fubje&s of war, 
 
 were 
 
eminent PAINTERS. 107 
 
 were in great vogue, and efleemed as ornaments to 
 the bed cabinets. Mr Colbert, that father of arts, 
 being informed of the fpritely productions of our 
 young Painter, ordered him to paint him fome pic- 
 tures •, with which that miniftcr was fo well pleafed 
 that following the advice of Charles le Brun, he de- 
 termined to employ Vandermeulen's pencil in pub- 
 lishing the glory of the king his mailer; and by his 
 bounty and careffes engaged that able artift to con* 
 fecrate his talents to his majefty's fervice : A lodg^ 
 ing in the Gobelins, and a penfion of 2000 livres, 
 were the firfb marks of the monarch's liberality to 
 him. The conquefts of Louis XIV, fo rapid at 
 that time, opened a wide field for the pencil of Van- 
 dermeulen, he followed the king, and received or* 
 ders from him every day ; all his expences were de- 
 frayed. He defigned upon the fpot fortified towns, 
 with the neighbouring country ; the different march-* 
 es of the armies, incampments, halts, forrages, 
 fkirmifhes, and all the implements and pomp of 
 war •, all, things that entered neceflarily into his com- 
 pofitions. As he was above imitating, he formed 
 his own manner, nature alone was his guide, and his 
 ftudy of her was infinite and continual. Being con- 
 vinced that a reputation founded on great works is 
 eafier obtained than preferved, he redoubled his en- 
 deavours to deferve the favour and protection of a 
 great monarch and a powerful minifter. 
 
 This celebrated Painter defigned figures well, 
 efpecially horfes ; his landfkip is light and frefh, 
 his touch and his leafing are very lively, his 
 colouring is not ftrong, like that of Borgognone 
 and Parrocel the father, but much fofter, and to 
 fome more pleafing ♦, he applied himfelf principally 
 to paint battles, fieges, and hunting, nor has any- 
 body expreffed the effects of nature with greater 
 truth than he ; in the pictures he has given us of 
 $hofe places which were the objects of the military 
 
 exploits 
 
io8 The L I V E S of 
 
 exploits of the monarch that imployed him. He of- 
 ten made ufe of Martin the elder, Baudouin, Bonnart,. 
 and other Painters to lay in his large pidtures from his 
 defigns, which he afterwards worked up, and fi- 
 ni fried •, he alio touched up the copies which they 
 made of his works : His wife dying, Charles le 
 Brun, the king's ft rft Painter, who was fond of Van- 
 dermeulen, and fupported him on all occafions, 
 gave him his niece in marriage. This alliance added 
 to his intereft, and every day he was diftinguifhed 
 by frefh favours from the king. At Jaft this happy 
 fun-mine of his affairs, was overcaft by domeftic 
 troubles, which prejudiced his health, and brought 
 him to the grave in the city of Paris, in the year 
 1690, when he had lived 56 years. 
 
 He was buried in the church of St Hippolytus. 
 He left two daughters, and a fon who took up 
 orders. 
 
 His difciples were Martin the elder, Baudouin, 
 and Bonnart. 
 
 He had a brother named Peter Vandermeulen, 
 who applied himfelf to fculpture, in which he dif- 
 tinguifhed himfelf; he took his wife with him to 
 England in 1670, where he continued feveral years 
 with Peter Van Bloemen, and Largiliere, and there 
 is reafon to think he died here. 
 
 Baudouin, Romaine, de Hooge, Hu&enburg, 
 Simonneau the elder, Nicolas Bonnart, Cochin, 
 Surugue, Nolin and Ertinger, have ingraved his 
 battles and huntings to the number of forty feven 5 
 his landfkips, which are feveral fets, make up forty 
 eight •, his ftudies of horfes are ten, his incampments 
 eight ; the whole compofe a work of one hundred 
 and thirteen prints great and fmall. 
 
 We muft not join the inventions of Genoels, a 
 Flemifh Painter, with them, though they are fome- 
 times fold with the prints of Vandermeulen. 
 
 MELCHIOR 
 
eminent PAINTERS. 109 
 
 MELCHIOR HONDICOOTER. 
 
 THIS Painter was of an ancient and noble fa- 
 mily, he was inftru&ed till the age of feven- 
 teen by his father Gysbert, who was a tolerable 
 Painter : Gillyes his grandfather painted live birds ad- 
 mirably, but chiefly cocks and hens, in pleafant 
 iandfkips in the tafte of Savery and Vincaboon. 
 His fon Gifbert defired him to folicit a young girl, 
 who was an orphan, and with whom he was in love, 
 for his wife : Grilles was a handfome man, and the 
 damfel liked him fo well, that fhe preferred him to 
 his fon : In vain he reprefented to her that his fon's 
 age was more fuitable to her than his own, fhe would 
 not hear him, and Gyfbert married another. The 
 tender fentiments the young woman had difcovered 
 for him, affected the old gentleman fo fenfibly that 
 he married her, which gave fo much concern to the 
 fon, that he fettled at Utrecht, to avoid the fight of 
 the lirfl: object of his love ; here Melchior was bom 
 in 1636. He foon became mailer of his art, aban- 
 doned himfelf to his genius, and after his father's 
 death worked alone, yet was frequently affifted by 
 the advice of his uncle Weeninx : He was an excel- 
 lent Painter of animals, and his pencil feemed to give 
 life to the peacocks and other large birds, that he 
 placed in high finifhed Iandfkips. 
 
 His happinefs in the number of friends he had ac- 
 quired, was difturbed by his marrying a woman 
 who brought along with her a train of five difagree- 
 able lifters ; not being able to bring a friend home, 
 he was obliged to carry them to the tavern : This 
 libertine kind of life drew him into frequent fcrapes, 
 he always came home drunk, and often maimed. 
 A woman, purfued by her hufband, took refuge in 
 the room of the tavern where he was, he undertook 
 her defence againft three or four men that attacked 
 
 him, 
 
no Tfo L IVES of 
 
 hjm, and wounded one dangeroufly ; as they be- 
 lieved him the gallant of tht woman whom he did 
 not even know, he was carried to prifon with her ; 
 and it was with feme difficulty that he procured his 
 liberty. 
 
 The day after his pranks, he conftantly promifed 
 amendment, and to be more upon his guard -, he 
 took his pallet and fet to work, to return to his bottle 
 again at night, fo that between his work, and his 
 pot companions, he enjoyed a continual round of 
 drinking and painting. 
 
 This conduct of his was the more remarkable, as 
 before he married he was continually failing againfl 
 drunkennefs, quoting pafTages of fcripture, and de- 
 claiming fo well that his family were once in a doubt 
 whether they fhould breed him up a Minilter or a 
 Painter : He had trained up a cock to put himfelf 
 in the attitude he wanted, then placed him on his 
 eafil, and with the motion of his ftick made him 
 hold up his head, and fix himfelf in a proper pof- 
 ture, which the animal would continue in a long 
 time ; fometimes he would make him beat his wings. 
 
 He died at Utrecht in 1695, aged fifty nine. , 
 One may judge of the delicacy of his pencil by the 
 works he has left. There is at the Hague, at Mr 
 Lormier's, a large Saloon of his painting, where 
 the animals feem alive and moving in excellent 
 landfkips ; his touch is fo light, that one can hardly 
 forbear handling the feathers to be affured of the il- 
 lufion. 
 
 JOHN VAN DERHETDEN, 
 
 WAS born at Gorkum in the year 1637. 
 His parents placed him firft with a Painter 
 on glafs, whom he left foon after to paint ancient 
 buildings, churches, temples and country houfes, 
 accompanied with trees and diftances, which he de- 
 
 figned 
 
eminent PAINTERS. m 
 
 figned after nature with all poflible exactnefs. His 
 underftanding, but above all his patience, are incon- 
 ceivable : Several Painters have finifhed their works 
 as highly as he, but few have known how to unite 
 mellownefs to fucli high finifhing. Nothing ap- 
 pears laboured or fervile in the works of Vander- 
 heyden. Drynefs, hardnefs and low tafte are- ba- 
 nifhed, the more you look the more you admire the 
 underftanding and good tafte that reigns through 
 the whole : With this talent, which was particular, 
 one might fay Angular in him, you may count the 
 {tones and bricks in his houfes, moft part fullied 
 with a greyifh or green caft; you may perceive even 
 the mortar that binds the bricks, yet the chiaro 
 ofcuro and the harmony of the picture are not in the 
 leaft interrupted, but on the contrary form moft ad- 
 mirable maftes of light and fhadow. The perfpec- 
 tive is obferved in the diminution of the bricks in 
 proportion to their diftances, by a magick that 
 ieems to furpafs the art of Painting. 
 
 Vanderheyden, out of the money he hadamalTed, 
 built himfelf a little houfe at Amfterdam, where he 
 ufually refided : One of his friends jefting on the 
 fmallnefs of his houfe, whofe pencil could raife fuch 
 palaces \ the Painter an fvvered, It was mucheafierto 
 lay the ftrokes of his pencil on one another, than 
 flones and timber. 
 
 This artift has painted feverai times the town-houfe 
 of Amfterdam, the change, the publick weighing- 
 houfe, and the new church ; the royal exchange, and 
 the monument at London : At Cologne, the view 
 called mount Calvary, and the adjoining buildings. 
 His excellent pencil was fupported by the admirable 
 fmall figures which Adrian Vandervelde painted for 
 bim, who often employed himfelf in adorning the 
 works of others, to the time of his death, which 
 happened in 1672. 
 
 The 
 
ii2 ft LIVES c/ 
 
 The ftates of Holland hearing our artift had in- 
 vented a new engine to extinguifh fires, took him 
 into their fervice, which interrupted his ftudies in 
 the painting way •, at the fame time he found him- 
 felf deprived of the afiiftance of Adrian Vandervelde. 
 This circumftance has rendered his pictures fcarce, 
 though he employed his leifure hours now and then 
 in painting. He died at Amfterdam in 1712, 
 aged 75. 
 
 JOHN PEfER SLINGELANDT* 
 
 THE city of Leyden may boaft of having gi- 
 ven birth to Peter Slingelandt, in the year 
 1640. He was fon of Cornelius Peter Van Slinge- 
 landt, who by the firfl: principles of defigning made 
 trial of certain difpofitions his fon feemed to difco- 
 ver for that art : Thefe difpofitions worked flowly 
 and did not promife favourably, his tafte was not 
 immediately fixed towards Painting, but by degrees 
 he furmounted all obftacles •, his genius difplayed it- 
 felf, and he rofe to perfection under the inftruction of 
 Gerrard Dow, whom he followed, not only in the 
 choice of his fubjects, but whom he furpafTed, to ufe 
 the words of a certain author, in the high pollifh 
 and neatnefs of his painting : His only fault is, that his 
 figures have a ftiffnefs which his matter's have not. 
 
 He was extremely flow in his works ; he fpent 
 three years in painting the family of Meerman : 
 and they tell you in the country, that he was a 
 month in finifhing a lace cravat. This reminds one 
 of what happened between fome Flemifh Painters 
 and Tintoret at Venice, on me wing fome heads 
 highly finifhed ; he afked them what time they fpent 
 in painting each of thofe heads, they replied a fort- 
 night ; Well, fays he, I will fhew what an Italian 
 
 can do in an hour, — whereon he took a pencil dipt 
 In black, and (ketched out an entire figure -, and re- 
 lieved 
 
eminent PAINTERS. 113 
 
 lieved it with a white: You fee, fays he, how much 
 cauie you have to regret the time you have fpent in 
 painting of heads. 
 
 The length of time Slingelandt took up in a fingle 
 picture, was the occafioh of his gaining more repu- 
 tation than fortune, though the prices he fet on his 
 works were very high, they were not proportioned 
 to the time he fpent on them •, his labour is furpriz- 
 ing, in a little picture of his, of a young lad play- 
 ing with a bird, you may perceive even the fabrick 
 of his ftockings : In another of one playing on the 
 violin, there is a Turky carpet, in which the fhagg 
 of the wool and the threads of the fabric, are fur- 
 prizingly exact. They tell alio of a failor in a wool- 
 len cap, in which you count all the threads of the 
 webb : But the moft diftinguifhed of all his pictures, 
 is one of a girl that holds a moufe by the tail, and a 
 catjuft going to fpring on it; nothing can exceed 
 the beauty of this piece, which has joined to the 
 harmony and high finifhing, a precious chiaro ob- 
 fcuro, and a colouring equal to nature itfelf. 
 
 They mention a fingular adventure of this Pain- 
 ter ; A widdow who fat for her picture, tired out 
 with his tedioufnefs, and vexed that her portrait was 
 in fo little forwardnefs -, after much time fpent in 
 fitting, rallied him on his flownefs : It is a much ea- 
 fier matter to love you, madam, replied Slingelandt, 
 than to paint your likenefs ; I find fo many graces 
 to represent, fo many charms to copy, that my pen- 
 cil is confounded in the attempt ; but in loving you, 
 I mould follow my inclination, which if it meet 
 with the lead incouragement, I mould think myfelf 
 the happieft man breathing. The lady was not in- 
 lenfible to this declaration, with which (lie was both 
 charmed and furprized, the perfon of the Painter 
 did not difpleafe her, and he had the character of 
 worth and probity ; flie made no anfwer but let him 
 finifh the picture, and when rifing from the lad 
 
 I fitting, 
 
Ii4 W^ LIVES of 
 
 fitting, fiie afked him if he wogld take the original 
 in payment for the copy •, he accepted the condition, 
 and foon after married the lady, whofe eftate being 
 considerable, made him eafy for the remainder of 
 his lire. 
 
 The works of this Painter are fo famous for the 
 high finifhing and delicate touch, that they are often 
 rniftaken tor thofe of Gerrard Dow, and even of 
 Mieris, from whofe heighth of perfection in their 
 art, the Flemings are fo diflant. Slingelandt may 
 well rank amongft thofe whofe names are immortal 
 in the profefiion : His capacity in painting, the re- 
 gularity of his life, and a pencil that never produ- 
 ced any thing that offended decency, have eftablifhed- 
 him a reputation above all cenfure. 
 
 He died at the age of 51, in the year 1691. 
 
 We know of no prints ingraved after this mafter. 
 
 JACOB RUTSDALE. 
 
 THE city of Haerlem gave birth to Jacob Ruyf- 
 dale, about the year 1640, though he refided 
 at Amfterdam. His father was a worker in ebony, 
 who made him learn latin : He fent him afterwards 
 to ftudy phyfic and furgery, arts that have little re- 
 lation to Painting. The inclination that nature had 
 implanted in him for this lovely art, broke through 
 all his other employments, as he continually de- 
 signed whatever fubjects prefented to his fight •, he 
 had the pleafure of the approbation of all the con- 
 noiffeurs in his defigns. Houbraken relates, that be- 
 fore he profeffed himfelf a Painter, he had performed 
 feveral chirurgical operations, which had given him 
 great credit in that art : He acquired foon after a 
 much greater, by his beautiful landfkips •, they con- 
 fift of fea-views, water-falls, a ftormy fea breaking 
 on the rocks : In exprefiing which, nature had hardly 
 greater force than his pencil. Authors have remarked 
 
 on 
 
eminent PAINTERS. 115 
 
 on that occafion, that his name, which fignifies foam- 
 ing water, was exprefiive of that fort of painting he 
 chofe : They do not name either the fchool or the 
 m after that formed him, nature alone fupplied their 
 place ; his colouring, and fkilful touch, feem to 
 affirm it : His trees, his fore-grounds and his ikies, 
 Jeave us nothing to wifh ; as he did not fucceed fo 
 well in his figures, Oftade, Vanderveld and Wou- 
 verman, lent him their afliftance. The Flemifh pain- 
 ters are not the only ones who have acted in this man- 
 ner, we are even obliged to their knowledge for this 
 prudent impartiality, in being fenfible of their own 
 defect in this branch of Painting. 
 
 When two good maflers have {o juft an underftand- 
 ing, as to keep a perfect agreement and union of 
 their colours ; the piece often becomes more valuable 
 by their joint performances: 'Tis thus the greateft 
 Painters have acted; Rubens employed for his land- 
 fkip Van Uden and Wildens, and for his animals 
 Snyders : Paul Bril in Italy, had his pictures em- 
 bellifhed by the beautiful figures of Annibal Car- 
 rache •, Pouffin did them for the landfkips of Gafpar ; 
 Philip Laura and Courtois adorned thofe of Claude 
 Lorrain, and their able pencils have fo well taken 
 the tone and colours of the fcites of that great man, 
 that they feem to have come off the fame pallet, and 
 been directed by the fame genius. 
 
 To return to Ruyfdale, his fuccefs in fome works, 
 put him in a condition to fet out for Italy : When he 
 was arrived at Rome, Nicolas Berchem was the firft 
 acquaintance he met ; their friendfhip was of long 
 {landing, and founded upon true merit. 
 
 Their frequent walks round about Rome, gave 
 them the opportunity of working together after na- 
 ture : As they were defigning together one day, a 
 cardinal who was retiring into the country, perceiving 
 them employed, called them both to him, to enquire 
 what they were doing. His eminence was furprized 
 
 I 2 a: 
 
n6 The LIVES of 
 
 their drawings, and invited them to vifit him at 
 Rome. Our Painters returned to their work, where 
 they met with a fecond rencontre of a very different 
 event •, a gang of thieves robbed and ftript them of 
 (heir cloaths : They returned in their fhirts to Rome 
 to the cardinal, who had taken notice of them 
 whiift they were defigning, and happily was return- 
 ed into that city : His eminence took pity of their 
 condition, ordered them cloaths, and afterwards em- 
 ployed them in feveral confiderable works in his 
 palace. 
 
 After fome years flay at Rome, Ruyfdale return- 
 ed to Haerlem, where he died in the flower of his age 
 in i68r, being but forty one years old. 
 
 His brother Solomon alfo painted landfkip $ he 
 died at Haerlem in 1670. 
 
 Ruyfdale etched himfelf four plates. Boteling 
 has graved feveral after him, amongfl the reft fix 
 fmall views about Amfterdam, and two views of 
 burying-places near that city. Le Bas has ingraved a 
 landfkip, and a view of Scheveling from the Paint- 
 ings of this matter. 
 
 G E R R A R D LAIRESSE, 
 
 THE fon of Regnier LairefTe, was born at Liege 
 in 1640, his father, who was a tolerable Paint- 
 er, made his fon ftudy the belles lettres, poetry and 
 mufick ; to the laft of which Gerrard dedicated a 
 day in every week : At laft his father taught him to 
 defign, a;ic] made him copy the beft pictures, parti- 
 cularly thofe of Bartholet Flamacl, a canon of that 
 city. 
 
 At the age of fifteen, Gerrard began to paint por- 
 trait tolerably ; fome hiftorical pictures he painted 
 for the electors of Cologne and Brandenburgh, con- 
 tributed to make him known, and gave him great 
 reputation. The eafe with which he got his money, 
 
 tempted 
 
eminent PAINTERS. 117 
 
 tempted him to part with it as eafily, and run into 
 expence. LairefTe was fond of drefs, and making a 
 figure in the world ♦, he had alfo the ambition of 
 pleafing the ladies, the livelinefs of his wit in fome 
 degree, compenfating for the deformity of his per- 
 fon -, but one of his miftrefTes whom he had aban- 
 doned, to revenge his contempt, having wounded 
 him dangerouQy with a knife, made him refolve to 
 avoid fuch troublefome fcrapes for the future, and by 
 marrying put an end to his gallantries. Being fet-' 
 tied at Utrecht, and very low in purfe, he was (eiz'd 
 with a contagious diftemper ; his wife lying in at the 
 fame time, he v/as reduced to offer a picture to fale 
 for prefent fupport, which in three day's time was 
 bought by a Hollander of fortune, who ingaged him 
 to come to Amfterdam. LairefTe fettled himfelf 
 there, where his reputation rofe to fo high a pitch, 
 that the Hollanders efteem him the beft hiftory Pain- 
 ter of their country, and commonly call him their 
 fecond Raphael. Hemfkirk is their firft. 
 
 His manner was grand and poetical; he was a 
 perfect mailer of hiftory, allegory and fable ; his in- 
 vention was quick, nor had his tafte of defigning 
 any thing of the Flemiih manner. His pictures are 
 diftinguifh'd by the grandeur of the compofition, 
 and by the back- grounds, rich in architecture ; an un- 
 common circumftance in that country. Yet it is 
 certain his figures are often too fhort, and fometimes 
 want gracefulnefs. 
 
 LairefTe was fond of Pouftin's and Pietro Tefta's 
 manner. A voyage to Italy would have given his 
 figures more delicacy and dignity. With fuch great 
 talents, nobody had it more in their power to have 
 arrived at perfection than he ; at length becoming 
 blind, and born down with infirmities, he finiih'd 
 his days at Amfterdam in 171 1, at the age of 71. 
 
 He had three Tons, two were Painters and his dif- 
 ciples : He had alfo three brothers, Erneft, James 
 
 I 3 end 
 
tlS ft LIVES of 
 
 and John: Erneft and John painted animals, and 
 James was a flower Painter. 
 
 He engraved a great deal in aqua fortis. His 
 works confift of 256 plates great and fmall, more 
 than the half of which are by his own hand, the others 
 are engrav'd by Pool, Berge, Glauber, &c. 
 
 E G L O N VANDERNEER. 
 
 WAS born at Amfterdam in 1643; his father 
 Arnold Vanderneer, fo well known by his 
 excellent moon-lights, and the beauty of his land- 
 fkips, gave the fame tafte to his fon : But as he chofe 
 painting figures, he was at twelve years old placed 
 under the direction of Jacob Van Loo, a portrait 
 Painter. Having perfected himfelf in that branch, 
 he went to France at the age of twenty, and was re- 
 ceiv'd by Count de Donha, governor of Orange, as 
 his Painter, with whom he lived three or four years. 
 He was then obliged to return into Holland, where 
 he foon after married at Rotterdam the daughter of 
 a fecretary of the courts of juftice, with whom he 
 had a large fortune : by this marriage he had fixteen 
 children, two of which were bred up to Painting. 
 
 Eglon having been awiddower fcveral years, mar- 
 ried himfelf again to the daughter of a Painter, who 
 painted in miniature. She died at BrufTels, after me 
 had increafed his family with nine children. He then 
 employ'd himfelf in painting landfkip with plants, 
 which he copied after nature, in a country garden 
 joining to his houfe, where he found them in great 
 plenty : for tjiis purpofe he h?.d made a little rolling 
 box, which he caufed to be pufhed about to the place 
 he chofe to work in, with all the implements necefTa- 
 ry to his art. Sometimes he repKfenred hiilorical 
 fubjects. At Amfterdam they fhow a large picture 
 of Ceres feeking hfr daughter Proferpine, wherein 
 the thiftles, and trunks of trees covered with ivy, are 
 
 much 
 
eminent PAINTERS. 119 
 
 much more to be admired than the principal figures. 
 At laft, impatient of continuing fingle for five 
 years, he married for the third time at Dufleldorp in 
 1697, the daughter of the Elector Palatine's Painter, 
 fhe had been a widdow nine years when fhe married 
 Vanderneer -, who died fix years after in that city, in 
 1703, being then 60 years old. 
 
 His wife, imploy'd in miniature, remain'd in the 
 fervice of that court as long as the Elector liv'd, 
 who allow'd her a penfion. Eglon had made him- 
 felf agreeable to that prince by his talents, and that 
 chearfulnefs and good-nature that every body loved 
 him for. He painted portrait both in large and 
 fmall : One he painted of the prince of Nuberg, for 
 the king of Spain, pleafed that prince fo well, that 
 his majefty gave him the title of his Painter ; but he 
 never went to Spain to take pofTefiion of his imploy- 
 ment, (as Campo Veyerman affirms.) He was al- 
 ways occupied at the Palatine court in portrait Paint- 
 ing, and fmall landfkip, which he finished very high- 
 ly, and with as firm a touch as if he had been in the 
 full vigour of his age. He fometimes painted af- 
 femblies of perfons dreft in the modern fafhion, af- 
 ter the manner of Terburg, gallant converfations, 
 landlkips in which he introduced naked women ; and 
 laftly, thofe amiable pi&ures fo fought for by the lo- 
 vers of Painting. He one day faid to the chevalier 
 Vanderwerf, who was continually at work to find 
 out fix'd colours that would not change ; * Don't 
 c give yourfelf any farther trouble about the quality of 
 * colours, there are good ones enough, only learn 
 ' how to make ufe of them.' 
 
 The chevalier Vanderwerf is the only known dif- 
 ciple of this Painter : nor do we know of any plate 
 engrav'd from his works. 
 
 I 4 GOD- 
 
120 Tie LIVES of 
 
 GOD FRET SCHALKEN, 
 
 WA S a difciple of Gerrard Dow, bom at U- 
 trecht in 1643, his father, rector of the col- 
 lege in that city, would have bred him to his own 
 profeffion, but his genius decided otherways ; a hap- 
 py turn for drawing difplay'd itfelf betimes in him, 
 in compliance with which they placed him early with 
 Solomon Hoogftraten, and afterwards under Gerrard 
 Dow. The precepts of fo good a matter, and his 
 continual application to bring them into practice, put 
 it in his power to partake of the reputation of his 
 intruder. Schalken became fo famous for his excel- 
 lent talent of exprefiing the mod beautiful effects of 
 light and fhadow, that his pictures were fought for 
 with great eagernefs all over his own country. He 
 transformed himfelf fo into all manners, that you 
 niay find in every kind of Painting, works of his 
 pencil that ftrike and aftonifh you. To fhew his un- 
 derstanding of the effects of light, he chofe night 
 fubjects, fometimes with only half a figure, over 
 which he would throw the light of a candle or flam- 
 beaux, with {o much judgment, and fuch a bright- 
 nefs, as nature alone could equal. 
 
 This able artift did not confine his talents to fub- 
 jects of fancy alone: he painted portrait in perfection, 
 in which branch he had confiderable employment 
 among the principal families in Flanders. 
 
 Politenefs was none of his qualifications •, he had 
 painted a lady none of the mod beautiful, but who 
 had very fine hands; when the picture was finilhed, 
 (he found fault with him for not introducing her 
 hands, and defired that me might fit again for them, 
 Schalken, furprized at her objection, to mortify her 
 vanity, told her, the picture had no occafion for 
 hands, but that when he painted them, not to give 
 his cuftomers trouble, he always made his fervant fit. 
 
 England 
 
eminent PAINTERS. 121 
 
 England appear'd to him the mod proper ftage to 
 difplay his talents on •, on his arrival, he attempted 
 portrait in large, but fail'd of fuccefs. But his 
 works of fancy and fmall portraits taking exceeding- 
 ly, he fix'd himfelf entirely to that branch of Paint- 
 ing : He had the honour to paint king William the 
 third-, and, ignorant of the decency that is requifite 
 in painting a monarch, reprefented him holding a 
 candle that dropt on his fingers. The Englifh di- 
 verted themfelves greatly with this clownifh conceit; 
 but he was infenfible of their ridicule •, having paint- 
 ed himfelf holding a candle that illuminates the 
 whole picture, and the tallow dropping on his own 
 hand. Schalken return'd to Holland, where (hav- 
 ing greatly improv'd himfelf in England) his pictures 
 were in great vogue. He dy'd at the Hague in 
 1603, aged 63. 
 
 John Gole, N. Verkelic, and J. Smith, have en- 
 graved after this mailer ; this laft has done the fleep- 
 ing woman, and the Magdalen with the lamp, prints 
 well known by all the world. 
 
 FRANCISCO MILE, 
 
 OR Milet, was born at Antwerp in 1644: his 
 father, a fkilful turner in ivory, a native of 
 Dijon, fettled in Flanders, where he was much ef- 
 tf em'd by the prince of Conde, who had retired thi- 
 ther during his revolt, this prince lodged him in his 
 palace, and imploy'd him. A fudden illnefs carried 
 him off in the 37th year of his age, at a time when 
 his afllftance was mod wanted by young Mile, whom 
 he had before his death placed with Franks, an able 
 Painter : A happy difpofition and a genius proper 
 for his art, enabled him foon to become an excellent 
 landfkip Painter, and to defign figures well. 
 
 Francifco at the age of 18 married his mafter's 
 daughter, and his name became generally known. 
 
 His 
 
122 OLIVES of 
 
 His memory was fo happy, that he painted all Be 
 law, whether in nature, or in the works of the great 
 Painters, as eafily as if they had been before his eyes. 
 His manner, which was extremely eafy and agreeable, 
 was very foon taken notice of: His fcites are beauti- 
 ful, and his leafing in a good tafte, but he painted 
 nothing directly from nature, his compofitions 
 were the productions of a fruitful genius, which fol- 
 lowed only the dictates of fancy •, and his pictures, 
 for want of a proper body of light, have fmall ef- 
 fect, and appear too much of a colour. 
 
 An * Italian author fays, that Francifco had been 
 in Italy, that he had feen Poufiin, and copied ma- 
 ny of his pictures, which would be difficult to prove ; 
 but it is certain, that he work'd a confiderable time 
 after the works of PoufTin, in the poflefllon of the 
 fieur Jaback at Paris •, and that he adopted the man- 
 ner of that great man fo well, that the imitation has 
 given a value to his pictures among the curious. 
 Heroic landfkip was his favourite ftudy, and he has . 
 painted feveral hiftorical pieces. 
 
 Francifco had an inclination to fee England, Flan- 
 ders and Holland, and left in all thofe countries 
 proofs of his merit : he return'd at lafl to Paris, 
 where he was receiv'd profeiior in the academy of 
 Painting. He was extremely incluftrious -, his ge- 
 nerofity and charity were fo exttnfive, that the num- 
 ber of pictures that were befpoke of him, hardly ena- 
 bled him to live at hiseafe ; beficies, inilead of Paint- 
 ing, he amufed himfelf in hewing ftone for his little 
 country houfe at Gentilly near Paris. 
 
 Certain Painters, jealous of his merit, fhortned his 
 days by poifon, which drove him mad, in which 
 condition he died at Paris in 1680, at the age of 36. 
 He was buried at St Nicholas des Champs, and left 
 two fons who follow'd their father's imployment. 
 They were his difciples, as well as Theodore. 
 
 Francifco 
 
 * Orlandi Abecedario, page 171. 
 
eminent PAINTERS. 123 
 
 Francifco has ingraved three plates himfelf : The- 
 odore his difciple has done fixteen middling land- 
 fkips, fix large ones, and fix rounds *, De Ligny has 
 done one, and Chibouft feveral, Coelmans has grav- 
 ed Silenus with feveral fatyrs, and three iandfkips, 
 and Vivares one large landfkip. 
 
 ADRIAN VAN DERWERF, 
 
 SO eminent for his high fini filing, was born at 
 Rotterdam in 1659, of an ancient family ; his 
 father, willing to encourage the early inclination his 
 fon difcovered for Painting, placed him at Rotterdam 
 under Picolet the portrait Painter, but afterwards 
 put him under the direction of Eglon Vanderneer, 
 with whom he work'd four years ; his mafter having 
 borrowed a picture of Mieris, gave it his beft difciple 
 to copy, but he not having a tafle for that laborious 
 kind of work, Vanderwerf undertook it, and fuo 
 ceeded fo well in his attempt, that his copy deceiv'd 
 even the connoiffeurs. It is faid, that when he was 
 feventeen years old, he left his mailer, and painted 
 his own picture, which was fo well approv'd of by 
 the beft judges, that feveral perfons of tafte employ- 
 ed him. A fmall picture imbeliifh'd with feveral 
 children, and another he painted for a merchant at 
 Amfterdam, were the making of his fortune ; the 
 elector Palatine coming incog, to that city, bought thofe 
 pictures, which afterwards excited his curiofity of be- 
 ing acquainted with the Painter. Vanderwerf, in 1 687, 
 married a relation of Govert Flink, a Painter, who 
 had collected feveral pictures and defigns of the bed 
 matters of Italy : our young Painter follow'd thofe 
 models, and reform'd his tafte of defign, by plafter 
 models after the antique. In 1692 he wenc with 
 Flink to Amfterdam, where having accefs to the 
 beft cabinets, he made folid reflections on what he 
 obkrved, which turn'd greatly to his advantage. 
 
 Before 
 
124 K<? LIVES of 
 
 Before Vanderwerf enter'd into the fervice of the elec- 
 tor Palatine, and had undertaken the great works for 
 that prince, he was much employ'd in painting por- 
 traits of the fize of thole of Netfchar, and had paint- 
 ed his own wife and family as big as the life. But 
 this manner difgufting him, he entirely attached him- 
 felf to the Painting of hiftory in little. His pictures 
 are finifhed to a lurprizing height; his pencil is ten- 
 der, his figures have an admirable roundnefs and re- 
 lief, his defign is fufficiently correct ; but the car- 
 nations of his figures are not lively, they refemble 
 ivory, and have too yellow a caft. The time he 
 was about his works took off their fpirit, and the 
 icarcity of them rais'd their value to an extrava- 
 gant price. In 1696, the elector Palatine went in- 
 to Holland, and pafting by Rotterdam, vifited 
 Vanderwerf, and order'd him to paint his picture, 
 as a prefent for the duke of Tufcany, and at the 
 fame time befpoke a judgment of Solomon, and 
 order'd him to bring both the pictures to DufTel- 
 dorp himfelf, as foon as they were finifhed. The 
 Painter, not a little proud of thefe orders, waited on 
 that prince next year, who took him into his fer- 
 vice, and made him an appointment of four thou- 
 fand florins for working for him fix months every 
 year : he began the pictures of the elector and e!ec- 
 trefs at whole length, on a cloth of two foot and 
 half high, which he finifh'd at Rotterdam in 1698. 
 An Ecce Homo which he did for the elector pleaf- 
 ed him fo well, that befide a large fum of money, 
 he prefented him with a gold chain, and a medal of 
 himfelf. Vanderwerf lent every year feveral pic- 
 tures to DulTcldorp : but in 1703, he carried an in- 
 tombing of our Saviour thither himfelf: this piece, 
 which was fuperior to any thing he had yet produc- 
 ed, occafioned the elector to demand of him the 
 fifeen fubjects of facred hiftory, which the Roman 
 church call the myfteriesj and pn that occafion irt- 
 
 creas'd 
 
eminent PAINTERS. 125 
 
 creas'd his falary to fix thoufand florins, and engaged 
 him to paint nine months of the year ; fo that he was 
 but three months at liberty to work for his friends - 9 
 and befides the prince referv'd to himfelf the liberty 
 of choofing any other picture he fhould paint for a 
 private perfon, on paying the fix'd price for it. To 
 thefe rewards were added honours, he was knighted, 
 and the honour continued to his defendants -, his 
 arms were augmented with a quartering of the elec- 
 toral arms, and that prince prefented him with his 
 picture fet with diamonds to a great value. Thefe 
 marks of generofity fpirited up Vanderwerf to mew 
 his acknowledgement, by endeavouring to excel in 
 the pictures he had undertaken for his benefactor. 
 Yet all the warmth of his gratitude, was not able 
 to give that fpirit and fire to his works which was 
 always wanting in them. In that part of the year 
 he had to himfelf, Vanderwerf had painted Diana 
 and Califto in the bath, with eight figures exceeding 
 highly finifh'd, which he had given to his wife, and 
 for which fhe had refufed a very large fum of mo- 
 ney. The elector hearing of it, challenged the pic- 
 ture by his agreement, but left the price to himfelf; 
 on which the Painter and his wife went immediate- 
 ly to DuiTeldorp in 171 2, and prefented it to their 
 benefactor, who gave the hufband 6000 florins, and 
 bellowed a magnificent fiiver dreffing table on the 
 wife. 
 
 Vanderwerf return'd to Rotterdam, where after 
 feveral years clofe application to his art, he died in 
 j 727, being 68 years old, and leaving an only 
 daughter. 
 
 After Vanderwerf are ingraved a woman playing 
 on the lute, in a collection of Van Meurs, and 76 
 portraits for Larrey's hiftory of England by Valck 
 Gunft, Vermeulen, B. Audran, Ch, Simonneau, 
 Peter Drevet and Defrochcrs. 
 
 JNTHQ* 
 
126 736* LIVES of 
 
 ANTHONY W AT <T E A U, 
 
 WA S born at Vallenciennes in Flanders in 
 1684. His father, tho' but in middling cir- 
 cum (lances, neglected nothing in his power to aflift 
 the natural inclination of his fon •, he put him to a 
 forry Painter in that town. Watteau, by his applica- 
 tion, became foon fkilful enough to perceive his maf- 
 ter's deficiency, and left him to ftudy under another 
 who had a talent for theatrical decorations. In 1702, 
 he attended him to Paris, whither he had a call to 
 work at the opera ; but his mafter returning home, 
 left him behind. As-' his abilities were not yet known, 
 Watteau was obliged for fubfiftance, to work in 
 the fhop of a mafter Painter, whofe works he co- 
 pied, and made pictures to fell by the dozen. The 
 little profit he made in this way, obliged him to 
 leave this matter* when he luckily became acquaint- 
 ed with Claude Gillot. — This Painter, born at Lan- 
 gres in 1673, was a difciple of J. B. Corneille, and 
 had a particular turn for grotefque figures, fauns, 
 fatyrs, and opera fcenes. He was received into 
 the academy in 1715, and dy'd at Paris in 1722, 
 at the age of 49. Gillot defign'd with great tatte and 
 fpirit, but was incorrect, and painted but indifferent- 
 ly, fo that his reputation died with him.— Gillot 
 greatly delighted to find a young Painter that trod 
 in the fame fteps with himfelf, lodged him in his 
 houfe, and gave him all the inftructions in his power ; 
 in a very little time the fcholar equall'd his mafter, 
 fo that their pictures were hardly to be diftinguifh'd. 
 Watteau now fet himfelf to enquire deeper into na- 
 ture, which he had always had in view •, Gillot ea- 
 fily perceiv'd that his difciple was foon likely to ex- 
 cel him in painting country wakes, &c. and to remove 
 him, placed him under Claude Audran, a famous 
 Painter of ornaments, who lived at the Luxemburg. 
 
 Watteau, 
 
-eminent PAINTERS, 127 
 
 Watteau, employ'd in painting the figures in his 
 works, received new lights from the good tafte of 
 his matter, and at the fame time ftudied the colour- 
 ing and rich compofition of the gallery of Rubens, 
 which was fo near him. He now gave up the man- 
 ner of Gillot, which he drop'd infenfibly ; a better 
 tone of colouring, a finer, more 'correct, and ftudied 
 manner of defign had taken its place. Watteau was 
 embolden'd to paint for the prize at the academy, 
 which he carried •, and fhew'd in this picture, fparks 
 of that beautiful fire chat never after decay'd. 
 
 The fortune of this Painter was not the moft hap- 
 py, as his new manner of Painting did not happen 
 immediately to hit the tafte of the time ; he quitted 
 Paris to retire into his own country to make iiudies, 
 whence he returned again in a fliort time, having 
 prefented the academy fome of his works, to intitle 
 him to the king's penfion for the voyage to Italy ; 
 they diftinguifh'd him from the other young men, 
 and receiv'd him as a member of their body, under 
 the title of Painter de fetes galantes (i. e. genteel 
 converfation.) Then it was that his matter Gil-lot, 
 fenfible of his fuperiority, quitted the field to him, 
 and exchanged the pencil for the graver. His re- 
 putation now gaining ground, the number of his 
 admirers increafed, whofe vifits grew fo troublefome 
 to him, that he accepted Mr Crozat's offer of lodg- 
 ing in his houfe, where he found a collection of 
 pictures and defigns of the great matters ; which 
 contributed to his perfection in his art : and it is 
 remark'd, that his works at this time plainly difco- 
 ver the e fleets fo many beautiful objects had on his 
 performances. He afterwards lived with his friend 
 Vieughels, who fince dy'd director of the academy 
 at Rome. Watteau continued advancing fuccefsful- 
 ly till the year 171 8, and would have improved 
 his fortune, if his natural inconftancy had not pre- 
 vented him. He took a journey to England, which 
 
 proved 
 
128 The L I V E S of 
 
 proved a mod unhappy one to his delicate confti- 
 tution ; he was ill almoft the whole year he lived in 
 that country. After he had painted fome pictures 
 there, he return'd to Paris in a fickly ftate, which 
 hardly afforded him any intervals to purfue his bu- 
 finefs : Being advifed to go into the air, one of his 
 friends carried him to the village of Nogent near 
 Paris, where his health continued declining daily, 
 till death clofed the fcene in 1721, when he was 37 
 years old. 
 
 ^ The curate of the village who attended him in 
 his ficknefs, prefented him the crucifix according 
 to cutlom. Watteau obferving it ill carved, defired 
 him to take it away, faying, Remove that crucifix ; 
 it grieves me to fee it \ is it poflible that my matter 
 is fo ill ferv'd ? This was carrying the love of his 
 profeflion too far. This curate, who had a very jolly 
 countenance, was an old acquaintance of his, whofe 
 face he had often introduced into his works, and as 
 the character of Gilles, under which he reprefented 
 him, was not the moft elevated, he beg'd his par- 
 don, and exprefb'd great concern for the liberty he 
 had taken. Watteau bequeathed his defigns, which 
 were very numerous, to four of his beft friends, 
 •who divided them, paid his debts, and to fhew their 
 regard for him, buried him handfomely in the place 
 where he died. This Painter was fo fond of de- 
 figning, that he employ 'd even his hours of walk- 
 ing and recreation in it; he loved to copy good 
 pictures, nor could any one do him a greater plea- 
 sure than lending him one. Rubens and Vandyke 
 (whofe colouring he could not mention without 
 tranfport,) were his true models. By the great num- 
 ber of his works, and the fhortnefs of his life, we 
 can eafily judge how laborious he was, and how fond 
 he was of his art: his pictures indeed (from the fub- 
 jects they reprefented) are not of the firft order ; 
 they have neverthelefs a particular merit, as nothing 
 
 in 
 
tmlnent PAINTERS. 129 
 
 in their kind can be more lovely ; nor is there any 
 cabinet in which they cannot juftly claim a place. 
 
 Watteau, whom great application had rendered 
 melancholy, docs not appear fo in his pictures, in 
 them there appears nothing but gaiety, a lively and 
 penetrating fpirit, a natural judgment, a correctnefs 
 of defign, a truth of colouring, a flowing pencil, 
 and the fined lighted touch imaginable ; nothing can 
 exceed the airs of his heads for a true character of 
 nature •, to all thefe excellencies he join'd a beautiful 
 landfkip, and back grounds that deferv'd to be ad- 
 mir'd for the beauty of their colours ; he not only 
 excelled in rural and gallant fubjects, but alfo in 
 marches and halts of armies. 
 
 It is perhaps a lofs to the publick, that Watteau, 
 engaged by the manner of his mailer Gil lot, neglect- 
 ed hiftory, of which he feems to have been very ca- 
 pable, a Virgin and fome hiftorical fubjects he has 
 painted, give reafon to believe he would have been 
 very fuccefsful in that branch. The tafte he has fol- 
 lowed is rather in the drole ftile, and does not agree 
 with ferious fubjects : all his drelfes are comic, and 
 proper for the mafquerade, and all his fcenes are 
 either theatrical or rural. His difciples were John 
 Baptift Pater and Peter Nicholas Lancret. 
 
 I. B. Pater, originally of Valenciennes, born in 
 1695, came very young to Paris, and ftudied un- 
 der Watteau ; with a very good tafte for colouring, 
 he neglected too much the ftudy of nature, and 
 correctnefs of defign, confulting his intereft more 
 than his reputation. He died at Paris in 1736, ac 
 the age of 41. 
 
 Nicholas Lancret, born at Paris in 1690, had 
 part of his education under Gillot, which was com- 
 pleated by Watteau : he always propofed nature for 
 his object, made a great many (ludies, and try ? d 
 to follow the tafte of Watteau, but could never 
 attain to the neatnefs of his pencil, and the deli- 
 
 K cac'y 
 
130 We LIVES of 
 
 cacy of his defign, yet his compofitions are agree- 
 able. He was of the academy, and died at Paris 
 in the 53d year of his age : there are a great many 
 prints after his paintings. 
 
 The firft works of Watteaa were fmall figures, 
 which he did in the ceilings of Claude Audran, and 
 feveral Chinefe figures, which he painted in the pan- 
 nels of the caftle de la Muette : His other perfor- 
 mances were all eafil pictures ; that which he gave to 
 the academy, is the pilgrimage to Cytherea. 
 
 The prints engraved from his Paintings, &:c. make 
 three volumes, and contain 563 plates. The firft 
 volume comprehends 130 hiflorical fubjecls 5 the two 
 others are (Indies, and contain 350 pieces of fubjecls of 
 fancy-, among which are 16 landfkips, 30 Chinefe 
 figures, and 5^ ornaments, of which moft are ingraved 
 by his own hand, and by Francis Boucher. The in- 
 gravers who have executed the hiflorical part, are Au- 
 dran, Thomaffin, Des Places, Tardieu, Cochin, 
 Simonneau, Joullain, Baron, Larmefiin, Aveline, 
 Moyreau, Petit, Le Bas, Cars, Du Puis, Lepicie, 
 and others. 
 
 B E N E D ITT L U T T I, 
 
 WAS born at Florence in the year 1666, he 
 was a difciple of Dominico Gabiani, to 
 whom his father James Lutti had intruded the care 
 of inftruding him. At the age of 24, his merit was 
 judged equal to that of his mailer. The famous 
 paintings of Rome tempted him to that city, where 
 tht grand duke furninYd him with the means of 
 purfuing his fludies ; giving him an apartment in his 
 palace in the Campo Marzio : His defign was to 
 have worked under Cyro Ferri •, on his arrival at 
 Rome, he had the diiappointment of finding that 
 mailer dead, which gave him the greater! concern •, 
 yet he purfued his ftudies with great application, and 
 
 foon 
 
eminent PAINTERS. 13 r 
 
 foon acquired fuch an efteem for his ability in his 
 art, that his works became much valued and fought 
 for in England, France and Germany. The Empe- 
 ror knighted him, and the elector of Mentz fent him 
 with his patents of knighthood, a crofs fet with dia- 
 monds. Lutti was never fatisfied with himfelf; yen 
 tho 3 he often retouch'd his pictures, they never ap- 
 pear'd laboured ; he always changed for the better, 
 and his laft thought was always the bed : He fac 
 llowly to work, but when once he was engaged, he 
 never quitted it but with difficulty ; his pencil was 
 frefh and vigorous ; his manner, which was tender and 
 delicate, was always well confidered, and of an ex- 
 cellent gout -, union and harmony reign'd throughout 
 his pictures : but as he attached himfelf chiefly to 
 excel in colouring, he is not nicely correct. 
 
 He was acquainted with all the variety of the 
 manners of the different matters. He was fond of 
 ancient pictures, and fometimes dealt in them ; he 
 has hardly painted any but eafil pictures, which are 
 fpread through moft countries. There are only three 
 publick works of his known at Rome, viz. a Mag- 
 dalen, in the church of St. Catherine of Sienna, at 
 Monte Magna Napoli; the prophet Ifaiah, in an oval 
 in St John de Lateran •, and St Anthony of Padua, 
 in the church of the holy apoftles. There is like- 
 wife at the palace Albani at the four fountains, a mi- 
 racle of St Pio, painted by his hand, which is his 
 matter* piece ; there is alfo a ceiling of his in a room 
 at the conttable Colonna's, and another in the palace 
 of the marquis Caroli. Lutti was not able to finifh 
 a picture of St Eufebius bifhop of Vercellis, de- 
 iigned for Turin, for which he had received a large 
 earneft, and had promifed to get it ready at a fet 
 time; feveral difputes happening between him and 
 thofe who had befpoke the picture, the chagrin 
 brought on a fit of iickneis, of which he died at 
 Rome in the year 1624, when he was 5$ years old-, 
 
 K 2 his 
 
132 The LIVES of 
 
 his executors were obliged to return the earneft, and 
 the picture was afterwards finiuYd by Pietro Bianchi, 
 (one of his difciples, who died lately, having acquir- 
 ed a great reputation by his tafte of defign, and the 
 correctnefs of his figures) : There are alfo reckon'd 
 amongft his difciples Gaeto.no Sardi, Dominico Pi- 
 afterini and Plackio Coftanzi. 
 
 Lutti is blamed for not having placed his figures 
 advantageouQy, but in fuch a manner as to throw 
 a part of the arms and legs out of the cloth. This 
 fault he potteries in common with Paul Veronefe and 
 Rubens, who to give more dignity and grandeur to 
 the fubject they treated, have introduced in the fore- 
 ground of their pictures, groups of perfons on 
 horfeback, tops of heads,, and arms and legs, of which 
 no other part of the bodies appears. 
 
 Lutti was lively in converlation, he had a polite - 
 nefs in his behaviour,, which as it prompted him to 
 treat every body with proper civility, fo it alfo pro- 
 cured him a return of efteem and refpeet. He fpoke 
 well in general of ail his cotemporary Painters, but 
 contracted no particular acquaintance with any, tho* 
 he was chief of the academy of St Luke ; nor did 
 he court the protection of the great, whom he never 
 vifited, and who very feldom vifited him *, convinc- 
 ed that the true protection of a Painter is to do well. 
 
 In the gallery of the elector Palatine at DufTel- 
 dorp, is a picture of this Painter, reprefenting St 
 Ann teaching the virgin to read. 
 
 There is a communion of the Magdalen graved 
 after Lutti, and another Magdalen penitent in the 
 Crozat collection. 
 
 JOHN VAN HUrSUM. 
 
 NO man, before this Painter, attain'd fo perfect 
 a manner of reprefenting the beauty of flowers, 
 and the down and bloom of fruit •> for he painted 
 
 with, 
 
with greater freedom than Velvet Brughel and Mig- 
 non ; with more tendernefs and nature then Mario di 
 Fiori, Andrea Belvidere, Michel A: deCarnpidoglio 
 and, Daniel Seghers ; with more meilownefs than J. 
 D. de Heem ; and more vigour of colouring then 
 Baptiit Monoyer. Vanhuyfum, by the fuperiority of 
 his touch, the delicacy of his pencil, his furprizing 
 exactnefs, his high ftnifhing, has traced nature thro* 
 all her refinements, and has fhewn that it was pofl- 
 ble to exceed all that v/ent before him in the manner 
 of exprefiing thofe beautiful productions of the earth. 
 Thofe Painters., it mud be owned, made themfelves 
 efteemed by the lovers of painting, but the glory of 
 furprizing them was referv'd for our artift. 
 
 John Van Huyfum was born at Amfterdam in 
 1682 : his father Juftus, who dealt in pictures, was 
 himfelf a middling Painter in moft kinds of paint- 
 ing. He taught his fon to paint fcreens, figures 
 and vafes on wood, landfkip, and fometimes flowers ; 
 but the fon being arrived at a reafoning age, per- 
 ceived that to work in every branch of his art, was 
 the way to excel in none, therefore he conhVd him- 
 felf to flowers, fruit and landfkip ; and quitting his 
 father's fchool, fet up for himfelf, and married Eli- 
 zabeth Taxen about the year 1605. He follow'd 
 the tafte of * Piemont in his landfkip, and fell into 
 a yellow tone of colouring by no means agreeable ; 
 he afterwards adopted one that was clearer, but too 
 whitim, to pleafe the judges : however his Jandfkips 
 were adorned with pretty figures, painted in a ten- 
 der neat manner ; his fkies were frefh, his trees well 
 leafed and their different kinds diftinctly rnark'd out. 
 _ — He afterwards applied himfeJf to paint flowers 
 and fruit, in which he fucceeded much better than 
 in landfkip; his pictures in this kind pleafino- an 
 Englifh gentleman, he introduced them into his 
 
 K 3 own 
 
 * A Painter then in vogue. 
 
 
 ■HH I 
 
i 3 4 the L I V E S of 
 
 own country, where they came into vogue, and 
 yielded a high price. 
 
 This young artift, animated by his fuccefs, not fa- 
 tisfied in imitating nature with exactnefs, tranfmitted 
 to his cloth all his fecrets, in demy tints, glazings, 
 and that perfect union which he knew how to produce 
 throughout every thing that came from under his 
 hand ; in fhort, he relblved to exceed all thofe that 
 had preceeded him; in which noble attempt he ex- 
 erted himfeif with great fuccefs. His fruit have a 
 a furprizing tranfparency, and a happy tranfition of 
 colours, fo difficult to imitate ; the morning dew is 
 even painted on his flowers •, to exprefs the motions 
 of the fmalleft infects with juftice, he ufed to con- 
 template them thro 5 a microfcope with great atten- 
 tion. 
 
 At the times of the year when the flowers were 
 in bloom, and the fruit in perfection, he ufed to de- 
 fign them in his own garden, and the fieur Gulet 
 and Voorhelm fent him the moft beautiful producti- 
 ons in thofe kinds they could pick up: When the 
 feafon was over, he con halted the itudies he had 
 taken on cloth and paper-, there were abundance of 
 thofe fketches found after his death, which fold at 
 a good price. 
 
 Van Huyfum was fo jealous of his art, that he did 
 not even permit his brothers to fee him work, nei- 
 ther would he inftruct any difciples: neverthelefs, 
 one of his friends, named Haverman, prevaii'd with 
 him to teach his daughter, who had a very good 
 turn for painting. She made fo great a progrefs, 
 that he became jealous of her, and even endeavour- 
 ed to remove her; when bv a capital crime, fhe tar- 
 nimed the reputation fhe began to acquire, which 
 obliged her to fly her country, and take refuge ia 
 France. 
 
 At laft his reputation rofe to fuch a height, that 
 all the curious in Painting fought his works with 
 
 grcac 
 
greateagerneisjwmcnencouragea nimto rane mspnccs 
 {o high, that his pictures at lait grew out of the reach 
 of any but princes and men of the greater! fortune, 
 
 Van Huyfum at lait began to have ftrange freaks 
 that approach'd to madnefs, which are attributed to 
 a converfation that paffed at one Tonneman's a vir- 
 tuofo, where fome Painters that envied him on ac- 
 count of his merit, bantered him on the coquetry of 
 his wife, tho' fhe was then neither young nor hand- 
 fome. The low education he had from his father, 
 had render'd his temper brutifh, and not being able 
 to bear their raillery, he flew into a violent pafilon, 
 abufing even the matter of the houfe, who turned 
 him out of doors with refentment : this affair conti- 
 nually dwelt on his mind, and made him take 
 to drinking ; which, joined with the ill humour of his 
 wife, and the debauchery of his fon, whom he was 
 obliged to fend to the Indies, rendered him jealous 
 and melancholy. His frenzy would often lait feve- 
 ral days, yet without ever communicating the leaft 
 figns of it to his works -, fo that his luft pictures are 
 as much efteemed as thofe he painted in his prime: 
 and he is the firft flower Painter that ever thought of 
 laying them on light grounds, which requires much 
 greater art than to paint them on dark ones. The 
 year after, nature began to decay in him, and in pro- 
 portion as his ftrength failed him, his mind grew 
 more tranquil, fo that fome months before his death, 
 he entirely recovered his reafon. He died at Am- 
 fterdam the 8th of February 1749, aged 67, leav- 
 ing a widow and three children. 
 
 It is furprizing that having received from 1000 to 
 1400 florins for every picture, the fortune he left 
 was trifling ; which muff, be attributed to his own 
 ill conduct, and his wife's want of ceconomy. 
 
 He never had any difciple but the young wo- 
 man before mentioned, and his brother Michael, 
 who enjoys an eftabliihed reputation. His other 
 
 two 
 
i S 6 Tbe LIVES of 
 
 two brothers have diftinguifhed themfelves in their 
 art: one named Juftus painted battles, and died at 
 22 years old ; the other named James ended his days 
 in England in 1740, he copied the pictures of his 
 brother John (o well, as to deceive the connoifTeurs ; 
 he had ufually twenty pounds for each copy. 
 
 Sir JAMES T H R N H I L L, 
 
 TH E fon of a gentleman of an ancient family 
 and eftate in Dorfetfhire, was born in the year 
 1676. His father's ill conduct having reduced him 
 to fell his eftate, the fon was under the neceflity of 
 feeking for a profeflion that might fupport him. 
 Young Thornhill came to London, where his uncle 
 Sydenham the famous phyfician, fupplied him with 
 the neceffary afliftances for ftudying under a mid- 
 dling Painter, whofe limited talents being of little 
 ufe to his difciple, he trufted to his own judgment 
 and application •> genius and tafte fupplying the place 
 of a mafter, by the ftrength of which he made a 
 furprizing progrefs in the enchanting art of Paint* 
 iftg. 
 
 He travelled through Holland and Flanders, from 
 whence he went into France, where he bought fe- 
 veral good pictures -, amongft others, a Virgin of 
 Annibal Carrache, and the hiftory of Tancred, by 
 PoufTin. If he had feen Italy, his works would 
 have had more delicacy and correctnefs. His only 
 view in travelling feemed to be acquiring a know- 
 ledge of the taftes of different nations, and buying 
 up good pictures, in which he was very curious. 
 
 Thornhill's merit foon fpread his character, and 
 raifed his reputation to the higheft pitch. Queen 
 Ann appointed him to paint in the dome of Sc 
 Paul's, the hiftory of that faint, which he executed 
 in a grand and beautiful manner on eight pannels, 
 in two colours relieved with gold. 
 
 Her 
 
eminent PAINTERS. 137 
 
 Her majefly alfo nominated him her fir ft hiftory 
 Painter. He afterwards executed feveral publick 
 works; particularly at Hampton-Court, where he 
 painted an apartment, wherein the queen and prince 
 George of Denmark her hufband are reprefented al- 
 legorically ; as alfo another piece painted intirely on 
 the wall, where the fame fubject is treated in a 
 different manner. The other parts of the Paintings 
 there are done by Antonio Verrio the Neapolitan. 
 
 Thefe great works having eftabli fried his reputati- 
 on, procured him much employment among people 
 of quality and fortune. 
 
 His mafter- piece is the refectory and faloon of 
 the failors Hofpital at Greenwich. The paffage to this 
 refectory is through a veftibule, where Sir James has 
 reprefented in two colours the winds in the cupola, 
 and on the walls boys who fuftain pannels to re- 
 ceive the infcription of the names of the benefac- 
 tors: From thence you afcend into the refectory, 
 which is a fine gallery very lofty, in the middle 
 of which king William III. and queen Mary his 
 wife, are allegorically reprefented fitting and at- 
 tended by the Virtues, and Love, who fupports the 
 fceptre. The monarch appears giving peace to Eu- 
 rope ; the twelve figns of the Zodiack furround the 
 great oval in which he is painted •, the four feafons 
 are feen above; laftly, Apollo, drawn by his four 
 horfes, making his tour through the zodiack. 
 
 This Painter has reprefented in the angles the four 
 elements, and the ColofTal figures that fupport the ba- 
 luftrade, where the portraits of thofe able mathematici- 
 ans, that have perfected the art of navigation, are paint- 
 ed ; fuch as Ticho Brahe, Copernicus, and Newton. 
 The ceiling is all by his own hand, but he employ- 
 ed a Polander to aflift him in painting the walls, 
 which he has adorned with thofe Virtues that are 
 fuitable to the intention of the fabrick ; fuch as Libe- 
 rality, Hofpitality and Chanty. The falcon above is 
 
 not 
 
138 lie LIVES of 
 
 not fo beautiful as the cieling, you afcend to it by 
 ieveral fteps. 
 
 The cieling reprefents queen Ann and prince 
 George of Denmark, furrounded with heroic Vir- 
 tues j Neptune and his train bringing their marine pre- 
 lents, and the four quarters of the world prefenting 
 themfelves in divers attitudes to admire them. The 
 late king George I. is painted on the wall facing the 
 entry, fitting with all his family around him. On 
 the left hand is the landing of king William the 
 III. prince of Orange, afterwards king of England; 
 on the right, that of king George the firft at Green- 
 wich. Thefe great works would have been certainly 
 more efteemed, if they had ail been by Sir James Thorn- 
 hill's own hand : They are entirely from his defigns, 
 but one cannot help in looking at them criticizingtheir 
 incorredtnefs ; one would even wifli there were fewer 
 figures. Thefe works difplay a true genius in their 
 author, and a great judgment and knowledge in 
 treating the allegory ; talents which mull neceflarily 
 produce great and rich compoiitions. 
 
 As Sir James had acquired a confiderable fortune, 
 he laid out part of it profitably, in buying back the 
 eftates his father had fold, and in rebuilding a beau- 
 tiful houfe, where he ufed to live in fummer time. 
 He was knighted by king George II. but by the 
 iniquity of the times, he had the honour to be turn- 
 ed out from his publick employment, in company 
 with the great Sir Chriftopher Wren, to make room 
 for perfons of far inferior abilities, to the reproach 
 of thofe who procured their difcharge-, after which, 
 to amufe himfelf, he did not leave off Painting eafii 
 pictures. The ill treatment he met with, was thought 
 to have impaired his health-, at Lift, after a year's fick- 
 nefs, he died in the country in 1732, at the age of. 
 56, in the lame place where he was born. By his 
 marriage he left a fon and daughter. 
 
 This 
 
eminent PAINTERS. 139 
 
 This Painter was well made, and of an agreeable 
 humour. He was feveral years ehofen member of 
 parliament ; and was alfo ehofen fellow of the Royal 
 Society of London, which admits eminent artifts 
 into its body, as well as men of learning. He de- 
 figned a great deal from practice, with a great fa- 
 cility of pencil. His genius, fo well turned for hif- 
 tory and allegory, was no lefs fo for Portrait, Land- 
 fkip, and Architecture ; he even practifed the laffc 
 fcience as a man of bufinefs, having built feveral 
 houfes. 
 
 He had a fine collection of defigns of great maf- 
 ters, which he had collected with diligence, and 
 which did honour to his tafte; thefe he mewed very 
 readily to ftrangers. 
 
 There are a fet of prints engraved after the Paint- 
 ings on the cupola of St Paul's. 
 
 PETER PAUL PUGHET. 
 
 I Shall here fubjoin all the account I have been 
 able to find of one of the greateft artifts France 
 ever produced; whom none of their own writers, 
 that I know of, have mentioned as a Painter, viz. 
 Peter Paul Pughet, who refembled in his manner 
 Michael Angelo, but was more natural and delicate. 
 Like him, he re-united the talents of Painting, 
 Sculpture, and Architecture ; not contented with 
 animating the marble, and rendering it, in appear- 
 ance, flexible as flefh itfelf. When he was called 
 upon to exert his fkill, he raifed and adorned palaces 
 in a manner that proved him a great and judicious 
 Architect ; and when he committed the charming 
 productions of his imagination to canvas, he painted 
 fuch pictures as the delighted beholder was never 
 
 tired 
 
i 4 o r :■: LIVE?, Kc. 
 
 tired og. This artift was born at Mar- 
 
 es in l .':;. where he died in 1695. 
 rhere are two prints ed from his P: 
 
 .-_:s in the cabinet of A:x; whence I took this ac- 
 
 cc. r.t. 
 
 F I N I ft 
 
LIST 
 
 O F T H E 
 
 PAINTERS Names. 
 
 A 
 
 SSELYN, John, 
 
 Page 82 
 
 B 
 
 $achuyfen, I02 
 
 Bacici, alias Gauli, 41 
 
 Bartolomeo, 85 
 
 Berchem, 94 
 
 Caftiglione, John Bene- 
 ditto, 19 
 
 Caftiglione, Balthazar, 
 
 Cerquozzi, alias M. A. de 
 Bataglia, 7 
 
 Chiari, Giofeppe, vide C. 
 Maratti. 
 
 Cignani, Carlo 25 
 
 Courtois, James, alias 
 Borgognone, 89 
 
 Dughet, Gafpar, 12 
 
 De Heem, John David, 
 
 74 
 
 Fetti, Dominico, 3 
 
 b Ferrn 
 
Fefri, Ciro, 
 
 GrifHer, John 
 
 List of the 
 
 
 Page 
 59 
 
 Maratti, Carlo, 
 
 Page 
 29 
 
 
 Miel, John, 
 
 * 73 
 
 
 Mile, Francifco, 
 
 121 
 
 SB 
 
 N 
 
 
 mcis, 
 
 IO 
 
 Neefs, Peter, 
 
 6$ 
 
 H 
 
 Hals, Frank, 66 
 
 Honderkooter ; MeJchior, 
 
 109 
 
 I 
 
 Jordano, Luca, 34 
 
 Laura, Philippo, 23 
 
 Lingelback, John, ^ 
 
 Lairefie, Gerrard, 116 
 
 Lancret, 
 
 Lutti, Benedetto, 
 
 129 
 
 130 
 
 M 
 
 Mola, Pietro Francifco, 
 
 21 
 
 O 
 
 Oflade, Adrian, So 
 
 P 
 
 PafTeri, vide Maratti. 
 Paterre, vide Watteau. 
 Petitot, 56 
 
 Potter, Paul, 96 
 
 Pughet, Peter Paul, 139 
 
 Rofa, Salvator, 14 
 
 Ricci, Sebaftian, 54 
 
 Ruyfdale, Jacob, 114 
 
 Schiavone, Andrea, 1 
 
 I 
 
 Sacchi, 
 
PAINTERS Names. 
 
 Page 
 
 Sacchi, Andrea, 4 
 
 Snyders, Francis, 64 
 
 Sachtleven, Herman, 77 
 Slingeland, John Peter, 
 112 
 Schalcken, Godfrey, 120 
 Solimene, Francis 45 
 
 Teniers, David, the elder, 
 
 61 
 . the younger, 63 
 » Abraham, 64 
 
 Terburg, Gerrard, 76 
 Thornhill, Sir James, 136 
 
 Van Gowen, John, 6g 
 Van Udcn, Lucas, 70 
 
 Vander Heyden, John, 
 
 Page no 
 
 Vander Kabel, 104 
 
 Vander Meer, 10 1 
 
 Vander Meer de Jonghe, 
 
 ibid* 
 
 Vander Meulen, Antho- 
 
 thony Francis, 106 
 
 Vander Neer, Eglon nS 
 
 Vanderwerf, Adrian, 123 
 
 Van Huyfum, John, 132 
 
 W 
 
 Wynants, John, 83 
 
 Wouverman, Philip, %6 
 » — Peter, ibid. 
 
 - — John, ibid. 
 
 Weeninx, John, 92 
 
 Watteau, Anthony, 126 
 
 THE 
 
 
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