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 BIOGRAPHICAL DICTIONARY; 
 
 CONTAINING AN HISTORICAL ACCO 
 
 UNT OF ALL THE^-^^^^^J^i^^— ^-y -^- 
 
 ENGRAVERS, 
 
 FROM THE EARLIEST PERIOD OF THE ART OF 
 ENGRAVING TO THE PRESENT TIME; 
 
 AND 
 
 A SHORT LIST OF THEIR MOST ESTEEMED WORKS. 
 
 WITH 
 
 THE CYPHERS, MONOGRAMS, AND PARTICULAR MARKS, USED BY 
 
 EACH MASTER, ACCUR/>TELY COPIED FROM THE ORIGJNAXS, 
 
 AND PROPERLY EXPLAINED. 
 
 TO WHICH IS PREFIXED, 
 
 AN ESSAY ON THE RISE AND PROGRESS OF THE ART 
 ■ OF ENGRAVING, BOTH ON COPPER AND ON WOOD. 
 
 WITH SEVERAL CURIOUS SPECIMENS OF THE PERFORMANCES OF THE 
 
 MOST ANCIENT ARTISTS. 
 
 By yO^-EPH StRUrt. 
 
 VOL. L 
 
 LONDON- 
 PRINTED'- Y J. DAVIS, 
 
 Hi; 
 
 FOR ROBERT FAULDER, NEW BOND STREET. 
 
 M,DCC,LXXXV. 
 
L 
 
R E F A C E. 
 
 THE Art of Engraving was never more encouraged than in the 
 prefent day, efpecially in England, where almoft every \iart 
 of tajfte is in fome degree a colledor of prints. It is therefore rathfcr 
 extraordinary, that a work of this kind, which I need not fay is 
 greatly wanted, fliould have been fo long negledled ; particularly 
 when we recolledl, that we have not any fatisfailory account of the 
 Engravers, or their works, in the English tongue. 
 
 In France the example has been fet us by Bafan, who, with the 
 affiftance of the Notes of M. Marietta, has given us a regular account 
 of upwards of a thoufand artlfts. It is a very ingenious compila- 
 tion, and, as far as it goes, exceedingly ufeful. The defcriptions which 
 he gives of the prints belonging to each artift are very accurate, and 
 the obfervations which occur, are no fmall proofs of the folldity 
 of his judgment ; but he has generally omitted to inform us of the 
 ftyle or manner in which they worked ; neither has he given us the 
 marks or monograms, which they often fubilituted inftead of their 
 names ; and thefe omiffions render his work much lefs valuable than 
 it would otherwife have been, becaufe it affords us but little affiftance 
 in diftinguifhin-g the works of one mafter from thofe of another of 
 the fame name, or who might ufe the fame mark. 
 
 The other foreign publications upon the fubjed, though very mul- 
 tifarious, are, neverthelefs, exceedingly defedive ; few of them fpeak 
 of the Art of Engraving abfl:ra£ledly ; and the greater part of them are 
 little more than unfatisfa£lory catalogues of the names of the artifts, 
 or lifls of their works, without any proper defcription. ^ If Profeflbr 
 Chrift had paid fufficient attention to this particular, ^is Didionary 
 of Monograms would have afforded infinitely more affiflance in dif- 
 tinguifliing the works of the old maflers, the one from the other ; 
 though it is confefTedly, as it flands, a very defirable performance. 
 In Englifh, we have Evelyn's 3(r«///«/-^, a fmall book entitled Sculpiura 
 ' • Hi/IoricQ- 
 
VI / PREFACE. 
 
 Hitlorko-l'J^''^^* compiled originally by the elder Faithorne ; and 
 'The Serie/f Engravers, publifhed at Cambridge : Thefe, excepting 
 Catcdoz/^ of particular mafters works, are all the books I can recoi- 
 led c/any confequence, in which the artifts are generally Ipoken of 
 (foA'irfue's Catalogue of the Engravers, pvtblifhed "by, the Hon. 
 Mr. Walpole, is confined to the Engli(h fchool only) ; and .that they 
 are very defective, a fmall degree of examination will abundantly 
 prove. I need not fay how expenfive it would be to purchale all the 
 publications, which bear any reference to the Art of Engraving ; but I 
 fear, the information to be gained, from the far greater part of them, 
 would be neither adequate to the coft, nor the ftudy which inuft necefi- 
 f;\rily be beftowed upon them. 
 
 In the profecution of the prefent work, I have followed Mr. 
 Pllkington's plan, and arranged the names of the artifts alphabetically, 
 (iti the manner of a diclionary) rather than chronologically ; becaufe 
 by this method they are much more eafily referred to. But 1 thought 
 it highly necefiary to add, for the conveniency of the Reader, a Chro- 
 nological Table of the fame names, with a Lift: of the Difciples of 
 each Mafter ; which will, of courfe, be placed at the end of the 
 fccond volume. 
 
 Nearly three thoufand names are included in the narrow limits of 
 
 this work .; the lives of the artifts muft;, of courfe, be drawn up in as 
 
 fiiort a compafs as poffible. I am well aware of the drynefs of a mere 
 
 Di.titionary Hlftory, as alfo of the frequent repetitions which muft ne- 
 
 ceflarily occur ; and I have endeavoured to compenfate for thefe defedls, 
 
 by a diligent attention to truth : at the fame time, whenever I could 
 
 meet with an interefting anecdote to enliven the performance, I have 
 
 gladly inferted it. But fo many of the engravers lived and died in 
 
 obfcurity, that little, very little matter of amufement, exclufive of the 
 
 arts, can be gathered from the barren foil. Thefe unfavourable cir- 
 
 cumftances will not, I hope, be placed to my account, even when it 
 
 appears, that I h^ve chofen rather to leave the Jubjeft naked as it is, 
 
 than to adorn it in a more pleafing manner, at the expence of veracity. 
 
 With 
 
P li E F A C E. 
 
 vu 
 
 With refped to the general charadler of each artift, I have written 
 as an Engraver, and endeavoured as clearly as poffible, to point out the 
 ftyle in which he w^orked, and wherein his great excellence confifted ; 
 and upwards of twenty years experience, may, perhaps, plead a little 
 in favour of my judgment. I have conflantly, however, endeavoured 
 to deliver my fentimentsin the moft impartial manner; and if I am 
 in any inftance thought to (peak too highly in favour of the artifl, 
 I hope to claim fome fmall {hare of indulgence, becaufe I conftantly 
 fpeak as I feel, and never prefume to give my opinion pofitively, with- 
 out adding the reafons upon which it is grounded. 
 
 The prints contained in the feveral lifts, are either fuch as are 
 moft generally efteemed, or fuch as beft illuftrate the criticifms I give 
 of each mafter's works. I am too well convinced of the difficulty of 
 deciding precifely upon the works of a great mafter ; or laying 
 pofitively which is his beft print. I freely own, that looking over # 
 
 the battles of Alexander, engraved by Girard Audran from Le Brun, 
 I have conftantly conftdered that as beft, which I laft examined. Find- 
 ing it fo very hard a talk to form a deciftve opinion in my own mind, 
 I could not reafonably prefume to dictate to others ; efpecially as 
 I am certain that this book muft fall into the hands of many, 
 whofe judgment is greatly fuperior to my own. 
 
 The work is preceded by an introdudory Effay on the Origin and 
 Progrefs of the Art of Engraving, with copies from the works of the 
 oldeft and fcarceft mafters ; and at the end of each volume are given 
 two tables, the flrft containing the initial letters ufed by the artifts 
 mentioned in it ; and the other, an explanation of the monoo-rams 
 cyphers, and other marks, with which they occafionally diftinguilhed 
 their engravings. 
 
 The Reader, by barely looking over the outlines of this work, will 
 readily conceive the great labour and difficulty which muft attend the 
 profecution of it, and on this account, I hope for indulgence. Many 
 errors muft neceffarily have efcaped my notice, not a few of them 
 ariling from the obfcurity of a great number of the artifts, and the 
 
 ecu full on 
 
VI 11 
 
 PREFACE. 
 
 confufion their works are fubje£l to, from the want of proper diftlnc- 
 tion; feveral of them ufing precifely the fame mark, and copying from 
 each others engravings. Many omiflions doubtlefs will be found; but to 
 compenfate in fome meafure for them, it muft be remembered, that 
 I have made an addition of nearly two thoufand names, to the Cata- 
 logue of Bafan ; and, I hope, at leaft, that the name of no artift of 
 any great confequence will be found wanting in the work. To the 
 candour of the Public I now fubmit it, and doubt not but that the 
 judgment I fhall receive, will be given without partiality. 
 
 CHARLTON STREET, 
 AUGUST I, 1785. 
 
A N 
 
 ON THE 
 
 ART OP ENGRAVING, 
 
 WITH A FULL ACCOUNT 
 
 O » I T S 
 
 ORIGIN AND PROGRESS, 
 CHAPTER I. 
 
 The ExceUency of the Art of Engraving ; the Salifications requifite for an Engraver ■ the 
 diffcrmtMldeiof EngrJvlng ; andfome Obfervations concerning the Cntufm upon Pnnts. 
 
 SFCT T r-r^ H E improvement of the Arts has ever been confidered as an objefl 
 I of great importance, by the enlightened part of mankmd ; and 
 X there is no nation in the world, where the art of engravmg is 
 held in higher efteem, or more generoufly encouraged, than in England. Hence it 
 is that Gr'eat Britain,'at this time', abounds with artifts, equal .n --^J' ^^J^^^^^^^^ 
 in abilities, to thofe of any other country. A view then of the nfe and progrefs of an 
 art, o a national confequence, naturally becomes inte^eftmg, not only to the en. 
 gravers themfelves, but to all who profefs the love of it. And if England can lay no 
 flaTm o the inven lonof engraving, we (hall prove at leaft hereafter that her Pretenfions 
 to the early exercife. of it are as juftly founded, as thofe of the Italians or the Ger- 
 
 mans 
 
 With refpea to the ufe and excellency of the art of engraving, I beg leave to fubjoin 
 the following obfervations. They were drawn up by a gentleman of great tafte and are 
 the refult of a critical examination of the works of the greateft mafters ; and will, I truft, 
 be ftill more acceptable to the public, as they are not the remarks of an engraver but ot 
 a gentleman, no otherways interefted in the caufe, than as a man of fcience, and a lover 
 
 ''^"^OrS the imitative arts, painting itfelf not excepted, engraving is themoft applicable 
 «' to general ufe, and the molt reforted to from the neceflit.es of mankind. 1" rom Us 
 « eartieft infancy, it has been called in, as an afliftant m almoft every branch of know- 
 « ledge; and has, in a very high degree, facilitated the means of communicating our 
 « ideas, by reprefenting to the fight whatever is capable of v.fible imitation ; and thereby 
 " preventing that circumlocution, which would ill explain,^ in the end, what is immedi- 
 " atelv conceived from the adual reprefentation of the objedt.' _ 
 
 « From the facility of being multiplied, prints have derived an advantage over paint- 
 " ings,by no means inconf.derable. They are found to be more durable ; wh^h m^ay, 
 
 VOL. I. ^ owever, 
 
t ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 « however, in fome degree, be attributed to the different methods in which they are pre- 
 " ferved. Many of the bcft paintings of the early mafters have generally had the mif- 
 " fortune to be either painted on walls, or depolited in large and unfrequented, and 
 " confequcntly damp and deftruftive buildings ; whilft a print, pafling, at diflant inter- 
 " vals, from the parte feullle of one collector to that of another, is preferved without any 
 " great exertion of its owner; And hence it happens, that whilft the piilures of Raphael 
 " have mouldered from their walls, or deferted their canvafs, the prints of his friend and 
 " contemporar}',Mark; Antonio Raimondi, continue infullperfe£lionto this day, and give us 
 " a lively idea of the beauties of thofe paintings, which, without their afliftance, had been 
 " loft to us for ever ; . or, at leaft, could have been only known to us, like thofe of Zeuxis 
 " and Apelles, by the defcriptions which former writers on thefe fubjcifts have left us. 
 
 " Perhaps there are no reprefentations, which intereft fo ftrongly the curiofity of man- 
 *' kind as portraits. A high degree of pleafure, of which almoft every perfon is fufcep- 
 " tiblc, is experienced from contemplating the looks and countenances of thofe men, who, 
 " by their genius or their virtues, have entitled themfelves to the admiration and efteem 
 " of future ages. It is only in confequence of the facility, with which prints are multi- 
 " plied from the fame engraving, that this laudable appetite is fo frequently gratified. 
 " Whilft the original portrait is limited to the wall of a private chamber, or adorns fome 
 *' diftant part of the world, a correal tranfcript of it, exhibiting the fame features, and 
 " the fame charafter, gives to the public at large die full reprefentation of the v/bjc>5t of 
 " their veneration or efteem. 
 
 " In this country, where the genuine paintings of the ancient mafters are extremely 
 " fcarce, we are much indebted to prints for the truth of our ideas, refpefting the merits 
 " of fuch mafters. And this is no bad criterion, efpecially when the painter, as is fre- 
 " quently the cafe, has left engravings or etchings of his own. \\'ith refpeil to the prin- 
 " cipal excellencies of a pi£lure, a print is equally cftimable wiih a painting. We have 
 " there every perfedtion of defign, compofition, and drawing ; and the outline is marked 
 " with a degree of precifion, which frequently excels the piftur^ ; fo that where the merit 
 " of the mafter confifts more particularly in the knowledge of thefe primary branches of 
 " tlie art, his prints may be better than his paintings ; as was jiotorioufty the cafe with 
 " Peter Tefta, who, poffefl'ed of every excellence of a painter, except a knowledge in 
 " the art of colouring, acquired that reputation by his etchings, which his paintings 
 " never could have procured him. 
 
 " A knowledge of the ftyle and manner of the different mafters is only to be obtained by 
 " a frequent infpedlion, and comparifon of their works. If we were to judge of Raphael 
 " himliilf from fome of his piiSlures, we fhould be difpofed to refufe our aflent to that praife, 
 "which he has now for fo many centuries enjoyed. Every mafter has at times painted 
 " below his ufual ftandard, and confequently is not to be judged of by a fingle pidlure ; and 
 " where is the colleftion, that affords fufHcient fpecimens of any of the elder mafters, to 
 " enable a perfon to become a complete judge of their merits ? — Can we from a few pic- 
 " tures form an adequate idea of the invention and imagination of a painter, — of the 
 " incxhauftible variety of form and feature, which is the true charafteriftic of fuperior 
 " excellence ? But let us look into a collcdtion of prints after any eminent artift, engraved 
 " either by himfelf or others, and we fhall then have an opportunity of judging of hi3 
 " merits, in tlie fuft and indifpenfable qualifications of a painter. If we find grandeur of 
 " defign, united with elegant compofition and accurate drawing, we have the ftrongeft 
 " teftunonies of fuperior abilities ; and from a general comparifon and accurate obferva- 
 "• tion of a number of fuch prints, we may venture to form to ourfelves a decifive opinion, 
 " refpccting the merit of fuch mafters. On examining the prints after Raphael, we find, 
 " that his firft manner was harfh, and Gothic ; in fhort, a tranfcript of his mafter 
 " Perugino ; but that from fome fortunate circumftance, he afterwards adopted that fub- 
 " lime and graceful manner, which he ever retained. 
 
 " Wherever a painter has himfelf handled the graver, his prints are moft generally 
 " -.mpreired with the fame charafler as his paintings ; and are therefore likely to give us a 
 " very accurate idea of his ftyle. The prints of Albert Durer, Rembrandt, and Sal- 
 
 ' vator 
 
ON THE ORIGIN AND PROGRESS OF i-N GRAVING. 3 
 
 *< vator Rofa, are all fuch exa6l counterparts of their paintings, that at this time, when the 
 " colouring of their pictures is often fo far changed, as to anfvver little farther purpofe, 
 " than that of light and ftiadow, they become in a manner their rivals ; and, in the gene- 
 " ral acceptation of the world, the prints of fome of thefe artifts have been as highly 
 " valued, as their paintings. 
 
 " Independent of the advantages which prints afford us, when confidered as accurate re- 
 " prefentations of paintings, and imitations of fuperior productions, they are no lefs valuable 
 " for their pofitive merit, as immediate reprefentations of nature. For it muft be 
 " recolle<5led, that the art of engraving has not always been confined to the copying other 
 " produftions, but has frequently itfelf afpired to originality, and has, in this light, pro- 
 " duced more inftances of its excellence, than in the other. Albert Durer, Goltzius, 
 " and Rembrandt, amongft the Dutch and Germans ; Parmigiano and Delia Bella, 
 " amongfi: the Italians, and Callot amongft the French, have publiflied many prints,^ 
 " the fubjeds of which, there is great reafon to fuppofe, were never painted. Thefe 
 " prints may therefore be confidered as original pidlures of thofe mafters, deficient only in 
 " thofe particulars, in which a print muft necellarily be inferior to a painting. 
 
 " The preceding diftinftion may perhaps throw ibme light on the proper method of 
 " arranging and clafling a colledlion of prints, which has been a matter of no fmall dif- 
 " ficulty. As an art imitating another, the principal fliould take the lead, and the defign, 
 " compofition, and drawing in a print, being previous requifites to the manner of execu- 
 " tion, and finifhing ; prints engraved after paintings fliould be arranged under the name 
 " of the painter : and every perfon, who looks upon engraving only as auxiliary to 
 *' painting, will confequently adopt this mode of arrangement. But when engraving is 
 " confidered as an original art, as imitating nature without the intervention of other 
 " methods, then it will certainly be proper to regulate the arrangement, according to the 
 " names of the engravers. 
 
 " The invention of printing, in the fifteenth century, was undoubtedly the greateft 
 " acquifition, which mankind ever made towards the advancement of general fcience. 
 " Before that event, the accumulated wifdom of ages was confined to the leaves of a 
 *' few mouldering manufcripts, too expenfive to be generally obtained, and too hio-hly 
 " valued to be often trufted out of the hands of the owner. Hiftory affords us many 
 " inftances of the difficulty, with which even the loan of a book was procured, andof fure- 
 " ties being required to be anfwerable for its return ; but the difcovery of printing broke 
 " down the barriers, which had fo long obftructed the diffufion of learning ; and the rapid 
 " progrefs in civilization, which immediately took place, is itfelf the happieft teftimony 
 " of the great utility of the invention. What printing has been, with refpeft to general 
 " fcience, engraving has been to the arts ; and the works of the old Italian mafters will 
 " be indebted to engraving for that perpetuity, which the invention of printing has 
 " fccured to the Jerufalem of TafTo, and the tragedies of Shakefpeare and Corneille." 
 
 SECT. II. Of all the fpecies of engraving, that of hiftorical fubjeils is the 
 moft noble, and requires the greateft exertions of genius and application to bring it 
 to perfeftion. But before I enter into an enquiry concerning the neceffary qualifications 
 to form a good hiftorical engraver, I vvifti to make, what appears to me very neceflarr 
 a proper diftinilion between tafte and judgment, abllraftedly confidered, as relative to the 
 arts, particularly the executive part of them. 
 
 Judgment I conceive to be the refult of a uniform habit of thinking, founded upon fome 
 given principle, received into the mind, as the ftandard of excellence, from which a 
 comparifon is formed, and things are admitted as perfedt or imperfe£t, in proportion as 
 they approach to or recede from thofe ideas of beauty, by which the mind is prepoffefTed. 
 Hence it appears, that a man of judgment only will be a mannerift, in a greater or lefs 
 degree ; and this proportion muft alio depend upon the number of the objeiSts the artift 
 unites together, upon which he forms thofe decided ideas in his mind. If the objedl be 
 fingle, of courfe his ideas will be unvaried ; and the fame ftyle of execution will appear 
 continually, and cannot fail of difgufting at laft, though excellent in itfelf to a fuperior 
 degree. 
 
 B 2 This 
 
4 ON THE ORIGIN AND PROGRESS OF ENGRAVINO. 
 
 This habit of thinking, and exprefling the thoughts, may be acquired by practice, 
 whether it relates to the fpcculative notion of prints, or the manual execution of them. 
 
 Tafte, I {hould wifh to define, as the effe6l of a natural genius, or propenfity in the 
 mind, bv which it is led to affimilate to itfelf a diverfity of fuch forms as are generally 
 allowed to be beautiful, and place them in fuch points of view, as fliall render them agree- 
 able to the eye. And this propenfity muft exift in the mind, previous to the application of 
 the foreign aids of inftrudion and ftudy, which, though they may, and certainly do, cul- 
 tivate and improve the genius, can never beftow it. A blind man might as foon rea- 
 fon concerning the beauty of colours, and a deaf man upon the harmony of founds, as a 
 fuperior artift be produced by dint of ftudy only. A neat, ftifF, laboured engraving he 
 might accomplifh ; but a fpirited, free, and unaffected performance, is far beyond the 
 reach of fimple induftry. It is the union of genius and judgment, which completes the 
 artift ; and without them both he can never be fuperlatively great. 
 
 On this account, we frequently fee a man poflelled of great judgment in drawing, and 
 every other requifite for the execution of a plate, excepting tafte, produce a cold, formal 
 work ; and though we cannot help perhaps admiring the patience of the artift, and the 
 precifion, with which he has finiftied the engraving ; yet this admiration is mixed with 
 a fort of pity for him. We conceive a painful idea of drudgery, which ftill increafes, in 
 proportion as we examine the performance ; and we are obliged to confefs, that it is no 
 more equal to the animated works of genius, than the motionlefs ftatue of the animal, to 
 the living animal itfelf. — To be convinced of this, let us compare the works of Jerom 
 Wierix, or any of the precife German mafters, with thofe of Henry Goltzius, or Gerard 
 Audran. Upon the fame principle it is, that all the learning in the world, exclufive of 
 an animated conception, could never make a Shakefpeare or a Milton. 
 
 Thel'e obfervations naturally lead me to others equally important, by which I mean to 
 prove a manifeft difference between neatnefs and high finifhing, which arc too frequently 
 confounded. The flrft of thefe confifts in the precifion and exa£tnefs of the mechanical 
 execution of a plate ; the fecond, in the harmony and powerfulnefs of the efFe£l, and a ju- 
 dicious diftribution of the light and fhadow. It is true, Ibme proportion of neatnefs is 
 alfo requifite, in order to produce a highly finiflied effedt ; but a print, on the other hand, 
 may be extremely neat, and yet, when held at a diftance, have all the appearance of a 
 flight fketch. To elucidate thefe obfervations, I muft again have recourfe to the old 
 engravers, and more particularly Jerom Wierix and his followers with refpedt to neat- 
 nefs ; and the Sadelers, Cornelius Cort, and Villamena, nay, we may add Henry 
 Goltzius himfelf : in all the works of thefe artifts, though executed in a mafterly manner, 
 we find the lights left clear and broad, not in malTes, but frequent fpots, equally 
 powerful upon the diftances, as upon the principal objedts, vi'hich confufes the fubjedt, 
 and fatigues the eye. Thefe, when compared with the more modern engravings of 
 Drevet and tdelink in France, and of Woollett, with other great artifts in our own 
 country, (where the management of the claire-obfcure has certainly been carried to a 
 very fuperior pitch of excellence) will fufFiciently manifeft the dift'erence. 
 
 From n;iture an hiftorical engraver fhould poiVefs ftrong mental faculties, a lively 
 genius, and a juft eye for proportion. 'Fo thefe he muft add great application ; the 
 inoft excellent models of the art he ought conftantly to have before him ; and, above 
 all things, he ftiould acquire a thorough grounded knowledge of the human figure. 
 Harmonj of efFe(51, and the management of the claire-obfcure, are alfo to be confidered 
 as abfolutcly necelTary. And h.-vving acquired a facility of managing the point, or graver, 
 or rather of both, let him always btar in memory, that however he may fuppofe himfelf 
 arrived at a fuperior degree of excellence, it will be greatly to his difcredit, as an 
 engraver, if he forgets to pay that attention to the piiflure he copies, which is due to its 
 aut.-ior ; and, inftead of giving us the ftyle of the painter, exhibits one of his own. For 
 though he ftiould juftly avoid the fervile manner of a Chateau, he certainly ought not, on 
 the other hand, to take the unwarrantable liberty of a Dorigny, who, engraving from 
 Raphael, forgot the mafter, and tranfmitted to us his own mannered defigns, under the 
 fandtion of tliat celebrated name. I need not, I hope, apologize for adding, that I con- 
 
 2 fider 
 
ON THE ORIGIN AND PROGRESS OF ENGRAVING. J 
 
 fider Gerard Audran, without exception, as the greateft hiftorical engraver that ever 
 exifted ; and I think his works will abundantly prove, that he poirdTed, in a fupenor 
 degree, every one of thofe requifites, which I have mentioned, in the charafler of an 
 
 engraver, as drawn above. .in. , ^ 
 
 The illiberal reflections, which, by ignorant pretenders to the art, have been caft upon 
 the en<rravers, hardly merit an anfwer, and particularly, when not mentioned under proper 
 reftriaions ; namely, that they deferve not the name of arffts, but are to be conf.dered as 
 mere copvift^. Now, not to mention the works of Albert Durer, Lucas Van Leyden, 
 Goltzius, Parmiaiano, Delia Bella, Callot, and a variety of other mafters, which are per- 
 feftlv oricrinal, w^e may examine thofe only, which are profeffedly copies from the p.dtures ot 
 other mafters. And then we muft obferve, that every trandator of a poem, however meri- 
 torious falls precifely under the fame cenfure ; but how little underftanding mult that 
 man poffefs, who would tell us, that Hobbes difplayed as great an exertion ot genius, in 
 his Homer done Into EngUJh, as Pope, in the elegant tranflation, which he has given us 
 of that poet, and which is not more generally than juftly admired. Admitting (which, 
 I believe, is far from being true,) that the firft has adhered to the precife and literal 
 meaning of each word, compared with the original, can it be faid he felt what he 
 wrote, or that the leaft fpark of poetical animation can be found m the who e work t 
 whilft the other enters, as it were, into the foul of the poet, (if I may be allowed the 
 exprefllon) and writes, as Homer might have been fuppofed to have done, had he been 
 a native of England. What the poet has to do with refpefl to the idiom of the language, 
 the encrraver has alfo to perform in his tranflation, for fo it may be called, of the 
 ori^rinat pidure upon the copper; with this manifeft difadvantage, that he has only one 
 colour given him to exprefs the fame harmony and powerfulnefs of effed, which the 
 painter fo happily produces with variety. Would Raphael have fpoken fo difrepeaully 
 of Marc Antonio, Rubens of Bolfwert, or Le Brun of Gerard Audran ?— The refpedt 
 which they paid to thefe admirable engravers, plainly evinces the contrary. 
 
 SECT. III. Prints may naturally be arranged under three general heads: 
 I. Hiftorical and Emblematical Subjefts ; II. Landfcapes ; III. Portraits. AndaU thefe 
 may eafily be fubdivided at pleafure. 
 
 The different modes of engraving are the following : 
 
 In STROKES cut through a thin wax, laid upon the copper, with a point, zni thefe 
 ftrokes bitten or corroded into the copper with aqua forth. This is nWeA etching. 
 
 In STROKES wth the graver alone, unaffifted by aqua forth. In this inftance, the 
 tiefign is traced with a {harp tool, called a dr-) pointy upon the plate ; and the ftrokes 
 are cut or ploughed upon the copper with an inftrument, diftinguillied by the name ot a 
 
 l^raver. , , • 
 
 In STROKES, firft etched, and afterwards finifhed with the ^wf^r; by this expedient 
 
 the two former methods are united. 
 
 In DOTS without ftrokes, which are executed with the point upon the wax or ground, 
 bitten in with the aqua forth., and afterwards harmonized with the graver ; by the 
 means of which inftrument fmall dots are made ; or with the graver alone, as in the 
 flefti and finer parts, unaffifted with the pomt. 
 
 In DOTS, firft etched, and afterwards harmonized with the dry point., performed by a 
 little hammer., called opus mallei^ or the ■usork of the hammer^ as praftifed by Lutma and others. 
 
 In MEZZOTINTO, which is performed by a dark barb, or ground, being raifed uni- 
 formly upon the plate, with a toothed tool. The defign being traced upon the plate, 
 the lii^ht parts are fcraped oft' by inftruments for that purpofe, in proportion as the 
 effeft requires. ■ r n 
 
 In AQLTA TiNTO, a newly invented method of engraving. The outline re firft 
 etched, and afterwards a fort of wafli is laid by the aquafortis upon the plate, refembling 
 drawings in Indian ink, bifter, &c. 
 
 On WOOD, performed with a fingle block, on which the defign is traced with a pen, 
 and thofe parts which fhould be white carefully hollowed cut ; and this block is after- 
 wards printed by the letter-prcfs printers, in the fame manner as th:y print a book. 
 
 On 
 
6 ON THE ORIGIN AND PROGRESS OF BNGRAVING. 
 
 Oil WOOD, performed with two, three, or more blocks ; the firft having the out- 
 lines cut upon it ; the fecond is refervcd for the darker fhadows ; and the third 
 for the fliadows, which terminate upon the lights ; and thefe are fubftituted in their turn, 
 each print receiving an imprcflion from every block. This mode of engraving is called 
 chiaro-fcuro, and was defigned to reprefent the drawings of the old mafters. 
 
 On WOOD and on copper : in thefe the outline is engraved in a bold, dark flyle 
 upon the copper ; and two or more blocks of wood are fubftituted to produce the darker 
 and lighter fhadows, as before. 
 
 SECT. IV. In criticifing upon print?, the following obfervations may not be unworthy 
 of notice, fo far, at leaft, as they have any tendency to prevent an over-hafty decifion with 
 refpeft to their merit ; for certainly no artift is fo liable to accidents, which may lead the 
 unwary to misjudge of his works, as the engraver. His plates may be badly printed : 
 copies may be impofed upon die collector for originals; and retouched impreffions of no 
 value may be fold for genuine. Neither are tliefe all the difadvantageous circumftances, 
 which ftiould come under our confideration. The works of the artift himfelf may be un- 
 equal, efpecially when they are exceedingly numerous. In this cafe, it is abfolutelyjieceflary 
 for the colleftor to fee all, or the greater part of the engravings by fuch a mafter, or 
 perhaps a prejudicial judgment may be formed from his worft prints, whilft the moft 
 excellent remain unfeen. 
 
 The works of all the old mafters lie under thefe manifeft difadvantages ; but none 
 more particularly fo, than thofe known by the name of little mafters, who are chiefly 
 German artifts, and diftinguifhed by the epitliet of little, from the diminutivcnefs of 
 their works. Their plates, whilft in good condition, have often been badly printed ; 
 but the impreffions moft generally met with, are fuch, as are fpoiled by retouching, fo 
 as not to retain the leaft fhadow of that excellence, which diftinguifties the print in its 
 original ftate. 
 
 For thefe caufes I conceive, no decided opinion ought to be formed of the works of an 
 engraver, in general, and of the old mafters, in particular, till a number of their prints, 
 and thofe too fine impreffions, have been carefully examined. If thefe rules were candidly 
 attended to, 1 am furc tlie latter would ftand much higher in the public eftimation, than 
 they do at prefent. 
 
 Prints, if they be original works, may be confidered as beautiful, I, With refpeiSl to the 
 drawing, the fpirit of the compofition, or the management of the claire-obfcure, exclufive 
 of the mechanical part of the execution ; and of this fpecies are the painter's etchings ; 
 or II. Principally for the excellence of the mechanical part of the engraving, as in the works 
 of Wierix, Beham, and others of the German fchool efpecially ; or III. For the corre<5i;nefs 
 of defign, and freedom of execution, as in thofe of Henry Goltzius and his contemporaries^ 
 or IV. For the beauty of the finiftiing ; and V. When they are copies from the paintings of 
 others, the more ftriking refemblance tliey bear to the originals, from which they are taken. 
 And no prints ouglu abfolutcly to be thrown afide, if they excel in any one ofthefe particular 
 beauties, however they may be deficient in another. For want of this difcriminatioB, 
 we too frequently fee many of the moft valuable works of the old mafters, and etchings 
 of the fineft painters, palFed over with contempt by the unflcilful, when nothing can be 
 more certain, than that the etchings of Guido, and otlier great artifts, are as excellent 
 in their way, as the moft highly iinifhed and ftriking engravings of Edelink, Nanteui.', 
 or Poilly. 
 
 Neither is it reafonable entirely to condemn the works of an artift, becaufe he followed 
 the eftablifhed tafte of his country. This was a fault too much authorifed by cuftom; 
 but indeed originality of tafte is much confined ; few, very few, have poirefled it ; and 
 even of thofe, all have not been fuccefsful. If the ftyle of drawing or compofition is 
 not agreeable to the ideas we have formed of excellence in our own mind, ftiall we entirely 
 pafs over the beauties, which may be found either in corredtnefs of drawing, neatnefs, or 
 harmony of effedt ? The fertility of invention, and variety of character, which appear 
 ill the works of Albert Durer, make greatamends for his want of that fimplicity and coredl- 
 ncfs, which is the characteriftic of the Italian Ichools j and his fkill in the mechanical 
 
 part 
 
ON THE ORIGIN AND PROGRESS OF ENGRAVING. 7 
 
 part of the art deferves ex'ery poflible encon ium. Upon this principle, a perfon, fond 
 of a powerful effeft, would throw afide the v orks of Henry Goltzius, becaufe they arc 
 not equal, in that refpeft, to thofe of Rembrandt Gerretz, difregarding, at the fame 
 time, the fuperior excellence, and correftnefs of drawing, which they pofl'efs, and the 
 aftonifliing freedom of execution with the graver, by none out-done, if ever equalled 
 by any. 
 
 CHAPTER II. 
 
 The Antiquity efthe Art of Engravings and by whom it appears to have been firjl prailifed. 
 
 THOSE produftions of art, by which the mind is delighted or improved, 
 naturally intercft our affections. We feel, as it were, an obligation incumbent 
 on us, and are folicitous of tracing out the man, to whom we fland indebted for 
 the gratification we have received. And it appears to be a tribute juftly due to himj 
 to refcue, if poflible, his name from oblivion, and place the laurel he deferves upon his 
 brow. If we fail in this, the art itfelf becomes the obje£t of our refearches. We 
 wifli to know, at what period it was invented, and where it originated. If it fliould 
 be faid, this knowledge does not contribute to the improvement of the art, or add 
 to the merit of its author, yet the defire of attaining it proves, at leaft, the decided 
 part we take in their favour, and is a convincing argument, that our hearts are fufficiently 
 warmed with gratitude to repay the obligation we conceive ourfelves to lie under, if it 
 were in our power. 
 
 But refearches of this kind, efpecially with refpedt to an art, which has gone through 
 fo many changes as that of engraving, and may be divided into fo many different 
 branches, are by no means to be negledled ; for they may not only be pleafing to thofe, 
 who interefl: themfelves in its caufe ; but by Ihowing the variety of modes, which 
 have been praftifed, in its gradual advancement from its infancy to its prefent maturity, 
 may be ufefully confidered by the artifts themfelves, and prove perhaps produdtive of 
 improvements hereafter, which at prefent are not thought of. 
 
 There is no art, that of mufic excepted, which can pofitively claim a priority to that of 
 engraving ; and though its inventor cannot be difcovered, there is little doubt of its ex- 
 iflence long before the flood. Tubal Cain, the fon of Lamech, according to Mofes, was 
 the firft artificer in metals. It is faid of him, in the original, that he was, 
 
 TJie whetter sr Jharpner of all injlruments of copper and of iron. And thefe words imply 
 great fkill in metallurgy ; for the working of iron, and fetting an edge upon copper, io 
 as to make inftruments fit for ufe, are proofs, that Tubal Cain was no fmall proficient in 
 that art. To what degree of perfection he carried the mechanical part of his profeffion, 
 cannot be difcovered ; but we may reafonably fuppofe, his performances were rude, and 
 fimple in their forms, and that he confulted ufe, rather than elegance or beauty ; and pro- 
 bably had no leifure to ornament them with unneceffary decorations. But as his defcendants 
 increafed, and the number of workmen was multiplied, new inventions were naturally 
 brought forward, and comparative merit, of confequence, would enhance the value of 
 one man's performances, in preference to thofe of another. Hence neatnefs, and even 
 elegance, progreffively became neceffary ; and the love of finery, fo generally prevalent in 
 the human mind, eafily led men to prefer thofe works, which were moft handfomely de- 
 corated. The ornamental parts of drefs, as clafps, buckles, rings and diadems ; alfo cups, 
 and other houfehold furniture, together with the arms of military chieftains, were probably 
 enriched with the firfi: fpecimens of engraving. Thefe, in the remoteft periods, appear to 
 have been ornamented in this ftyle, even among the moft barbarous nations : rude por- 
 traitures are mentioned, as carved and engraved upon the fhields, and other accoutrements 
 of war. , 
 
 The 
 
8 OS' THE ORIGIN AND PROGRESS OF ENCRAVl>rG. 
 
 The immediate dcfcendants of Tubal Cain may lay a claim to the invention of th« 
 art of engraving, which appears to me to be well founded, and certainly prior to any 
 exhibitedin profane hiftory, unlefs the Grecian Vulcan really was, as fome have thought, 
 no other perfon than Tubal Cain, diftinguiflied by another name. To what length the 
 exercifeof this art was carried by our Antediluvian progenitors, is totally unknown. Soon 
 after the flood, if ancient records are to be credited, it had, as well as fculpture, made a con- 
 liderable progrcfs. I (hall however pafs over the works of the old Greek and Roman 
 writers, concerning the hiitory of thefe early periods ; for the fafts, as related by them, 
 are not only exceedingly doubtful in themfelves ; but convey no certain intelligence. 
 
 Terah, the fither of Abraham, lived in the days of Nimrod, and he is faid to have 
 been the firft man after the flood, who fabricated carved images ; and the carving 
 of that remote aera, in many inftances bore a great refemblance to engraving, and 
 frequently is not diftinguiftied from it. Thefe poflibly might be the very images, which 
 Rachel afterwards ftole from her father Laban, and are called D'Sin Terapbim by 
 the facred hiftorian ; and by Laban himfelf diftinguiflied by the name of Gods ; for he 
 fays to Jacob, > > 
 
 TVl}y hajl thoujiolcn muay my Gods ? And thefe are luppofed to have been perfona) 
 reprefentations of the Deity. 
 
 Mofes, when he fpeaks particularly concerning the art of engraving, does not mention it 
 by any means as a new Invention, but feems to confider it as too well underftood among 
 the Ifraelites, to need any previous defcription. For though Bezalecl and Aholiab are the 
 iirft names, mentioned profeiTedly as engravers, and by way of commendation of their 
 excellence, it is faid, that GodfdLd them ivith laijdom of heart to work all manner of work 
 of the engraver, Is'e. Yet this dctes not by any means apply the invention of the art to 
 either of them ; for indeed, prior to the commencement of the workmanfhip for the 
 tabernacle, it is faid of Aaron, that he faihioned the calf he had made with the graving 
 tool. It is hisjhlv probable, that this art, among a variety of others, as, carting of 
 metals, forming of images, carving in wood ;uid ftone, working embroidery, &c. 
 was learned by the Ifraelites in Egypt. The Egyptians were certainly famous at that 
 time for their knowledge ; for which reafon St. Stephen, fpeaking in praife of Mofes, 
 fays, he was learned in all the ivifdom of the Egyptians. 
 
 There are feveral words, ufed by the facred hiftorian toexprefs the works of the engra- 
 ver ; among which the following are more particularly applicable to my purpofc. The 
 firft occurs," Exodus xxviii. verfe 9. nDD fignifies to make an opening or incifion; and hence 
 comes the noun nriD with its plural DTJIDE engravings ; in the Septuagint it is rendered 
 
 by y->.v\".^ In the nth verfe of the lame chapter we have alfo, W\r\ the name of the 
 
 engraver, one of the origijial fenfes of the root is to plough up ; fo that he is called the 
 plougher ; and frequently the word px a jhne, is added for diftinftion, and both together 
 maybe properly tranflated the plougher or engraver injlone. No word can exprefs more per- 
 fe(5Uv the operations of the engraver on copper or other metals in the prefent day, when 
 performed fimply with the graver, (which is of all modes the moft ancient,) than the verb 
 to plough ; though it is true, the word tyin is principally applied to the mechanic in 
 general, but hts way of working is ufually diftinguiflied. To thefe -we may add, 
 yVp which occurs in the 6th chapter of the firft book of Kings, and is ufed to exprefs the 
 hollowing out of the carved work upon the ch&T\xh\m, palm trees, and open flowering in the 
 fan£Iuary, which were afterwards filled up with gold. This word in the Latin Vulgate 
 is rendered fculpfit ; by others ealavii : and by Junius incidit. 
 
 The tables which God delivered to Mofes are faid, Exodus xxxii. 16. to be the work 
 of God, and the writing was the writing of God nnn engraved upon the tables. In the 
 Chaldee and Syriac verfions the word is ufed in the fame fenfe. The Seventy render it 
 «lxo^af*^lt^t!, engraved ; and the Latin Vulgate fculpta ; and St. Paul, II Cor. ii. 7. 
 i.TtTciranfir, engraved. Both riDD and y^p are exprefled in the Syriac verfion by the 
 words I^J or tyb^ from whence evidently the Greek word yXvfu. I fliall only add 
 the following remarkable paftage from the book of Job, ch. xix. ver. 23, 24. which 
 Mr. Evelyn fays, comprehends and alludes to all the forts of ancient writing and 
 engraving, both plates, ftone, and ftylc. 
 
•ON THE ORIGIN AND PROGRESS OF ENGRAVING. 9 
 
 :^pn') nson [n-rt: h^ i^^ny) isn* fn^-^D 
 
 •which literally rendered in Englifli will read thus : 1^0 Jhall give (or ordain) iisw, that my 
 tvords jhallbc drawn (or written ?) who Jkall give^ that in a !m.k{oT memovizl) they Jha/l be deli- 
 neated. That with a pen [or graver) of iron and lead,they fl>all be hewn out in the rockfor ever? In 
 this palTage the word oy may fignify any fmall inftrument of iron, ufed either as a ftylus or 
 pen to mark upon wax or other ductile fubftances •, and alfo as a graver to cut out and 
 engrave upon metals, in the fame manner as Mofe?, Exodus xxxii. verfe 4, ufes the 
 word DVI adding the affix 3, that is, with a Jlender injirumcnt of iron., Aaron fafhioned the 
 brazen calf, which the Seventy tranflate i» th 7pa(piJi ; and in the Chaldee we have the word 
 HO'Jf Jiyl'J! fculptorius, or the engraving tool., as it is properly tranllated in our Englifli 
 bible. In the Syriac verfcn it is rendered NDDO Typa ; and the Samaritan gives it a 
 larger fignification, calling it only a marking tool. 
 
 A fuSicient number of words, befides thefe already quoted, might be produced from the 
 above languages, equally applicable to the art of engraving. But after all, it is, doubtlefs, 
 very difficult to determine how far the work of the ancient engraver may bear a refemblance 
 to that of the artift of the prefent day ; becaufe the words above-mentioned are equally 
 applicable to carving and chafing. The bed mode of explaining them, will there- 
 fore be, to have recourfe to the reliques of antiquity, and learn from them, if poffible, how 
 far thefe arts may have been blended together, and with what propriety v/e can fuppofc 
 them, in many cafes, to refer to the works of the engraver only. 
 
 CHAPTER III, 
 
 *nie Remains of Antiquity confidered. — The tnilitary Accoutrements of the barbarous Nations 
 ornamented with Engravings. — An Egyptian Figure of Ifts defcrihed, — The Defcription of an 
 Etrufcan Patera and Parazoniurn. — The Style of Engraving among the Anglo-Saxons. — The 
 Brafs Plates on Tomb-Jlones of ancient Date — Variety of Religious and Domcjlic Ornuments 
 executed by the Engraver. 
 
 The firft engravings, profefTedly mentioned as fuch, are thofe which we have already 
 fpoken of, executed by Aholiab and Bezaleel, for the decoration of the Tabernacle, and 
 the ornaments for the drefs of Aaron. It is particularly faid, that upon the plate of 
 gold, which he wore upon his tiara or mitre, the words mri'^ U)'\p boUnefs to the Lord., were 
 engraved. But thefe productions of the art, as has been before obferved, are by no means 
 to be confidered as of original invention. The art itfelf certainly exifted long before, to 
 whatever degree of perfection it might be advanced by them. 
 
 The firft fpecimens of engraving, we may reafonably conclude, were nothing more 
 than rude portraitures, exprefl'ed by fimple outlines, fuch as are defcribed by Herodotus 
 to have been traced upon the flilelds of the Carians, who ornamented their arms in this 
 manner, long before the cuftom was adopted by the Grecians. The ancient Celtic and 
 Gothic nations, even in their moft barbarous ftates, are faid, in like manner, to have en- 
 graved, upon their military accoutrements, rude delineations cxprefTive of their valour. 
 
 The hieroglyphical figures of the Egyptians afford us ])erhaps the moft ancient remains 
 of engraving on metal ; and I mean now to confine myfelf entirely to that branch of the 
 art. They are not uncommonly met with ; and many of them were immured as a fort of 
 talifmans, in the coffins of the mummies. \Yt have feveral very beautiful fpecimens of 
 thefe figures at the Britilh IMufeum; and one in particlar, in brafs, which bears every mark 
 of great antiquity. It reprefents Ifis, and is carved in alto relievo. The goddefs appears 
 ftanding upon two crocodiles ; holding in each hand two fcrpents, a creature like a fcor- 
 pion, and a four-footed animal. From the tails of the crocodiles arife two ornaments. Upon 
 the top of one is a bird ; but the reprefcntation on the top of the other is fo obliterated by 
 time, that it cannot eafily be afcertained. The flat part cr grour.d of the relief, together 
 
 VOL. I. ' C ' with 
 
lO ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 with the bottom edges, and back part of it, are ornamented with figures and fymbolical cha- 
 railers, executed entirely with the graver, without any other afllftance ; the backs of the 
 crocodiles, and the heads of the four footed animals, are alfo finiflied with the fame inftru- 
 ment, in a very careful manner. This valuable curiofity was purchafcd from the col- 
 lection of Matthew Duane, Efq. It is four inches high, and three inches four tenths broad 
 at the bottom, from which it gradually decreafes to the the breadth of three inches at the 
 top. 
 
 The Phoenicians probably learned the art of engraving from the Egj'ptians ; and their 
 coins, which are faid to be the moft ancient extant, prove they were by no means indif- 
 ferent artifts. From Phoenicia it reached Greece, where, in Homer's time, it was carried 
 to a confiderable degree of perfection. Butit is generally believed, that neither Egypt, Phoe- 
 nicia, nor Greece, can produce any remains of fculpture, painting, and engraving, 
 prior to thofe of Etrufcan original. The beautiful vafes and other curious reliques of the 
 antiquities of that people, coUeiSted by Sir William Hamilton, and at prefent depofited 
 in the Britifh Mufeum are fufficient proofs of this aflertion. In this noble coUedlion, 
 among other valuable fpecimens of the art of engraving, are the two, reprefented upoa 
 the frontifpiece of this volume. That at the bottom is fuppofed to be part of the (heath 
 of ■& parazonium or dagger. It is more than three inches and three quarters wide at the 
 top, and decreafes gradually to an inch and quarter at the bottom. Its prefent length is 
 eight inches and an half. The ftory engraved upon it, appears to be taken from Homer. 
 The trophy at the bottom, is fymbolical of war. Above the trophy, two warriors are 
 delineated with a woman, who feems to accompany them with great reluftance, which, I 
 conceive, may reprefent Paris, with his accomplice, conducing Helen to the fliip, in order 
 to make their efcape to Troy ; and at the top, the meflenger, a fervant of Menelaus, 
 is relating to his lord the ungrateful behaviour of his Trojan gueft. The figures are 
 exceedingly rude, and feem to indicate the very infancy of the art of engraving: for 
 they are executed with the graver only, upon a flat furface, and need only to be filled 
 with ink, and run through a printing prefs (provided the plate could endure the operation) 
 to produce a fair and perfect impreifion. " The print fo produced," fays Monfieur 
 D' Ankerville (who has drawn up a defcriptive catalogue of the antiquities collefted 
 by Sir -William Hamilton), " would certainly be the moft ancient of all, that are pre- 
 *' ferved in the colleitions of the curious ; and demonftrate to us, how near the ancients 
 " approached to the difcovery of this admirable art, which in the prefent day forms fo 
 " confiderable a branch of commerce. We may indeed fay that they did difcover it ; 
 " for it is evident, from the valuable relique of antiquity before us, that they only wanted 
 " the idea of multiplying reprefentations of the fame engraving. After having con- 
 " quered every principal difficulty, a ftop was put to their progrefs by an obftacle, which, 
 " in appearance, a child might have furmounted. But in the courfe of the arts, it is 
 •' much eafier for the workman to conceive, what he can do himfelf, than forefee to what 
 " lengths the labours, which he executes, fhall be carried in futurity, or to vi-hat unknown 
 " ufes they may be properly applied. For it happens very rarely indeed, that the firft 
 " inventors of an art have conceived all the fubfequent confequences, which may be 
 " derived from it. It is thofe rather who follow, and know how to profit from the exer- 
 " tions of others, who generally pafs for the inventors." 
 
 Upon the fame plate is the reprefentation of another valuable fpecimen of ancient 
 engraving, greatly fuperior to the former in workmanihip. It is a patera^ or inftrument 
 ufedby the priefts in their facrifices : and is fuppofed, with great reafon, to have belonged 
 to an altar, dedicated to Hercules, who is reprefented upon it combating, as it appears to 
 me, with Hippolite the queen of the Amazons, whofe girdle he was enjoined by Euryf- 
 theus to unloofe, and take from her. But M. D' Ankerville, the gentleman mentioned 
 above, conceives it to reprefent Minerva, leaning upon the head of that hero, and 
 prefling him forward in the arduous paths of glory. His bow and quiver are behind him. 
 it is precifely feven inches in diameter, and about half an inch thick, and apparently 
 made of brafs ; but the ornaments and borders are inlaid with filver. " It is," fays the 
 above author, " without contradiition, the ncheft and moft remarkable remnant of anti- 
 
 ^ quity. 
 
ON THE ORIGIK AND PROGRESS OF ENGRAVING. II 
 
 «auitv and ofall the Etrufcan bronzes the beft executed, and moft happily preferved." 
 ■Under each figure is an infcription in the Etrufcan charafter, which probably is he name 
 if the perfonape reprefented above it. Part of that under Hercules .s obhter.ted ; 
 SUt rernl nsmaybe^ead HERECEL. The fecond and lafl letters under the ten.ale 
 £.u re a"" ncomLn •, and their power has never been properly afcerta.aed. 1 he o hers 
 ^r'e M *ACV*. The reader will eaf.ly perceive, that the letters wh.ch compofe tiefe 
 hfcHptions n^uft be read from the right h.nd to the left, which .s a ftrong proof of their 
 :^rea 'aSquity. The figures and ornaments upon this valuable ant.qu>ty are carved n 
 fow reUef ; but the hair of the woman, the ornamental parts of the drapery, and the 
 fmaller folds, are evidently the work of the graver only. 
 
 I is impoffible to fay, which of the two fpecimens, given upon th>s plate, ,s the moft 
 anc ent Judging from the rudenefs and fimplic.ty of the Dagger Sheath, one would be 
 tndLi to dedde in its favour. But the Patera has alfo every external mark of great 
 Suity; and the mixed manner of workmanfhip, which appears upon it, confiftmg 
 Tc^Z- and engraving. Homer and Hefiodfeem to have been wel acqua.nted with 
 and I hfnk, it is clearly alluded to, by the firft, in his elaborate defcnpt.on of tne fliield 
 S Ach s, and by the^laft (if the poJm be by him) in that of Hercules That tho e 
 ftields were fuppofed to have been ornamented with engraving, has been conftantly 
 underftood by the generality of authors, both ancient and modern. Q^'ntiUan, fpeak.ng 
 of the former^, fays exprefsly, /. c.laturd clypei AInlles, "the engraved Oneld of Acha- 
 « les ••' That the figures were partly carved, and protuberated more or lefs, botn the 
 deSiptions fufEciently indicate. The ftiields are exprefsly l^.d to have been inlaid wi^ 
 Sent metals, in orir to vary the colour and appearance of the feveral objeds ; and this 
 is in fome meafure the cafe wiUi the Patera. The fii.elds of the feven chieftans, 
 who rght againft the Thebans, are defcribed by iEfchylus as ornamented wr^h 
 emblematical ff-ures, .aX.,,..«T.r«., exprefled upon them, wh.ch feems to refer to the fame 
 .S oTioSmikhip. They were alfo iiJaid with different metals, for the fake of orna- 
 
 '^^Tt'iritrtrdlrry enough, that both Homer and Hefiod, who have fo minutely def- 
 -cribed the (hields of Achilles and Hercules, with all the ornaments belonging to them, and 
 the metals with which they were inlaid, have neither of their, ufed any dec.five words, ex- 
 preffive of engraving, ca^-vtng, or idaying. The tranflators of Homer, howe%'er, many of 
 ihem, have not fcrupled to ftibftitute the word .;;,^r«^^.. without any otlier authority, than 
 the reafonablenefs of the fuppofition, that tliey might have been the work of the engraver. 
 Andif they confine themfelves to fuch parts, as are evidently engraved upon the Pater, 
 and other ancient reliques of antiquity, they are, I believe, certainly right. But if 
 thev conceive the whole to have been executed in that manner, exclufive of carving, i am 
 not of their opinion. Granting, however, the argument either way, I cannot think that 
 they are perfeftly juftifiable, in ufing fo determined a word, without explaining the lenfc 
 in which they would have it underftood. , . , 
 
 The two fpecimens I have given in the frontifpiece, are fufEcient to explain the manner 
 in which the ancients engraved. But the curious reader may meet witn many others, it 
 he pleafes to confult the works of antiquity, publifhed by Montfaucon, Frapcifcus Oon, 
 and a variety of other excellent writers upon the fubjedt of antiquity. d ■ -n, a 
 
 It is impoffible to fay, how early the art of engraving exifted among our Britilh and 
 Saxon anceftors. In theearliefl account of them we find, that they traced rude deline- 
 ations upon their fliields, and other military accoutrements of war. And fuch remains, as 
 are found in the ancient tumuli, and places of fepulture belonging to them, frequently bear 
 the marks of the graver. But if other proofs were wanting, their coins would be abun- 
 dantly fiifficient, which are evidently no other than impreffions from engravings, cut upon 
 iron, or fteel. Thefe indeed are exceedingly rude ; and if a judgment were to be formed 
 from them, concerning the ftate of the arts in England, even after the conquefl:, the fen- 
 tence would be very unfavourable, with refpeft to the abilities of the artifts. But thefe 
 are by no means proper examples of the engravers IkiU, any more than they are ot the 
 
 '^ "under'theproteaion of that good and excellent monarch, Alfred the Great, die arts began 
 to manifeft themfelves inafuperior degree, notwitliflanding the load of intelhne troubles, 
 which deftroyed the nation. He not only encouraged fuch arufts, as were in i^ngland^at 
 
11 ON THE ORIGIN AND PROGRESS OF ENORAVINC 
 
 that time, but invited others from abroad to aflift them. And the worlcs of the Anglo- 
 Saxon goldfmiths, ^vho were the principal engravers of that day, were held in the higheft 
 efteem, not only in England, but alfo upon the continent. The fhrines and cafkets, which 
 they made for the prefervation of the reliques of faints, and other pious purpofes, are faid 
 to have been curioufly wrought in gold, filver, and other metals, adorned with engravings, 
 and ornamented with precious ftones, in fo excellent a ftyle, as to excite the admiration 
 of all who faw them. 
 
 It is greatly to be defired, that a fufficient number of fpecimens of the works of the 
 artifls of this early period, could be produced, by which a complete judgment might be 
 formed of the perfection, to which they arrived. There is, however, yet preferved, in the 
 Mufeum at Oxford, a very valuable jewel, made of gold, richly adorned with a kind of 
 work refembling filligree, in the midft of which is feen the half figure of a man, fuppofed 
 to be Saint Cuthbert. The back of this curious remnant of antiquity is ornamented with, 
 foliage, very fkilfuliy engraved. I have given a more particular defcription of this jewel, 
 which was made at the command of mitred, with a faithful reprefentation of it, in the 
 fecond volume of the Chronicle of England, publifhed fome few years ago. 
 
 Dunftan, archbifliop of Canterbury, who died, A. D. 988, is in particular mentioned 
 by the hiftorians as an artift. He was a defigner and a painter, and pradifed the working of 
 metal?, whether of gold, fiher, iron, or brafs, in the greateft perfection. He alfo frequently 
 ornamented his works with images and letters, which he engraved thereon. Ofborn, his 
 biographer, fays of him, pr^iiiea manu aptus ad omnia., fojfc facere pi^uram, liuras for?nare, 
 fculpello imprimere, ^Ji- ««>■», ^r^t-Hiffl, <sn-, rfyirz-cj, quicqu.'ui liberct epcra7n. But we muft 
 confider, that thefe are the inflated praifes of a monkifli bigot ; for he, who could add the 
 title of faint to the name of Dunftan, would not hefitate to call him a Raphael in painting, 
 cr an Audran in engraving. ^Ve have indeed a fpecimen of his drawing, in an ancient 
 manufcript, preferved in the Bodleian library at Oxford, which I copied for my firft volume 
 of the Manners and Cuftoms of the Englifh ; but if his engravings were not fuperior to 
 his drawing, we have little to regret in die entire lofs of them. 
 
 Soon after the conqueft, a new fpecies of engraving was introduced into England, 
 much more perfect in itfelf, than any which had preceded it ; and, in every refpe6t, diftin6t 
 from the work of the carver or the chafer. In the former ages, the engraver feems to 
 have united both thofe profeflions to his own ; but, in the prefent -inftance, he feems to 
 have depended upon the graver only. I am nov/ fpeaking of the brafs plates, fo frequently 
 found in our churches, upon the tomb-ftones, which arc ufuallyembellilhed with the effigies 
 of the perfon, to whofe memory they are dedicated ; and were probably invented to fupply 
 the place of fcidpture, being, without doubt, confiderably cheaper tlian carved images, 
 whether in hivh or low relief; and for this reafon I fuppofe they came into fuch general 
 ufe. I cannot pretend to fav, at what period they were firft introduced into this kingdom ; 
 but they are certainly of a very early date. In the fourteenth, fifteenth, and fixteenth cen- 
 turies cfpecially, they v.'ere fo generally adopted, that there is fcarcely an old church, 
 of any confequence in England, which cannot produce fome fpecimen of this kind. 
 The Englifh, indeed, appear to have been famous for thefe engravings, and, I believe, no 
 nation in Euj-ope can produce a greater variety of them. 
 
 They are executed entirely with the graver, the outlines being firft made ; and the 
 fhadows are cxprefted by ftrokes, ftrengtliened in proportion as they require more force, 
 •ind occafionally crofted with other ftrokes, a fecond or third time, precifely in the fame 
 manner, as a copper-plate is engraved for printing. They were ufually laid flat upon the 
 ftones, to which they belonged, and expofed to the feet of die congregation, conftantly 
 paffing over them. They were, of neceflit)', executed in a coarfe. manner, and the ftrokes 
 very deeply cut into the metal, efpecially if the engraver was defirous that his works ftiould 
 «;ndure for any confiderable time. Very neat or exquifite workmanftiip cannot therefore 
 be expected. But however, fome few of diem may be found, which bear no fmall evi- 
 dence of the abilities of the workmen, by whom they were performed. 
 
 By thofe very artifts, who executed die monumental efligies, we may reafonably fuppofe, 
 v^vre engraved the boffes and clafps for die monaftic books, boxes, flirines, and ornaments 
 for tl.e altars of churches ; alfo cups ; and a variety of other furniture of metal, as well 
 
 for 
 
ON THE ORIGIN AND PROCRKSS OF ENGRAVING. 13 
 
 for religious as fecular pufpofes. Hence we fee the art of engraving was not only dlf- 
 covered, but pra£tifed, ages before it entered into the idea of man to conceive, to what 
 great and noble ufcs it might be applied, 
 
 CHAPTER IV. 
 
 The firjl D'lfcovery of producing Imprcjfiom from Engraved Plates confidered ; and the Cla't/n 
 of the Germans and Italians to this Invention^ examined ; with an Account of the Tnofi ancient 
 Engravings of each Country^ and a curious Specimen of the WorhnauJInp of an Artij} fuppofed 
 to be a Native of England. 
 
 HAVING proved, in the preceding part of this Eflay, the great antiquity of engrav- 
 ing, it remains now to confider the art in a far more extenfive point of view, and to 
 examine, when it was profefledly executed for the purpofe of producing fpecimens on paper ; 
 which happy invention increafed its reputation, and rendered it more generally ufeful. 
 The confequence it now acquired with the public, occafioncd its feparation from the Ihop 
 of the goldfmith, and worker in metals, with whom it feems to have remained for many 
 ages, as a branch of their profeflion; and the engraver byhimfelf was properly confidered, 
 as an artifl: of the firfl: rank. 
 
 The Germans and the Italians both lay claim to the invention of the art of taking im- 
 prefRons, from engraved plates, on paper. The former place tlieir dependance upon the 
 antiquity of the works which they produce ; as the engravings of the old mailers of that 
 country ; the latter upon the pofitive afTertion of Georgio Vafari, who attributes it to Mafo 
 Finiguerra, a Florentine artilt ; and declares, that it was accidentally difcovered by him 
 about the year 1460. 
 
 ProfefTor Chrift mentions feveral old engravings, evidently the produdion of fome Ger- 
 man artift ; one of them dated as early as 1465 ; the reft 1466 and 1467 ; which accouiit, 
 refpefting the two latter dates, is confirmed by M. Heineken, an excellent and able writer 
 •upon this fubjeft, whofe publications are frequently referred to in the courfe of this work. 
 Thefe, it feems, werethe earlieft: German prints they could produce with dates; whereas the 
 firft dated engravings in Italy, are faid to be the geographical charts for an edition of Ptolemy, 
 publiflied at Rome, a. d. 1478. The plates for the large edition of the Poems of Dante, 
 invented by Boticelli, and engraved by him, or Baldini, did not appear till 148 1. Hence 
 we find the difference of twelve years, between the date of the Italian engravings, and 
 thofe produced in Germany. 
 
 It is indeed remarkable, that no print has hitherto been produced by the Italians, which 
 can with the leaft degree of certainty be attributed to Finiguerra. Neither has there been 
 found in the foreign colleftions any engravings of a prior date to thofe mentioned above ; 
 but others rudely executed, and without date, are mentioned however as proofs of the exer- 
 cife of the art, as well in Italy, as in Germany, before the publication of thofe prints which 
 were dated. But it would be highly improper to place an implicit faith upon an evidence 
 fo doubtful ; for if there be no date to a print, it is totally impoffible to afcertain the time 
 precifely, in which it was executed ; for its rudenefs, and the indifFcrence of its workman- 
 ihip, are by no means to be confidered, as certain proofs of its antiquity ; though in fome 
 cafes they may have their weight, efpecially when ftrengthened by other corroborating cir- 
 cumflances : yet even then a pofitive decifion in their f.ivour ought to be very cautioufly 
 made. 
 
 From the fimplicity of Andrea Mantegna's ftyle, I wonder not, that he has been often 
 confidered, as one of the moft early engravers. For I own, before I was convinced by 
 experience of the contrary, I concluded, that his manner of engraving was, of all 
 ■others, the mofl: ancient. One of the earlieft fpecimens of this kind of 
 workmanfhip, which I have feen, is faithfully copied, plate V. of this volume. If 
 the F. which appears upon the pedeftal clofe to the hand of the feated figure, be 
 granted to ftand for Finiguerra, the print muft be confidered as a very valuable 
 acquifition ; for it would inconteftibly prove, that this fpecies of engraving, which 
 was praftifed in Italy only, was more ancient than any other adopted in that country, and 
 
 in 
 
 \ 
 
14. ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 in fomemeafureexculpateVafariforattributing the invention to Finiguerra,erenifitfliould! 
 hereafter be proved, that theGcrmanspraftifed the art of talcing impreflions, from engravings 
 prior to the Italians. But this interpretation of the letter F. is not without fome diificulty. It 
 is exprefly faid by Vafari, that Baldini was inftrucledby Finiguerra, and Boticelli again by 
 Baldini. Yet if we look at the plates, executed by one or both the laft artifts for the 
 great edition of Dante, dated 148 1, we Qiall find the ftrokes, which conftitute the fliadows, 
 laid this v/ay or that indifcriminately, as the engraver thought proper, and crofTcd with 
 fecond ftrokes alinoft: continually, and fometimes with thirds, as the reader may fee upon 
 plate VII. which is a faithful copy of one of the engravings for Dante. The ftyle of the 
 engraving, plate V. is prccifely die fame as was afterwards adopted by Andrea Mantegna, 
 fee plate V^I. which is taken from a print executed by him. The outline is firft cut upon 
 the copper in a very powerful manner, and the (hadows are exprefTed by fimple ftrokes, 
 running from one corner of the plate to the other, without any crofling, or confiderable 
 variation, precifely in imitation of drawings made with a pen. Now, if Finiguerra worked 
 in this ftyle, it is not reafonable to fuppofe that his immediate difciple, Baldini, or Boti- 
 celli, inftrufted by Baldini, fhould have fo totally differed from it. 
 
 It is as confidently reported, on the other hand, that Andrea Mantegna learned the art 
 of engraving from the works, if not from the inftruftions, of Finiguerra, or his fcholars. 
 If this be true, it will alfo appear incredible, that he fhould not in fome meafure have fol- 
 lowed the ftyle of his inftrudtors. The print, plate V. has every external appearance of 
 being executed prior to the works of Mantegna ; the mechanical part of whofe en- 
 gravings is far fuperior, firmer, and more decided. It is therefore highly probable, that 
 from this mafter, whoever he might be, Mantegna received his firft inftructions. Thi» 
 fpecies of engraving was carried to a ftill further degree of perfe£lion by John Antonio 
 Brixianus, and other artifts of that time. After which period it died away, and we hear 
 no more of it. And that this ftyle of workmanfhip was not the moft ancient, we need only 
 to refer to the oldeft dated prints, and beyond them to the brafs plates on tombs, and other 
 fpecimens of the art, for centuries paft, and we ftiall find the ftrokes, promifcuoufly laid 
 upon them, forming thefhadows, and crofted or recrofled witliout the leaft reftraint. 
 
 According to what has been faid, it appears, that 1465 is the earlieft date affixed to any 
 print, produced by the Germans, except indeed one mentioned by Sandrart, in his Aca- 
 demy of Painting, vi-hich he fays he had feen bearing date ten years earlier, and marked with 
 a cypher, compofi;d of an H. and an S. joined to the crofs-bar of the H. precifely in the 
 fame manner, as that ufed by Hans Schauflein. But even the moftfanguine of hisown coun- 
 trj'men, cannot help allowing their fufpicionof a miftake in the date ; and fome have faid, 
 it fliould have been written 1477, which others think is ftill too early. It is readily allowed 
 that an older mafter than Schauflein did exift,who ufed the fame monogram; but his prints 
 in general bear tlie evident marks of being copies from others, and by no means, from the 
 manner of their execution, juftify the fuppofidon of their being the works of a mafter, 
 greatly anterior to the year 1500. The fubjc£l of the print mentioned by Sandrart, is a 
 girl carejjing an oU man •while JheJ}eah his purje from him. This fubjecl, it is well known, 
 was frequently engraved, both on copper and on wood, by a variety of ancient mafters j 
 but, except Sandrart, I never heard of any one, who had feen the print alluded to. A fuller 
 account of this artift, with his works, may be feen in the fecond volume, under the 
 article Schauflein. The ftory, that Peter Schoffer invented the art of engraving on copper, 
 and taking imprefTions from plates of that metal, does not bear any fimilitude to the truth; 
 neither have we the leaft plaufible reafon given, in fupport of fuch an aflertion. 
 
 With refpe£l to the edition of the Ptolemy, printed at Rome in the year J478, we muft 
 take notice, that the plates were not engraved by Italian artifts, but by Conrad Sweynheym, 
 and Arnold Buckinck, both of them Germans. The former, as appears from the dedi- 
 cation, firft brought, not only the art of taking imprcffions from engraved plates, but that 
 of printing alfo, to Rome, where he died, three years after the commencement of the work; 
 which was at length completed by the latter ; and the plates for this book are fuppofed to 
 have been begun, about the year 1472. It will doubtlefs feem very extraordinary, that the art 
 of engraving fhould have been difcovered at Florence, fo early as 1460, and yet unknown 
 twelve years afterwards at Rome, where it was firft introduced by foreign artifts. It 
 I appears 
 
ON THE ORIGIN AND PROGRESS OF ENGRAVING. 15 
 
 appears from tliis circumftance, that though Finiguerra, Boticelli, and Baldini, all of them 
 Florentines, poffeffed the fecret, they did not divulge it fpeedily ; and hence, as a good pre- 
 fumptious proo^ it may be urged, that fuch Italian engravings, as are to be found prior 
 to the year 1472, are by the hand of one or otlier of thefe artifts. If this be granted, and 
 great plaufibility, at leaft, is on its fide, it will follow tliat the originals, from whence the 
 plates II. and III. are taken, are fo. Thefe curious and valuable fpecimens of ancient 
 engravings, which, I believe, are unique, muft have been executed as early as the year 
 1464 ; a very fliort inter\'al, from the time, which Vafara gives us for the invention of the 
 art ; and are confiderably more early, than any hitherto produced, though all the great 
 foreign libraries have been repeatedly fearched for that purpofe. Two of them, I thought, 
 were fufEcient, to fhew the Ityle in which they are executed ; but the fet confifts of eight 
 plates, namely, the feven planets, and an almanack by way of frontifpiece, on which are 
 dire£tions for finding Eafter from the year 1465 to 151 7 inclufive ; and the dates regu- 
 larly follow each other, which plainly proves, that there can be no millake with refpecSt to 
 the firft ; and we may be well affured, in this cafe, the engravings were not antedated ; 
 for the almanack of courfe became lefs and lefs valuable, every year. A full defcriptioa 
 of all thefe engravings will be given in the feventh chapter of this Effay. 
 
 If we are inclined to refer thefe plates to either of the three Italian artifts before men- 
 tioned, we fhall naturally fuppofe them to be the work of Finiguerra, or Baldini ; for they 
 are not equal, either in drawing or compofition, to thofe afcribed to Boticelli ; which 
 we know at leaft were defigned by him ; and as Baldini is exprefsly faid to have worked 
 from the defigns of Boticelli, it will appear moft probable, if they are to be attributed to 
 any one of thefe three artifts, they belong to the former. The reader muft be left to 
 judge forhimfelt^ whether he conceives them to be fufRciently well executed ; for he is 
 to remember, that Finiguerra is fpoken of by Vafari, as a man of no fmall ability. I own, 
 after all, if I could but tell to whom one might reafonably afcribe thefe curious plates, I 
 fhould yet be tempted to fuppofe the original of the plate No. V. was really the produc- 
 tion of Finiguerra's graver. 
 
 We have now feen what pretenfions the Italians have laid to the invention of the art of 
 engraving, and have proved, by producing undoubted fpecimens, that it did exift nearly 
 about the time ftated by Vafari. With refpe£t to what he has faid, concerning the art of taking 
 impreffions, from engraved plates being invented by Finiguerra, the ingenious obfervations 
 of M. Heineken are well deferving of notice. " According to Vafari," fays he, " and 
 " others, his countrymen, it was the goldfmith Finiguerra, who invented this art about 
 " the year 1460 ; and perhaps he was not miftaken,if he fpeaks of Italy only. It is very 
 " poflible, that the art of engraving fhould have been long praftifed in Germany, and 
 " unknown in Italy. The Italians, thofe of Venice excepted, had very little correfpon- 
 " dence with the Germans. For this reafon, Finiguerra might difcover this art, without 
 " knowing, that it had been already invented in Germany. All die merchandizes of this 
 " country were fent from Antwerp to the Italians, who were much better acquainted with 
 " the people of the Low Countries, than thofe of the other provinces. For this caufe, 
 " Vafari fuppofed that Martin Schoen, who was born at Culmback, and refided at Colmar, 
 " was a Fleming, and conftantly calls him Martin of Antwerp." 
 
 We fhall now proceed to examine, what claim the Germans can bring, prior to that of 
 the Italians ; and in that cafe we fhall have recourfe to their works. The earlieft dated print 
 I everfaw produced by this fchool, is copied, plate I. and the date is evidently 1461. 
 And we fhall fee, however faulty it may be with refpedl to the drawing, or defective in 
 point of tafte, the mechanical part of the execution of it has by no means the appearance 
 of being one of the firft producStions of the graver. We have alfo feveral other engravings, 
 evidently the works of the fame mafter, and concerning which the fame obfervations may be 
 jufljy made. Befides, the impreflions are fo neatly taken from the plates, and the en- 
 gravings fo clearly printed in every part, that, according to all appearance, they could not be 
 executed in a much better manner, in the prefent day, with all the com'eniencies, which 
 the copper-plate printers now poflefs, and the additional knowledge they muft neceffarily 
 have acquired, in the courfe of more than three centuries. Hence vm may fairly con- 
 clude 
 
l6 ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 clucle, thnt, if they were not the firfl. fpccimens of the engraver's workmanfliip, thcv were 
 much Icfs the firil efforts of the coppcr-phitc printer's ability. Not that plates being badly 
 printed is any certain proof of their antiquity ; but wc can hardly imagine, that the firit 
 attempts to take impreflions from engravings (hould immediately have arrived at j.er- 
 fe£lion ; and that at a time, when we cannot fuppofethem to have been aware of every 
 circiimft^ance, necefTary to infure fuccefs ; efpeci;Jly when we find it noeafy matter, in the 
 prcfciit day, at all times, to procure good impreflions from our plates. 
 
 The artift to whom we owe this fmgular curiofity was, without doubt, a goldfmith. 
 And indeed, it is certain, that the art of engraving plates, for the purpofe of printing, firft 
 originated with thofe ingenious mechanic^, -or elfj with the engravers, who executed 
 the brafs plates for the monuments ; but as I have faid before, I do by no means fuppofe, 
 that this print is the firft fpecimcn of engraving, even if we fhould allow its author to have 
 been the inventor of the art. There are' other plates, fome of which I fhall fpecify here- 
 after, that, I think, bear evident marks of priority, particularly thofe of the mafter, who 
 ufed the Gotliic initials F. and S. feparated by a very lingular mark, and who is called by 
 Abbe Marolles. Francois Stofs, or Stoltzhirs ; but upon what authority does not 
 appear. 
 
 Martin Schoen, a painter, engraver, and goldfmith, who was born at Culmback, and 
 refided chiefly at Colmar, is faid, with great appearance of truth, to have worked from 
 1460 to i486, in which year he died. This artift was apparently the difciple of 
 Stoltzhirs ; for he follov/ed his ftyle of engraving, and copied from him a fet of prints, re- 
 prefenting i\\tpaJJion of our Saviour. Sothat, allowing Stoltzhirs to havepreceded his difciple 
 only ten years, this carries the xra of the art back to 1450, without having any recourfe to 
 the fabulous relation of fotr.e authors upon this fubje(3:, who fpeak of one Luprecht Ruft, 
 as the mafter of Martin Schoen, abfurdly declaring, that he was an engraver on wood. 
 Admitting therefore, that fuch an artift really did exift, it is by no means reafonable to fup- 
 pofe, that he ftiould teach the art of engraving on copper to another, when he was not, 
 according to their own account, acquainted with it himfelf. Martin Schoen never en- 
 graved on wood, as far as I have heard ; but his works on copper, it is well known, arc 
 very confidcrable. 
 
 Ifrac-1 van Mechelen, or Meckenen, whofe engravings are as multifarious, as thofe of 
 Martin Schoeii's, was bornatMecheln,a fmall village near Bocholt, where he chiefly refided. 
 The latter is a town fituatcd upon the banks of the Aa, in the biflioprick of Munfter, in 
 Weftphalia. He died, a. d. 1523. According to the tradition of the inhabitants of 
 Bocholt, the father of this artift was a goldfmith, and his baptifmai name was Ifrael. 
 Hence M. Heincken concludes, that he alfo was an engraver, and that a great part of the 
 prints, attributed to the fon, belong to him. " An attentive examination," con- 
 cludes that author, " will make it appear, that all thefe prints are not by the fame hand. I 
 " am alnioft certain, that lirael the father engraved feveral, thofe efpecially, which have the 
 " greateft marks of antiquity, and are executed in a rude ftyle, approaching neareft to the 
 " work of the goldfmith. " Nor (adds he) will I deny, but that the fon may have ccm- 
 " menced originally as a goldfmith, by armorial bearings, foliages, crofTes, and other 
 " ornamental works. Eut as he was a painter, as well as an engraver, and a man of 
 " tolerable abiHties in the art of defign, confidering the time in which he lived, it is not 
 " at all aftoniftiing, that among the prints produced by his graver, we fliould 
 " find fome by no means wanting in merit." How far thefe obfervations may be con- 
 fidered as juft by the experienced collector, I cannot pretend to fay : For my own part, 
 I fee no reafon to divide the works of this artift ; nor can I find, upon ftj-idt examination, 
 any other difference in the prints, which I have feen attributed to him, than what one 
 might reafonably cxpe£t to find in the works of any one man, who with his own hand per- 
 formed fo great a num'oer of engravings. Of courfe, his moft early produiSlions are the 
 rudeft, .and manifeft the Icaft Ikill ; but all of them are equally defeftive in point of draw- 
 ing, efpecially when he attempted to exprefs the naked parts of the figure. 
 
 It is certainly true, that the manner of engraving, adojjted by Martin Schoen, differed 
 exceedingly fnom^that of Ifrael van Mechelen. The works of the former are more 
 
 firm 
 
ON THE ORIGIN AND PROGRESS OF ENGRAVING 17 
 
 firm and determined, and, upon the whole, greatly fuperior. Let any one take the trou- 
 ble of examining the print, reprefenti.-ig St. Anthony carried into the air by the demons, 
 which was firft engraved by Martin Schoen, and afterwards copied by Ifracl, and the 
 queftion will be readily decided in favour of the former, without adding the anecdote, re- 
 corded by Vafari, that Michael Angelo was fo pleafed with this'engraving, which is truly a 
 mafter-piece of Schoen's, that hecopiedit in colours. The inferiority of Lrael vanMecheln, 
 when compared to Martin Schoen, as an artift,- is by no means any proof of his priority in 
 point of time. The only advantage, which M. Heinelcen gains. by making the father of Van' 
 Mecheln an artift, as well as himfelf, is a greater length of time for the execution of thofe 
 works, attributed to him ; and upon this fuppofition he fays, " I place the engravings'of 
 « the two Ifraels between the years 1450 and 1503." The fon was certainly a more mo- 
 dern artift than Martin Schoen ; and we have a print by him, which bears fo late a date 
 as 1 502. He was contemporary with Albert Durer ; and ibme have fuppofed, that he 
 vifitcd that artift at Nuremberg. Sandrart attributes to Ifrael Van Mecheln, the inven- 
 tion of engraving, and tells u"s, that his firft prints- were executed about the year 1450. 
 If this account indeed be true, it muft make much in favour of M. Heineken's conjecture, 
 concerning the engravings of the father ; but the argument at prefent unfortunately wants 
 fufficient proof, to be admitted as abfolutely concluftve ; and, until fome more fatisfadtory 
 account fhall be produced, I cannot help declaring, that I am of a different opinion. The 
 earlieft dated print, which I have feen by Ilrael van Mecheln, is in the colledion of Dr. 
 Monro. It reprefents the Virgin and Child, with four angels. The .engraving is rude, 
 jind coarfer than the works of that, artift are in general ; and the date is 1480. He en- 
 graved however, I believe, fomething earlier than this period. In the fame collection, is- 
 preferved a circular print, where the Deity appears furrounded by an ornamental border,; 
 in which the fymbolical reprefentations of the four Evangelifts are depided with St. 
 [erom, and three other faints. Upon the dc(k of St. Jerom, who is feated and writing, 
 is the date 1466. There are feveral copies of tliis plate, and one of them by Ifrael Van 
 Mecheln, apparently not greatly pofterior to the original, which probably was executed 
 by the fame nraftcr as. the print, dated 1461, mentioned already in the prefent chapter. 
 
 What has been faid wiW, I doubt not, fufficiently prove, that there is the greatcft rea- 
 fon to believe, that the art of taking impreilions from engraved plates was prattifed in 
 Germany, before it reached Italy ; efpecially if we agree with Vafari, who exprcfsl v dc-i 
 clares, it did not appear in' that country before the ye.ir 1460 ; when, on the other hand, 
 we may, I think, with the greateft juftice, place it at leaft ten years earlier among the 
 Germans. 
 
 Before I conclude this chapter, I beg leave to 'tecommend to the attention of my readers 
 a very curious fpecimen of Englifli engraving, as ancient, according to all external ap- 
 pearance, as any of thofe produced in the courfe of this, Eflay, the Patera and Parazonium 
 {heath, reprefented in the frontifpiece, excepted. (See. plate No. 4.) And it is to 
 be obferved, that this print is not a cop)', as the others are, but an irapreffion from th: 
 original plate, which is in my pofleflion, and was purchafed, in the courfe of laft winter, 
 in a fale, confifting of coins, medals, prints, and a variety of other curiofities, at the 
 au(5lion rooms belonging to Mr. Hutchins. A particular defqription of this plate, and of 
 all the others already referred to, will be found in the feventh: chapter of the Eflay, to 
 which they are annexed. 
 
 England has conftantly been omitted in the lift of thofe countries, which have produced 
 ancient engravers. Our own authors had nothing to offer upon the fubjeil in the leaft fa- 
 tisfaftory. Evelyn indeed fays, " the art of engraving, and working from plates of cop- 
 " per, vyhich we call prints, was not yet appearing or born with us, till about the year 
 " 1490." By the word us he evidently means the moderns colle6tively in contra- 
 diftinftion to the ancients, whofe works he had, in the preceding chapters, been fpeak- 
 ing of, and not the Englifh alone ; nor indeed does it refer to them at all, as any one will 
 be convinced, who perufes the context, but to the sera of the firft invention of engrav- 
 ing, which he himfelf foon afterwards clearly explains. M. Heineken however has mif- 
 
 D takea 
 
l8 ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 taken this paflagc, and, in hiSi, one cannot much wonder that he fliould, where he fays, 
 according to Evelyn, " the art of engraving on copper was exercifed in England about 
 " the year 14.90." But, according to our own authors, the firfl hook, which appeared 
 with copper cuts in Enghind, was the Birth of Mankind, otherwife called the Woman's 
 Book, dedicated to queen Catherine, and publifhed by J, Ray'nalde, A. D. 1540. Yet it 
 is by no means certain, that thefe plates were engraved in England, or the work of En»- 
 l(fli artifts. Chambers muft have given himfelf very little trouble to examine the ftate 
 (A the arts in England, when he ignorantly afTerted, in his dictionary, that engraving 
 Mtij firft introduced here by John Speed, being brought by him from Antwerp in the reign 
 onjkmes the Firft. 
 
 Indeed no one feems to have fuppofed, that we could lay even the moft diftant claim to 
 a rivalfhip (much lefs to a priority) with refpe£t to the early practice of engraving, with 
 any of the continental nations, famous for the arts. But when we confider, how many 
 engravers we had in England, about the time in which the^difcovery of taking impreflions 
 from copper-plates was made, as the many monumental engravings, remaining in 
 our churches to this day, fufficiently teftify (and a little examination of thefe early fpe- 
 cimcns of the art will prove how well they are adapted to the purpofe of printing), we 
 Ihall readily conceive, that, if they did not themfelves difcover this mode of multiplying 
 their works, they would at leaft have inftantly adopted it, as foon as the knowledge of fuch 
 an invention had reached them. 
 
 There can be little doubt of the antiquity of the engraving here produced ; and that 
 it was made for the purpofe of printing, the letters being reverfed upon the plate fuffici- 
 ently prove. So that if it fhould be urged, though I fee no kind of reafon for fuch a fup- 
 pofition, that the plate itfelf was executed abroad, at the command of fome Englifh devotee, 
 it ipuft at leaft be granted, that the mode of taking impreffions from it, was underftood in 
 England, or the plate could not have been of any ufe to the owner of it ; and that the 
 engraving was the work of fome Englifh artift, or executed at the defire of fome 
 Englifh perfonage, no one, I conceive, will doubt, on examining the contents of the in- 
 fcriptions. They confift of particular invocations to all faints, comprehended in feven 
 compartments, the initial letters of each invocation or prayer being ornamented with the 
 reprcfentation of the perfonages to whom it is addrciled. The firft is to the Virgin 
 Mary ; the fecond, to the Archangels, Angels, and Ccleftial Powers ; the third, to the 
 Patriarchs and Prophets ; the fourth, to the Apoftles Peter and Paul, &c. the fifth, to the 
 Martyrs and Confeflbrs of the Faith. This prayer is firft addrefted to Thomas Beckett, 
 whofe murder is reprefented in the midft of the initial letter ; then to Edward the 
 Confeflbr, or Edward tlie Martyr ; and the name of Stephen, mentioned in the laft line, 
 refers alfo, without doubt, to fome other favourite Englifti faint. The fixth petition is to 
 the Popes and Prelates of the church ; and the Jaft to the Virgins, and holy Women diftin- 
 guiftied for their piety. The whole is concluded with a general prayer, including an ad- 
 drefs to all of them, and a petition to God, that their merit and example may tend to the 
 falvation of the perfon, who is reprefented as offering it up to Heaven, in behalf of him- 
 felf, and the church of which he was a member. The addrefs to the Englifh Saints, in 
 the fifth petition, plainly, I think, determines the country to which it belonged ; and the 
 names of more Englifli perfonages may cafily be traced out in the fixth and 
 feventh prayers. If the perfon at the bottom could be difcovcred, I have little doubt, but 
 the date of this fingular curiofity might be nearly afcertained. The ftyle of tll^ drawing, 
 and the manner in which the little figures are compofed, being placed in the initial letters, 
 bear an exa<El refemblance to the illuminated delineations, which we meet with in manu- 
 fcripts of the fifteenth century, efpecially towards the commencement of it; and the 
 writing alfo has every appearance of an equal antiquity. It is evidently ftamped upon the 
 plate with fmall punches, and retouched afterwards with the graver. The figures are exe- 
 cuted entirely with the graver, in a very flight and unfkilful manner; which feems evi- 
 dently to prove the inability of the artift, who, perhaps being ufed to the execution of 
 large figures on monumental brafs plates, met with no little diriiculty in contradting his i!e- 
 fign, and expreffing it in fo fmall a compafs. Yet though this print is fo vety indiffercinly 
 
 executed. 
 
ON THE ORIGIN AND PROGRESS OF ENGRAVING. i^ 
 
 executed, it has been confidered as not fufficiently rude for a firft attempt. To this objec- 
 tion I anfwcr : Firft, with refpeft to the drawing and compofition, rhany defigns much fu- 
 perior may be feen, delineated in manufcripts, as early as the thirteenth and fourteenth 
 centuries ; confequently greatly prior to this. And fecondly, with refpect to the mechanical 
 part of the execution of the engraving, many fpecimens of ancient workmanftiip with the 
 graver mav be produced, confiderably more early, and much more (kilfully performed. 
 
 M. Heineken obferves, that, prior to the commencement of printing, the images and 
 portraitures of faints were imprefl'ed on flips of paper, refembling playing cards, and put 
 into the hands of the ignorant, to amufe them, vifhilft, at the fame time, they reminded 
 them of their religious duties, and the benefit they might receive from the prayers of thofe 
 holy perfonages, agreeably to the fuperftitious opinions of the time. And this very print 
 feems to prove, that the moft early impreflions from copper-plates were devoted to th: 
 fame pious purpofes. In this point of view, the prefent engraving may juftly be 
 confidered as one of the moft early fpecimens of the art, which has as yet been produced. 
 With thefe obfervations, I fhall conclude this long, and I fear tedious chapter, leaving 
 them entirely to the determination of my readers, how far they are to be confidered as 
 worthy of their attention. 
 
 CHAPTER V. 
 
 a 
 
 The peculiar Style of the Gentian School, and an Examination of the IVorh of the Artijls belong- 
 ing to that School ; efpecially with refpeii to the Mechanical Part of the Execution of their 
 Engravings, from the Tear 1461 to 1500. 
 
 BEFORE I enter upon the fubje£tof this chapter, it will, I conceive, be very necef- 
 fary for me to explain, as clearly as poflible, my own ideas of bcat/ty and elegance, and 
 the acceptation, in which I wifti the expreflions//;^ and Ge/^;V, which occur fo frequently 
 in the courfe of this work, (hould be received, as applicable to hiftorical compofitions in- 
 general. 
 
 Beauty,Iconceive,confiftsnoton!y in a varietyof forms, but inavariety of elegant forms, 
 ftreight lines convey the idea of folidity and ft:rength, without motion, and are therefore 
 very improper for any figure, which in itfelf is fuppofcd to be capable of motion. For this 
 caufe it is, that a figure ftanding upright, with both the legs, and both the arms, precifely 
 in the fame pofition, and the head neither inclining to the right nor to the left, will be 
 called a ftifF figure, without requiring the examination of theartift'seye. 
 
 A variety of forms, judicioufly contrafted with each other, naturally convey the idea of 
 motion ; and though the figure be reprefented as ftanding ftill, the fame idea ftill fubfifts in 
 the mind ; and we conceive it could move, if it pleafed : the reafon is eafily given. For, 
 as all our ideas of external obje<Sts are acquired from the objefts themfelves, it follows, that, 
 as we fee no animal motion without variety of form, the fame variety of form, reprefented 
 in a piflure, ftiould produce the fame idea of motion, or of the poflibility of motion ; fo 
 that, ftridlly fpeaking,_/?/^(/} is a fomething we conceive to be improperly formed for mo- 
 tion. And the more or lefs this idea is prevalent in the mind, the more or lefs we confider 
 the objeft of our contemplation as cenfurable. 
 
 Hence it is we call thofe draperiesy?;^ or Gothic, in which the folds do not full into fuch 
 forms, as We naturally expeft they ftiould. Every appearance of ftudied exadtnefs, in the 
 difpofition of them, is a conftraint upon the eafy flow of motion j and the more or lefs we 
 difcovcr it, we praife or condemn it in the fame proportion. The common eye is no mean_ 
 judge in this particular ; for the common eye cannot help obferving the ordinary appear- 
 ances of fimple nature, and judges accordingly, without any previous bias. 
 
 Much has been faid with refpeft to elegance in the general form of the human figure. 
 I have obfejved, that in the moft eftimable antique ftatues, the outlines of all the parts 
 are exprelTed by large convex and fmall concave lines. I am not fingular in this obfer- 
 vation ; from an artift of the firft rank in this kingdom, whofe friendfhip I am honoured 
 with, I firft received it ; and repeated examination has abundantly confirmed the fa£l. 
 It is evident, at leaft to me, that exad: lines of any kind, even if they be drawn in the fer- 
 
 ■^ 2 pentine 
 
20 ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 pefttine form, cannot give the perfeft expreflion of beauty and elegance ; for thefe, if 
 traced prtcifcly, will have a formal appearance ; and if they convey the idea o'f mo- 
 tion at all, it is the condraineil motion of the jack-worm, rather than that of an animal, 
 which can freely move itfelf at its own pleafure. 
 
 Such forms therefore, as convey the clearefl: idea of thofe flowing lines, which motion 
 naturally gives, or feem difpcfed in the fitteft order to move, appear to me mofl: elegant 
 and graceful ; vvhilft, on the contrary, thofe forms, which are apparently unfit for motion, 
 and leafl: varied from one another, I confider as proportionablyy/i^'and Gothic. 
 
 The reafon why we have fo few great artifts amongft the number, which in all ages are 
 purfuint; the arts, is, becaufe fo few have the eye to fee, and the faculty to retain, the beau- 
 tiful variety of forms, which nature continually produces. Thofe, not pofTefTed of thefe 
 abilities, fubftitute in their own minds, a fet of forms, which they therafclves approve ; 
 and which theyufe on all occafions. The continual repetition becomes tirefome and dif- 
 gufting ; for variety alone can delight the mind. Thofe who, by painful attempts at 
 neatnefs and laboured execution, endeavour to compenfate for the want of genius, often 
 fail ftill more than the mannerift. Nature fets the compaffcs at defiance ; and no rule 
 can be fufficient to inflruft that man to draw her correi'tly, who has not the eye to fee her 
 naked as {he is, and the idea, firft ftrongly impreffed upon his own mind, of what he means 
 to exprefs : For if he feels not the efFefts of beauty in himfelf, how can he poffibly com- 
 municate them to another ? 
 
 The want of natural fimplicity, diflinguiHied by the appellation Gothic^ was a ftrong 
 charavSerifVic of the German fchool, efpecially at that early period, which we now are pro - 
 ceeding to fpeak of. 
 
 All the ancient German mafters were exceedingly defedtive in drawing, efpecially when 
 they attempted to execute the naked parts of the human figure. Martin Schoen fucceeded 
 the heft ; and a fmall upright print by him, reprcfenting St. Sebaftian tied to a tree, may 
 be produced as a fpecimen, by no means unfavourable. The body of the figure pof- 
 fefles great merit, and the head is not devoid of expreifion ; but the other extremities are 
 by no means equally well drawn. Drawing from nature feems to have been no part of 
 an artift's education at this time -, and as they had not the admirable remains. of antiquity 
 to dire£l their tafte, no wonder they fell into a manner, which, however difgulling it 
 may appear to us, was probably confidered as excellent by them, who had not the oppor- 
 tunity of examining any works fuperior to their own. 
 
 From the old mafter, whofe prints are marked witli anF. and an S. named by Marolles 
 Francois Stofs, or Stoltzhirs, I am greatly inclined to believe, that Martin Schoen learned 
 the art of engraving. It is certain, however, that he not only copied die prints of Stoltz- 
 hirs, but imitated his ftyle Df engraving alfo ; which indeed he improved to a very great 
 .degrep. Schoen appears to have had a confiderable number of fcholars, who followed his 
 manner ; but none of them ever equalled him. Among thefe may be reckoned, Bar- 
 tholomew Schoen, the elder Schauflein, Francois van Bocholt, Bofche, Wencedaus of 
 Olmutz in Bohemia, Adam Gamperlln, PleydenwurfF of Nuremberg, Michael Wolge- 
 muth, Mathew Zagel, and Mair, whofe works are mentioned under their refpedive 
 names. To thefe maybe added the following, known by their marks only; who, as they 
 certainly worked during this period, may very properly be mentioned here : as, I. C. and 
 S. and P. P. Thefe letters are feparated by a fort of crofs. W. H. Thefe letters are 
 feparated by a mark, fomething refembling that of Martin Schoen's. B. M. Thefe 
 initials are feparated by a fort of crofs. W. h. F. and W. with a fort of crofs. T. W. 
 and L. with a flourifh, refembli;ig a Gothic Z.. All thefe artifts were difciples or imita- 
 tors of Martin Schoen. 
 
 1 have given it as my opinion, in the former chapter, that the artift, to whom we owe 
 the curious print copied in this volume, and dated 1461, (See plate I.) was the mafter, 
 from whom Ifrael van Mecheln received his inftrudions in the art of engraving. The 
 manner of Ifrael van Mecheln differed exceedingly from that of Martin Schoen, efpe- 
 cially in the management of the fleih and draperies, which are executed in a neater and 
 
 more 
 
ON THE, ORIGIM AND PROGRESS OF ENGRAVING. 41 
 
 more laboured ftyle. The ftrokes are much finer, in general, and often affifted in the 
 finifhing with a tender interline ; by which they may be conftantly diftinguifhed. All 
 the imitators of Ifrael adopted the fame method ; particularly the engraver, who fub- 
 fcribed his prints, Z. Wott, or Z. Woll. He executed many of his plates in a 
 very neat, careful ftyle; but they are fo miferably defective in point of drawing, and fo 
 totally devoid of tafte, that few colleftors, I fear, will take the trouble of examining them. 
 
 We have feveral engravings by the ancient artift, mentioned above as the mailer 
 of Ifrael van Mecheln ; but one of them is too fingular to be omitted. It reprefents 
 the Sibyl, fhowing to the emperor Auguftus, the Virgin Mary, with the infant Chrift, 
 in the clouds. The figures are loaded with drapery ; and the crown, with other parts of 
 the habit of the emperor, is richly ornamented with jewels. In the back-ground is repre- 
 fented a tewn at adiftance ; which, M. Heineken informs us, is a view of the town of Culm- 
 bach, with the caftle of Bleflenberg : from which circumftance he conje£lures, that the 
 artift was a native of that place ; at leaft, adds he, I am perfuaded, that the inventors of 
 the art of engraving did live at Culmbach, or at Nuremberg, or at Augfbourg. He 
 fpeaks of this as a very ancient print, and declares, " that every part of it proves it to 
 " have been the work of fome goldfmith, which perfeftly demonftrates the immediate com- 
 " mencement of the art." This print is feven inches and a half wide, by ten inches and 
 a half high. The mechanical part of the execution is precifely the fame, as in that which is 
 dated 146 1 : and the ftyle of drawing, with every other mark of diftin£tion, correfponds 
 fo exacSly, tliat I am perfectly perfuaded, they were both performed by the fame hand. 
 So alfo are thofe, I verily believe, marked with an E. and an E. with an S. orelfe by a 
 difciple, who imitated this mafter's ftyle of engraving in a moft admirable maimer. 
 The print mentioned by profefl'or Chrift, dated 1465, which, he fays, is marked with a C. 
 and an E. joined togetlier, is by the fame hand. And though I have never met with a print, 
 fo dated, with that mark, yet I have feen the fame mark upon another print, with the date 
 1466 ; and, I conceive it is an E. and S. joined together in the Gothic ftyle. This 
 print reprefents the Deity, with Chrift and the Holy Spirit, furrounded by many angels, 
 in a fort of gallery ; whilft beneath an arch the Virgin appears feated, holding the infant 
 Jefus ; and an angel, with other figures, accompanying her ; a man and woman are alfo 
 rcprefented kneeling at her feet. Upon the arch is an infcription in honour of the Virgin. 
 This print is eight inches and a quarter high, by four inches and three quarters wide. 
 I have alfo feen a St. Sebaftian, marked E. S. dated- 1467. The Virgin and Child with 
 ungels ; alfo a fmgle figure of the Virgin ; the Virgin and Child appearing to St. John ; 
 and a fuderium fupported by St. Peter and St. Paul ; all marked with the fame letters, 
 and bearing the fame date. Thefe are in the colledlion of Dr. Monro ; and all appa- 
 rently by the fame hand, though the latter are finiflied the moft. But to return to 
 Ifrael van Mecheln. Befides Zwoil, he had feveral difciples, or profefled imitators, who 
 lived in this century; after which his ftyle of engraving was nearly loft; and the 
 works of Albert Durer were confidered as moft worthy of imitation. AmcHig them is 
 Michael Bogner, and the artift who ufes the Gothic initials I. A. another, who marks 
 his prints B. M. every way different from him, mentioned before, who ufed thefe letters 
 divided by a fort of crofs ; he alfo who figned the initials B. R. the letters being divided 
 by a mark bearing fome fmall refemblance to an anchor ; and another, who fubfcribes 
 his prints S. A. but above all, that great artift, Lucas Jacobs, better known by the 
 name of Lucas van Leyden, of whofe works we fhall give an account hereafter. The 
 engraver, who ufed the W. diftinguiflied by a fort of crofs, worked occafionally in the- 
 ftyle of Martin Schoeri, and of Ifrael van Mecheln ; and fo alfo did Francois van Bocholt, 
 and fome others. 
 
 The German engravings therefore, prior to the fixteenth century, may be divided into 
 two claffes : Thofe of Upper Germany, which refemble die ftyle of Martin Sciioen ;, 
 and thofe of the Low Countries are imitations in, a greater or lefs degree, of the 
 •wprks of the old mafter, upon whicii Ifrael van Mecheln founded his ftyle of engraving. 
 
 CHAP 
 
ai ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 CHAPTER VI. 
 
 The general Style and Charailer of Deftgn among the Italian Engravers, and the Extent of their 
 Knouiledge, in the Execution efthe Mechanical Part of their Plates, examined, from 1464 to 
 1500. 
 
 AS we divided the engravings of the old German fchool into two diftin£t clafles, we 
 {hall do the fame, and with flill more propriety, with refpeft to thofe of the 
 ancient Italian fchool. As firft thofe which bear the neareft refemblance to drawings 
 with a pen, in which the ftrokes, that exprefs the fhadows, are laid from the one corner 
 of the {Jate to the other; and this ftyle of engraving was adopted by the artift who 
 executed plate V. alfo by Andrea Mantegna, Pollaioli, and their followers. Secondly, 
 The engravings in which the ftrokes are laid to form the fhadows, without the leaft con- 
 ftralnt; and croficd with other ftrokes, as often as the artift pleafed, unconfined by any par- 
 ticular rule. In this ftyle the Planets, dated 1461, are executed ; one of which is copied 
 plate III. together with the frontifpiece belonging to the fet, plate II ; and are particu- 
 larly defcribcd in the feventh chapter of this Ellay, The fame method was adopted by 
 Boticelii, and apparently by Baldini ; alfo by an artift, who ufes the intitals, L. A. F. 
 and by another, who marks his plates with an N. Several others, as will be noticed pre- 
 feiitly, engraved in both thefe manners, and that fometimes upon the fame plate. 
 
 The prints belonging to the Italian fchool, from the very commencement of the art, are 
 eafily diilinguifliedfrom thofe engravedinGermany ; not only by the vifible difference which 
 appears ia the execution of the mechanical part of the workmanftiip, but alfo by the fim- 
 plicity of ftyle, with which the former deiigned the human figure; and this fimplicityin 
 fome degree is conftantly found in the flighteft Italian compofitions : being profeftedly 
 acquired by the ftudy of the works of antiquity. But perhaps the diftin<Stion between the 
 German and Italian engravings is no where more ftrikingly evident, than in the draw- 
 ing of the draperies, and the difpofition of the folds. In the one, it is plain and unaff"ected ; 
 the folds are long and flowing, and the turn of the figures has always more or lefs of 
 that grace, which is fo powerfully demonftrated in the ftatues, bafs reliefs, and other re- 
 mains of the ancients: whilft the Germans, forfaking nature, or contenting themfelves with 
 viewing her in difguife, and having no afliftance to corredl their tafte, degenerated into 
 what is called manner, and drew the human figure, not as it really did, but as they con- 
 ceived it (hould appear to them. 
 
 And the manifeft difference in the drawing and compofition, as well as in the 
 ftyle of engraving, which appears in the prints, bdonging to thefe fchools, may be con- 
 fidered as an argument of fome force, in favour of the ingenious opinion of M. Heineken, 
 who conceives, that Finiguerra might have difcovered tiie art of engraving in Italy, 
 without being confcious that it was praftifed at the fame time in Germany, and con- 
 fequently could not be a new invention. For had one nation taken it from the other, it is 
 reafonable to fuppofe, that fome refemblance would have been eafily traced, with 
 refpeft to the mechanical execution of the work ; and when the Germans copied the 
 works of the Italians, we conftantly find that it was fo. For Boticelii engraved feveral 
 plates of the Prophets, and Sibyls, foon after the difcovery of engraving by Finiguerra, 
 which were imitated foon after by the Germans, in a ftyle much refembling the 
 originals; though the copies have all the appearance af labour, and are executed with much 
 fervilit}'. The imitations are alfo in fome circumftances to be diftinguifhed from the 
 originals, by die orthography : as for example, No. XIV. inllcad of David, the name is 
 written Davit. Thefe Prophets and Sibyls arc fingle figures, five inches and a half high, 
 by four inches one-eighth in width. The originals are very rudely executed, and bear every 
 mark of priority, when compared with the plates for the Dante. They are alfo very 
 badly printed, and, without doubt, the firft efforts of Boticelii in the cxercife of en- 
 graving. 
 
 The Prophets and Sibyls of Boticelii were alfo copied by an Italian artift, in a ftyle 
 ruperior to the originals, and by no means refembling them in the mechanical part ; 
 
 being 
 
OM THE ORIGIN AND PROGRESS OF ENGRAVING. 2J 
 
 being executed very neatly, in the manner adopted by Mantegna. Thefe prints have (e- 
 vcral Italian verfes underneath them ; and were apparently the works of Giov. Ant. 
 Brixianus, or feme other engraver, contemporary with him, and his equal in point of 
 merit. 
 
 Boticelli is fpolcen of as a man of genius, in the hiflory of the painters. He certainly 
 did not draw incorreiStly upon the whole ; though the outlines of the figures are frequently 
 overcharged, which gives them too great an appearance of fhortnefs. The limbs and 
 extremities, in particular, are heavy, and often very indifferently marked. It muft be 
 remembered, that I fpeak of him now as an engraver ; and thefe obfervations refer to him 
 in that character only. His friend Baldini, who worked conjointly with him, or from 
 his defigns, is generally allowed to have been deficient in the art of drawing, but fupcrior 
 to him in the management of the graver. There are a fet of upright plates, more than 
 fixty of which I have feen, on which are depicted the Seven Planets, the Nine Mufes, the 
 Four Ages, the Liberal Arts and Sciences, together with the Trades, and Mechanical 
 Employments of Mankind. They are reprefented chiefly by fingle figures, enclofed in a 
 twifted border, and bear every mark of great antiquity. They are little more than out- 
 lines, but very neatly engraved, and printed in fuch ii manner, as proves, that the artift 
 knew much better how to engrave, than to take imprclKons from his plates. I never met 
 with the fet compleat. Dr. Monro has near forty ; and Mr. Thane lent me twenty-one. 
 The names of the planets, mufes, arts, trades, &c. are written at the bottom in capitals ; 
 and an alphabetical letter is put at the left-hand corner, and the number of the print 
 at the oppofite corner, in a line with the name. Thefe prints are feven inches high, by 
 three inches three-eighths in width ; and, I verily believe, they are fome of the firft 
 produciioijs of the graver in Italy, and probably the works of Baldini, affifted perhaps 
 in the defigns by his friend Boticelli. An artift, v/ho figned his plates with an L. 
 and an A. joined together, with an F. ftanding, I prefume, for fecit, engraved in the 
 fame ftyle ; fo alfo did another artift, whofe fignature is a fpecies of N. And both are 
 very ancient. From thefe mafters, it is probable, Giovanna Mariae Brixienfis, the 
 Carmelite of Brefcia, learned the art of engraving ; for he did not entirely follow 
 his brother, who imitated the manner of Mantegna ; but fometimes conne<Sed both 
 ftyles together. And this is the fource from which Marc Antonio Raimondi acquired 
 that knowledge, which has rendered him fo juftly famous, and ftamped fo high a value 
 upon his excellent performances. 
 
 The print, plate V. is executed in that flight, fimple ftyle, which Mantegna after- 
 wards improved. The outlijie is engraved very powerfully, and the fhadows are ex- 
 prefied by ftrokes, running from one corner to the other of the plate, which are rarely, if 
 ever, eroded. The ful^ect of this print is certainly emblematical. It reprefents the en- 
 graver at work ; and Hercules is ftanding before him, fupporting the univerfe upon his 
 fhoulders, to ftiow, that all vifible beings ^are the objedls of the artift's imitation. By 
 the figure of Hercules is teftified that labour and ftrength of mind, which are neceflarv 
 to arrive at perfedtion. The book, the fphere, and other emblems of learning, are to 
 fhew us, that the artift ought to be a man of fcience ; and he is reprefented as an old 
 man, becaufe a confiderable length of time is neceflary for ftudy and practice, before he 
 can be fuppofed to arrive at any very high degree of excellence. The foregoing ino-e- 
 nious interpretation of this print, I owe to a worthy friend ; as alfo feveral other im- 
 portant obfervations, which occur in the courfe of the Efl"ay, By this very artift, we 
 have another print, of nearly the fame fize, and executed in a manner exactly fimilar. 
 The fubjeft is alfo allegorical, and reprefents Cupid binding the God of War, and 
 claiming his laurels. Probably both might belong to a fet of emblems. Thefe two, 
 hov/ever, are all I have feen. The laft has no infcription, letter, or mark to diftin^uifti 
 it. It is, at this time, in the pofleiTion of Mr. Thane. 
 
 There is a large print, length-ways, by an engraver, who lived at this period; but 
 
 ufed no mark of any kind. It reprefents the laft judgment. Chrift, with a multitude of 
 
 faints and angels, appears above, feated in the air ; other angels, on one fide, are 
 
 conveying the ipirits of the juft men into Paradife ; whilft, on the other fide, the devils 
 
 4 are 
 
24 ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 are thrufting the wicked into feparate pits of fire, where they are puniftied according t<$ 
 the nature of their crimes, which are written on labels above them : as, li/ssuria, ira^ 
 COLA, AVARiTiA, iNviDiA. It is very rudily executed, and, without doubt, very 
 ancient ; yet fome of the figures, and mod of the heads, are by no means deftitute of 
 merit. The maps or geographical charts, mentioned in the fourth chapter of this 
 Eflay, as engraved by Conrad Sweynheym and Arnold Buckinck, for the edition of 
 Ptolemy, publiflied at Rome, 1478, are alfo very rudely engraved, according to Heineken, 
 in this ftyle, which he diftinguifhed by the appellation of traits de zigzag, or zigzag lines ; 
 and in this manner, fays.he, the goldfmiths ufually ornamented their work. The letters, 
 continued he, are executed with much labour, being {lamped upon the plate with 
 punches, by the afliftance of the hammer. The zigzag mode of workmanfhip adopted 
 by thefe artifts, feems to prove, in my judgment, that though they were natives of Ger- 
 many, they learned, however, the art of engraving in Italy, where only it was praclifcd in 
 this ftyle, and never in Germany, or indeed in any other country, that I can recoUeft. 
 Pollaioli and Andrea Mantegna imitated the foregoing mafters ; and a fine fpecimen of 
 the work of the latter is copied on the plate No. VI. fubjoined to this Effay. Thefe were 
 followed by Giovanna Ant. Brixianus ; an artift, who figns his name I. F . T. and was 
 probably a difciple of Brixianus ; together with feveral others, whofe names are totally 
 unknown and undiflinguiflied by any mark. 
 
 The two following prints are, without doubt, very ancient, and prior to the fixteenth 
 century. Andbecaufeof their fingularity, I have thought it neceffary to defcribe them, 
 though they have no mark, by which they can be properly diftinguifhed. The'/ are 
 executed in a mixed ftyle, formed in part upon that of Boticelli, and in part upon that of 
 Mantegna. The one reprefents Judith putting the head of Holophernes into the bag, 
 which her maid holds for her. It is a large print, one foot high, by eight inches and 
 three quarters wide. It is rudely engraved ; and the drawing is very defective, efpeclally 
 w^th refpe£t to the extremities of the figures. The other is feventeen inches and a half 
 long, by twelve in height, ftill more rudely executed than the former, and by no means 
 more correctly drawn. In the front, we fee a woman fleeping upon a bench, whilft a 
 fatyr is lifting up the drapery, with which fhe is covered. Near him is another fatyr, 
 apparently frighted by a young man, who is clothed and lying down, prefenting to him 
 two flutes, which he holds in his right hand. Towards the left we fee a large bafon, 
 with water ifiuing from it ; and fifties, ducks, and frogs, are depifted fwimming in the 
 ftream below. Among the rufhes is an infcription upon a fcroU, which is perfe<Syy 
 unintelligible to me. 
 
 I have a fmall print, feven inches high, by nearly four inches and an half wide. It 
 reprefents St. Sebaftian, a ftanding figure, bound to a column. From the manner in 
 which it is executed, I take it to be the work of Boticelli ; and if fo, it is certainly the 
 fineft fpecimen of this ftyle of engraving, that I ever faw. The figure is carefullj' drawn, 
 and pofielTes great merit. Marc Antonio improved upon this ftyle of engraving, and 
 by it acquired fuch great reputation, that it was prefendy adopted by nearly all the 
 Italian engravers ; whilft that of Mantegna and his followers was totally neglecled, foon 
 after the commencement of the fixteenth century. 
 
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OK THE ORIGIN AND PROGRESS OF ENGRAVINO. 2^ 
 
 CHAPTER VII. 
 
 A Defcr'tpt'ion of the Eight firjl Plates referred to in the foregoing EJfay. 
 
 AS the engravings which accompany this Eflay are occafionally referred to in more 
 places than one, it was judged molt eligible to put them all together, (the frontif- 
 piece excepted) with fuch a defcription as was neceilary for their explanation, and a re- 
 ference to die collections from whence they are taken. 
 
 THE FRONTISPIECE. 
 
 ■ On this plate is reprefented an ancient Etrurian patera or facrificing injirument-, and 
 part of zjijeath for a fword or dagger ; thefe are particularly defcribed page lo of the 
 Eil'ay ; the originals are preferved in the Briti(h Mufeum, and were brought from Italy 
 by Sir William Hamilton. 
 
 PLATE L 
 
 The Virgin and Child, a very ancient German engraving ; the date which appears under 
 the tree is 1461 ; the four is very commonly written in this marmer in the old manu- 
 fcriprs, and it feems to have continued longer in ufe among the Germans than the other 
 European nations. The original print from whence this engraving is taken, is in the 
 collection of Dr. Monro, who kindly permitted me to copy it. 
 
 PLATES II. AND IIL 
 
 The original prints from which thefe two plates are engraved, belong to a fet which 
 confiiLs of eight ; feven of them reprefent the feven planets, and tlie influence thofe hea- 
 venly bodies are fuppofed to have upon the human conftitution. The plate marked with 
 the No. II. ferved as the frontifpiece ; it is a fort of almanack, exhibiting a calender of the 
 faints days, and a calculation of the day on which Eafter would fall, from 1465 to 1517 in- 
 clufive. Upon twelve fmall circles in the middle of the plate, are reprefented the employ- 
 ments for the twelve months of the year, with the zodiacal fign belonging to each month; 
 and the gradual increafe and decreafe of the days, is expreffed by the extent of the fliadow 
 upon the border, within which thefe delineations are inclofed. They are as follows : 
 
 January. An elderly gentleman feated at a table, fpread with provifions,^ near the fire, 
 holding a glafs with liquo: in his hand. 
 
 February. The gardener digging his ground. 
 
 March. The employment of the two figures reprefented in this compartment is rather 
 T)bfcure ; probably the man is planting ftirubs or herbs in the gardenj according to the 
 direction of the lady who is ftanding by him. 
 
 April. Hawking and hunting the hare. 
 
 May. Running at the ring, 
 
 June. Mowing. 
 
 July. Gathering in corn and thrafhing. 
 
 Auguft. Sicknefs ; the dodtor is examining the urinal- 
 September. Gathering grapes. 
 
 October, Making wine. 
 
 November. Ploujjhine. 
 
 December. Killing of Swine, and providing the good fare for Chriftmas. 
 
 VOL. I. £ ^^^ 
 
l6 ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 The foUowiBg dircftions are written in Italian at the bottom of the plate: IfyeuwHl 
 kmiu tuhcn Eafter P:all b,\ find the date of the year in this engraving, the letter A. Jlanding 
 for Jprii, and the letter M. far March. 
 
 Plate III. reprefents the planet Venus, (he appears in the clouds riding in her cha- 
 riot drawn by doves, accompanied by Cupid, who has juft difcharged an arrow at one of 
 the ladies {landing in the balcony ; at a diftance ws fee an unfortunate lover upon 
 his knees, invoking the afliftance of the deity ; the reft of the figures appear to be imme- 
 diately under the diredlion of bsr powerful influence. On the wheelsof her chariot are 
 reprefented the Bull and the Balance, with thefe infcriptions : TORO and BILANCE, 
 the fic^ns of the zodiac over which tliis planet was fuppofed to prefide. 
 
 At the bottom of this and fix other plates, are infcriptions importing the properties of 
 the planets reprefented upon them. I fhall give the following entirely as a fpecimen for 
 the whole ; one line of it only being copied upon the plate No. III. 
 
 VENERE. E SEGNO. FEMININO. POSTA. NEL. TERZO. CIELO. 
 FREDDA. E VMIDA. TENPERATA LA QVALE. AQVESTE. PROPRIETA. 
 EAMA BELLI. VESTIMENTI. ORNATI. DORO. E DARGENTO. E 
 CHANZONE. E GAVDII. E GVOCHI. ET. E LACIVA. ET HA DOLCE 
 PARLARE. EDELLA NELLIOCHI. E NELLA. FRONTE. E DI. CORPO. 
 LEGGIERI. PIENA. DI CARNE. E DI. MEZZANA. STATVRA. DATA. 
 A TVTTI. OPERE. CIRCA. ALLA. BELIZZA. ET. E SOTTO POSTO. 
 ALLEI. LOTTONE E. IL. SVO. GIORNO. EVENERDI. E LA. PRIMA. 
 HORA. 8. 15. ET 22. E. LA. NOTTE. SVA. E MARTE. DI. E IL. SVO- 
 AMICO. E GIOVE. EL NIMICO. MERCVRIO. ET. HA. DVE HABI- 
 TATIONNI. EL. TORO. DI, GIORNO. E LIBRA. DI. NOTTE. E PER- 
 CONSIGLIERE. EL. SOLE. E LAVITE. SVA. EX ALTATIONE. EIL" 
 PESCE. ELA MORTE EDVMILIAZIONE. E VIRGO. E. VA. IN lOMESL 
 IZSENGI. INCOMIN CANDO. DA. LIBERA. E IN 25. GIORNO. VA 
 VNO. SENGNO. E IN. VN GIORNO. VA VNO GRADO. E IZ. MINVTI. 
 E. IN VNA ORA. 30 MINVTI. 
 
 I thought two fpecimens fufficient to be engraved, in order to (how the ftyle in which 
 thefe curious plates were executed. However, I doubt not but that a (hort defcription of 
 the reft, will he alfo very acceptable to many of my readers. 
 
 GIOVA, Jupiter. He is feated in his chariot in the clouds, with a crown upon his 
 head, and a dart in his left hand ; before him is reprefented Ganymede kneeling, with a' 
 fniall vafe in one hand, and a cup in the other. The chariot is drawn by two eagles, and 
 on the wheels are the two figns Sagittarus and theFiflies,with the words SAGITARIO and 
 PISCE. The diftance is a mountainous country, with figures on horfeback and on foot, 
 hunting and hawking ; in the foreground towards the right we fee an emperor upon 
 his throne -with figures doing him homage ; and to the left, three figures reprefenting (as 
 it is fuppofed) Boccacc, Dante, dnd Petrarch feated in an alcove, &c. with the infcription 
 underneath, beginning thus : 
 
 GIOVE. EFIANETA. MASCVLINO. POSTO. NEL SESTO. CIELO. 
 CALDO. E HVMIDO. TEMPERATO. DI NATURA. DARIA. DOLCE. 
 SANGVIGNO. SPERANTE. &c. 
 
 SOLE, the Sun. He is reprefented fplendidly armed, with a crown upon his head, and 
 feated in his chariot, drawn by four horfes ; upon the chariot wheel is the zodiacal fign of 
 tlie Lion, infcribed beneath LEO. In the back-ground we fee a caftlc upon an 
 hill, and fonie figures (hooting at a mark witji crofs-bows ; near them are two men pray- 
 ing to a crucifix ; others are diverting themfelves with mock fights, and a laughable figure 
 of a dwarf is ftanding by them with a fvvord under his arm ; others again are throwing 
 ftones and wreftling, whilft in the front an emperor is feated, and three tumblers are de- 
 picted before him, exhibiting their feats of adtlvity. The infcription begins in this manner : 
 
 SOLE. E. PIANETA. MASCVLINO. POSTO. NEL QVARTO. CIELO. 
 
 CALDO. E. SECHO. INFOCATO. CHOLERICO. DI. COLORE. DORO. &c. 
 
 4 MARTE 
 
ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 27 
 
 MARTE, Mars. He is feated in his chariot, drawn by two horfes, and reprefented- 
 compleatly armed, with wings upon his head, and a fword in his right hand ; upon 
 the wheels of the chariot are expreffed the Ram and the Scorpion, two figns of the 
 zodiac, and under them is written ARIETE and SCARPIONE. At a fmall dillance 
 is a caftle, with figures fighting before it, and a man is reprefented ringing the alarm 
 bell ; in the fore-ground, a foraging party of foldiers are feen falling upon a company of 
 herdfmen, and feizing their cattle, the infcription begins in the following mamier : 
 
 MARTE. ESENGNO. MASCULINI. POSTO. NEL QUARTO. CEILO 
 MOLTO. CALDO. FOCOSO. ET HA QUESTE. PROPRIETE. DAMARe' 
 MILIZIA. BATTAGLE. ET UCCISIONI. MALIGNO. DISCORDINATO, kc. 
 
 SATVRNO, Saturn. He is feated in his chariot, drawn by two dragons, in his ri"-ht- 
 hand he holds a fcythe, and upon the wheels of the chariot are two figns, the Goat°and 
 the Water-Bearer, infcribed CAPRICORNO and AQUARIO ; the diftant country is 
 bounded with mountains, and with caftles, and a figure is reprefented hangino- upon a 
 gallows holding a crofs in his hands ; near to the fpedator is feen a man ploughino- with 
 two oxen, in a large fpace, overflowed with water, and other men are tlirafhing corn in the 
 open field. Towards the left appears an hermitage furmounted with a crofs, and the her- 
 mit is feated at the door, near which is a man cutting wood, and two other labourers with 
 their tools ; in the fore-ground, to the right, is a prifon, and before it a man feated with 
 his legs and arms in the ftocks, and two grotefque figures are {landing in the front j 
 towards the left are men killing hogs, one of which is hanged upon a tree. The in- 
 fcription at bottom begins as follow : 
 
 SATVRNO. E PIANETA. MASCVLINO. POSTO, NEL SETIMO 
 CIELO. FRIDDO. E SECHO. MA. ACCIDEITAL MENTE. HVMIDo' 
 DI NATVRA. DI TERRA, &c. 
 
 MERCVRIO, Mercury. He is reprefented in his chariot, holding his caduceus and 
 drawn by two birds like hawks ; on die wheels of his chariot are two zodiacal fio-ns 
 the Virgin and the Twins, infcribed VIRGO and GEMINI ; we are here prefcntecl 
 with the infide of a city ; in the back-ground is a view of a ftreet, and in the front to- 
 wards the right, a large building, which the workmen are decorating with ornaments; 
 below appears the potter with a variety of fmall vefTels, and in the front the fculptor 
 carving a head in ftone ; above him are two philofophers holding a celeftial fphere, and 
 near them a table covered with viands ; in the buildings towards the left, we fee a mu- 
 fician playing upon an organ ; it is fingular enough that the bellows, by means of which, 
 the inftrument is fupplied with wind, refembles the common bellows which we have in 
 our houfes at this day ; in a compartment below, are two figures at a table writing, and a. 
 third is regulating a clock. The perfpedlive, in which fcience the artift had here°an op- 
 portunity of fhewing his abilities, is moft dreadfully defedlive. The infcription at 
 the bottom begins in this manner : 
 
 MERCURIO. E PIANETA. MASEVLINO. POSTO NEL SECONDO* 
 CIELO. ET SECHO. MA PERCHE. LA SUA. SICCITA. E MOLTO^ 
 PASSIVA LVI. E FREDO. &c. 
 
 LVNA, the Moojj. She is feated in her chariot, drawn by two females, holdino- a 
 bow in her left-hand, and a dart in her right ; upon the wheel of die chariot is ^he- 
 zodiacal fign of the Crab, with the Latin name CANCER, wrinen underneath it. 
 The diftance reprefents a mountainous country, with a caftle and a town, very rudely 
 executed. Nearer to the eye is a fowler fetting his nets, figures fifhing in a boat, and a 
 man fllooting at a flock of birds with a bow and arrow ; near him, feme people are feated 
 at a table playing at dice ; in the fore-ground, towards the left, is a water-mill, pare of the 
 wheel of which appears,, and a bridge over the river upon which we. fee a man on horfe- 
 
 £ 2. bade 
 
2S 
 
 ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 back, and an afs fallen down under his load ; beneath the bridge are naked figures in the 
 water fifhing with a net. The infcription at the bottom of the plate begins as follows : 
 
 LA LVNA. E PIANETA. FEMININO. POSTO. NEL PRIMO. CIELO. 
 FREDA. E. VMIDA. FLEMATICHA. MEZANA TRA EL MONDO. 
 SVPERIORE ET LO. INFERIORE. AM A. LA GEOMETRIA, &c. 
 
 Thcfe curious and valuable fpecimens of ancient engravings are in the coUctSlion of 
 Dr. Monro, with whofc permiiTion I copied the two above defcribed. 
 
 PLATE 
 
 IV. 
 
 Tills fingular curiofity Is already fpokcnof in the fourth chapter of this Eflay; there is the 
 greatefl reaibn to believe that it was engraved in England, and the plate itfelf bears every 
 mark of great antiquity. It had a hole at the top quite through it, by which it appears 
 to have been faftened with a nail to the w.dl, perhaps of fome religious place, and to 
 tliis circumftance, it is not improbable, we owe its prefervation. The fcratches and 
 other defacements which it has fuftained from the hand of time, could not be removed 
 witliout danger of deftroying the originality of the engraved work, and for that 
 reafon, it was conceived to be much better to let them remain as they are, than run any 
 hazard that was not abfolutely neceflary. This plate is in my own poire/Tton. 
 
 The prayers contained upon the plate are, as my readers will readily fee, in Latin ; 
 but as this work may fall into the hands of fome perfons unacquainted with the old 
 manufcript form of letters, which are here clofely imitated, I have tranfcribed them (fome 
 few words excepted, which are by no means intelligible to me.) 
 
 ORATIO DE OMNIBUS SANCTIS. 
 
 Gaude mater falvatoris 
 Felix fide flos decoris 
 
 Mundique folatium 
 Nunc letare cell choris 
 Ju hoc fefto et langoris 
 
 Noftri fis remedium. 
 
 Gaude Michael in hac die 
 Gabriel Raphaelque Meflie 
 
 Augelorum ordines 
 Nos prccamur nobis pie 
 Sitis caufa melodic 
 
 Supra celi cardines 
 
 Gaude ventre confervatus 
 O Baptifta mire natus 
 
 Sacer degens feculo 
 Patriarchis fociatus 
 Et prophetis viae flatus 
 
 Facfinirejubilo 
 
 Gaude Petre cum fodalt 
 Paulo Chrifto fpeciali 
 
 Luceus orbis climata 
 Et caterva general! 
 Veftri fita loco tali 
 
 Nos cum iis adjuva. 
 
 Gaude Thoma fpes auglorum 
 Et Georgi tutor horum 
 
 Cum Edwardo nobill 
 Tu Launnti rege lorum 
 Ut titamur poii chorum 
 
 Cum favore Stephani. 
 
 Gaude preful O martine 
 Nicholae hugo lini 
 
 Pofle nobis gratiam 
 Erkenwalde que Birine 
 Jam cum tuis auguftine 
 
 Da fupremo gloriam. 
 
 Gaude virgo Katerina 
 
 Margaretta Magdalena 
 
 Cum Brigida 
 
 Auna fides & Chriftina 
 
 Nos fervando divina 
 
 Geus celorum jubila 
 Amen letamini in Domino &C. 
 Et Gloria omnes. 
 
 Concede 
 
ON THE ORIGIN AND PROGRESS OF ENGRAVING. 29 
 
 Concede quibus omnipotens Deus ut interceflio fanctx Dei genetricis Marije fanftarutn 
 que omnium celeftium virtutum & beatorum patriarcham prophetarum apoftolorum 
 evangeliftarum martyrorum confeilbrum atque virginum & omnium eleftorum tuorum 
 nos ubique letificet ut dum eorum merita recolemus prcemia feutiamus 
 
 per eundem Chriftum dominum noftrum amen. 
 
 The words printed in Italics, are fuch as are very difficult to decj'pher ; and I am by no 
 means certain, that the true meaning is given to them. In the feventh prayer, there are 
 two words which I cannot explain. 
 
 PLATE V. 
 
 An emblematical fubjeft in which an engraver is reprefented at work. This print is 
 faithfully copied from a very ancient engraving of the fame fize, in the colleftion of Dr. 
 Monro. The letter F. which appears upon the ftone near the hand of the artift, gives 
 fome plaufibility for fuppofing the plate to have been the work of Finiguerra. See a more 
 particular account of it in the fourth chapter of this Eflay. 
 
 PLATE VI. 
 
 The Virgin and Child, from a print of the fame fize, engraved by Andrea Mantegna. 
 The original is in my own pofleffion. 
 
A 
 
 DICTIONARY 
 
 O F 
 
 ENGRAVERS. 
 
 H. VANDER A A. 
 Flouriflied, 1701. 
 
 HE was nearly related to Peter Vander Aa, the great publifher of 
 Leyden. I find no account of his life ; and, as an artift, he merits 
 little notice. His works were chiefly for books ; and as they are very 
 indifferent, he feldom ftibjoined his name; but in the multifarious collec- 
 tions of Peter Vander Aa, by wliom he fcems to have been greatly em- 
 ployed, fome few prints occur, to which it is affixed. 
 
 The ftyle in which they are engraved is coarfe and heavy, all executed 
 with the graver ; and the ftrokes are croffed ftiffly one over the other, in a 
 fquare manner, without any harmony ; the drawing and effeft in thefe 
 prints are ftill more deficient: — I fhall only mention the following. 
 
 The title for the book of Adrian Pars, named Index Batavicus, printed 
 at Leyden in i70i,4to. 
 
 The portrait of Otho Archiep. et Vice-Comes Medicolan H. V. der Aa 
 del. et fculpfit, in the colledtion entitled Principium et illuftriiim Virorunt 
 Imaginis, Lugd. Batav. folio. In this book is alfo a ftatue of Erafmus, 
 drawn by this artift, and engraved by Stoopendael. 
 
 B ANTONIO. 
 
ABA [ 2 ] ABE 
 
 ANTONIO ABACCO. 
 Flourlfned, 1558. 
 
 This artift is alio fometimes called La Bacco. — He was the difciple of 
 Antonio da fan Gallo, and followed the profeillon of an architeft at Rome, 
 where he publifhed a great work, ornamented with fine prints, engraved by 
 himfelf, in the year 1558, entitled Libra d' Antonio AbaccOy apartenente a Var- 
 cbitettura, nal quale ft figurar.o alcmne nobili Anticbita de Rom^, folio. 
 
 He alfo engraved the plans for the church of St. Peter at Rome, from 
 he defigns of Antonio da fan Gallo, his mafter. 
 
 H. A B B E. 
 
 Flouriflied, 1670. 
 
 This artifl was of Antwerp, at which place, according to M. Chrift, 
 fomc prints engraved by him were publifhed, A. D. 1670. M. Heincken 
 mentions him as a defigner only ; and, befides a portrait drawn by him, 
 takes notice of feveral defigns made by him for Ovid's Metamorphofis, 
 publifhed by Banier. 
 
 J. A B E R R Y. 
 
 Flourilhed, 1753. 
 
 Known only, I believe, by an etching of Sir Watkin Williams Wynne, 
 from T. Hudibn, half length. This artift, who probably worked only 
 for his own amufement, has adopted the ftile of Worlidge ; and his per- 
 formance is by no means devoid of merit, efpecially, if it be confidcred 
 as a firft attempt in the art. — He has put his name to it, and it is dated 
 
 1753- 
 
 GIUSEPPE ABBIATI.. 
 
 Flourilhed, 1700. 
 
 A defignerj'who, according to M.Heineken, liv€d.atMi!an,in the begin- 
 ing of this century. He engraved fome few things ; amonglt: the reft, an 
 emblematical fubjeft, from a defign of his own, with his name : alfo feveral 
 fmall battles. 
 
 P. M. A B B I A T I S. 
 
 Flourilhed 
 
 An artift of no kind of note, who feems only to be known by a portrait, 
 engraved by him, of Jerom Cornaro, procurator of St. Mark, witiiouc 
 date, or the name of the painter. 
 
 LEONARD A B E N T S. 
 
 Flourished 
 
 According to M. Chrift, this artift was a native of Paflau. He 
 
 engraved 
 
A C C [ 3 I A D x\ 
 
 engraved for the topography of Braun the plan of the town of PafTnu, to 
 which he put his monogram, which may be found in the table, at the 
 end of this volume. 
 
 CiESAR ANTONIUS ACCIUS. 
 
 Flourilhed, 1609. 
 
 According to M. Heinekin (who is the only author I have met with, that 
 mentions this artilt as an engraver) there is a landfcape length-ways, in 
 which are three figures, one of which holds a drum, — mark'd at the left 
 upon a tablet, Csefar Ant. Accius fecit et im. A. D. 1609. 
 
 ARNOLD VAN A C H E N. 
 jFlourilhed, 17CO. 
 lived in the beginning of this century, and was brother to a famous 
 diapery painter of the fame name, who refided at London, and was called 
 the Taylor Van Achen, from the facility with which he clothed his figures. 
 Arnold etched fome froncifpicces to plays, and other fmall works for the 
 bookfellers. 
 
 ADAM of F R AN C K F O R T, fee Elsheimer. 
 
 ADAM of MANTUA, fee Ghissi. 
 
 P. A D A M. 
 
 Flourifhedj 
 
 An artift of little merit, and of whom we have no account. His works 
 are only a few landfcapes, etched in a ftifF, taftelefs ftile. The mechanical 
 part is poorly executed, and his foregrounds are fatigued with little dots, 
 without any mark of the matter. — I have feen fix of thefe landfcapes, in 
 one of which is reprefented a figure fcated on a bank, engraved in the 
 ftile of Melan, without any crofs hatching upon the firft ftroke. They are 
 marked with his name at length, the P and the A joined together in a 
 cypher. 
 
 CHARLES ADAMS. 
 
 Flourilhed, 
 M. Heineken, who mentions this engraver, tells us, that he engraved a 
 portrait of Charles Stuart, King of England, on horfeback. — But he has 
 neglefted to inform us, whether it is the portrait of Charles the Firft or 
 Second. — The Hon. Mr. Walpole and Mr. Grainger are both filent with 
 refpeft to this print ; and I have not been able to meet with it in any col- 
 leftion, for which reafon, was I not well affured of the accuracy 
 of my author, I fhould be led to fufpeft fome miftake in the name. 
 But I have often met with fingle prints of little note> bearing the names of 
 obfcure artifts, which have repeatedly efcaped the eye of the moft accurate 
 
 B 2 writers. 
 
ADA [4I ADI. 
 
 •writers. This man was probably a foreigner, and his works of no value, 
 as this feems to be the only print remaining of them. 
 
 ROBERT ADAMS. 
 
 Flourifhed, 1589. 
 
 An Englifh artift. He was furveyor of the buildings to Queen Eliza- 
 beth, and died in London. Befides fome large plans, he engraved the 
 reprefentations of the fcveral r.ftions between the Engliih fleet and the 
 Spanifli armada, on the Britifli coaib, which plaics were publifhed by: 
 Auguftus Ryther, A. I>. 1589. 
 
 PHILIP ABLER, Patriciits. 
 Flourifhed, 1518. 
 
 This extraordinary artift was doubtlefs a German, though we have no 
 account of his life ; nor is it eafy to difcover, from whom he learned the 
 art of engraving, or rather etching; for he made but little ufe of the 
 grav^er in his works. — At a time when etching was hardly difcovered, 
 and, even in the hands of the greateft artifts of the day, carried to no 
 perfection, we find this ingenious man taking up the point, and producing 
 fuch plates, as not only far excelled all that went before him in that way, 
 but laid the foundation of a fine flyle, which his imitators have, even to 
 the prefent time, fcarcely improved. His point is firm and determined, 
 and the fliadows broad and powerful. It is true, his drawing is by no 
 means correft, or his faces fine; and his draperies are in the German 
 «>-uflo, without much freedom. But notwithftanding all thefe blemifhcs 
 (for which great allowance muft be made, when we confider, that he only 
 followed the prevailing tafte of his country) his prints will always be eftim- 
 able to the curious ; not only as greatly meritorious in themfelves, but 
 becaufe to them we doubtlefs owe the Hopfers, who followed his ftyle, and 
 after them, that truly excellent artift Hollar himfelf. 
 
 If it can be faid, that this mafter borrowed his ftyle from another, I fhould 
 fufpeft his making great ufe of thofe prints, which we find marked with a 
 W, having an O on the top of it, and which are generally afcribed to 
 Michael Wolgemuth, the mafter of Albert Durer ; a remarkably fine print 
 of this artift in the colledlion of Dr. Monro, on which this obfervation is 
 founded, will be confidered in the next volume : whcr? fee Wolgemuth. 
 
 Florent le Comte mentions a print by Adler, whom he calls Adler 
 Paticina, of St. Chriftopher carrying the infant Jefus, dated 15 18. But 
 the beft print I have fcen of his, is of a midling fize, nearly fquare ; where, 
 beneath an arch richly decorated with foliage, are feveral figures of both 
 fexes. In the middle of them appears the Virgin Mary crowned, and 
 near her is a female faint, holding the infant Chrift, who is diftinguifhed 
 by the glory round his head. On a tablet in the middle of the arch is 
 written OCH OPVS FECIT. PHILIPUS ADLER PATRICIUS 
 
 MDXVIIL 
 
ADM [ 5 ] A F F 
 
 MD XVIII. The mark, which Florent le Comte and others atribute td 
 this malter^ may be leen in the table at the end of this volume. 
 
 ADMIRAL, fee Ladmiral. 
 
 J. A. C E P H. A D O R F. 
 
 Flourifhed, 
 Who calls hlmfelf a fttident in philofaphy, fays M. Heineken, engraved 
 for his amufement the portrait of Andre Ehrig Med. Cultor. A. 59, in 8vo. 
 
 A E L S. 
 
 Flourilhed, 
 Seems only to be known by a print marked with his name, where Jofeph 
 appears in a landfcape, leading the infant Chrift by the hand. 
 
 NICHOLAS VAN AELST. 
 Flourifhed, 1550 to 1600. 
 
 A native of Bruffels, but eftablilhed at Rome, where he lived from 1550 
 to* 1600, and carried on a very confiderable commerce in prints. It was 
 very common with him to omit the name, both of the engraver and the 
 painter, to fuch plates as were engraved for his colleftion, and infer: his 
 own with the word Fermis, to denote his being the publiilier. And indeed, 
 fo indifferent, in general, were the works he publilhed, that this omiffion 
 leaves us little to regret. However, as M. Heineken informs us, there are 
 fome plates with the word fecit, and others with the v/ or d/culpfif, added 
 to his name, which proves, that he fometimes took up the graver. Hence 
 it feems very reafonable to fuppofe, that he might retouch his plates as occa- 
 fion required, though the manner, in which they were repaired, will cer- 
 tainly be no credit to liim.— My author mentions a fet of birds on twelve 
 plates, as engraved by him. 
 
 M. Chrift and others atribute to Nicholas Van Aelft fuch prmts, as are 
 marked with the letters N. V. A. But this, at beft, is a very doubtful matter. 
 
 P. V AN AELST, fee Coeck.. 
 
 P. AENEAS.. 
 Flouriilied, 
 
 ;fly c^f 
 portraits ; amongit oincrs, iiLcuiumj^ lu lm. iAtnn-Mu, 10 iu^l v/i x,.cholas 
 Blankard, profefs. a Fran, aged 68 years, in folio. P. Aenea' fecit ec 
 excud. 
 
 A printkller and engraver in Mezzotinto, and, as it feems, chiefly 
 artraits ; amongft others, according to M. Heinekin, is that of Nichol 
 
 A F F N E R, fee Haffner. 
 
 COUNT 
 
A F F [ 6 ] A G R 
 
 C O U N T D ' A F F R Y. 
 
 Flouriflied, 
 
 Lieutenaiit general to the king of France, and ambafTador in Holland, 
 according to M. Heinekcn, etched for his amufement a landfcape, the 
 fore-ground of which he has ennbelliflied with a rotundo, and tlie diftancc 
 with a ftecple. 
 
 RALPH A G G A S. 
 
 Flourifhed, 1578 to 1589. 
 He was, according to the Hon. Mr. Walpole, a furveyor, and related 
 to Edward Aggas the printer. He publiflied the plan of Oxford and 
 Cambridge, in the year 1578. And* alfo a map of Dunwich, 1589. He 
 engraved alfo on wooden blocks, the large plan and view of London, 
 afterwards engraved on copper by Geo. Vertue. 
 
 FREDERIC AGNELLI. 
 
 Flouriflied, 1600. 
 
 An engraver who lived at Milan, in the beginning of the feventeenth 
 century. His chief employment feems to have been portraits, though he 
 fometimes engraved architedure and emblematical fubjefts. 
 
 Amongft his portraits is that of Simplicicn, bifliop of Milan. The 
 dome of Milan was engraved by him on feveral large plates, to which he 
 has put his name and Carolus Btitius ArchiteH. JEdific. 
 
 AGOSTINO DE SAN AGOSTINO. 
 
 Flourifned, 
 
 An Italian engraver, of whom we have no account. Amongft other 
 prints of this artift is the Zingara of Corregio ; that is, the Virgin Mary, 
 habited in the Bohfmian manner, feated in the midft of a landfcape, with 
 the infant Jefus ; alfo, St. John feated writing, from a pifture of Corregio 
 in the church of St. John at Palma. 
 
 CHRISTOPHER LUDWIG AGRICOLA. 
 Born 1667. Died 1719. 
 A landfcape and portrait painter ; was born, according to M. Heineken, 
 at Ratifbon ; and, after having travelled into feveral countries, died in his 
 own, aged 52. He amufed himfelf but little with the graver, as the only 
 print my author notices of his is a landfcape, in which is reprefented the 
 fable of Diana and Adeon, marked Agricola fee. 
 
 G 10 V ANN A 
 
A G U [ 7 ] ALB 
 
 GIOVANNA AGUCCHIA. 
 
 Flourifhed, 
 
 He was an ancient engraver of Milan, and lived, fays M. Heineken, in 
 the fixteenth century. According to the Abecedario and M. Chrift, his 
 mark was G. A. Initials of Giovanna Agucchia. The large defign for 
 the dome or cathedral of Milan has his name at length. 
 
 To a portal of a large building he .has placed tlie initials, as above only. 
 
 JOHN VAN A K E N. 
 Flourilhed, 
 
 This artift has been miftaken for John Van Achen or Aken, who was a 
 painter, born at Cologne, 1556, but never engraved. John Van Aken, 
 of whom we now fpeak, has left no memorial behind him of the time or 
 place of his birth. By the ftyleof his etchings I fhould conclude, that he 
 lived in the fixteenth century. All the works I have feen of his, are a few 
 fmall landfcapes, length-ways. The fct confifls of fix ; of which fome 
 are from his own defigns ; and the others from the defigns of an artift, 
 whofe mark is a fort of monogram, which appears to be an H an E and 
 an L; which, according to M. Heineken, fignifies Lingelback or Safcle- 
 ben ; but this I leave entirely to the judgment of the curious. Thefe 
 etchings are very flight, but have fomething mafterly in the ftyle, and appear 
 to be the work of a painter; becaufe they are more free and lefs deter- 
 mined, than might have been expefted from the point of an engraver only. 
 
 Befides thefe fix, there is a fmall landicape length-ways, where a horfe 
 {Middled appears in the fore-ground, and a man feated behind it, with only his 
 back feen ; and, towards the left, another man with a hat on. This, v/hich 
 is faid to be very fcarce, is marked with his name, J. V. Aken inv. et fee. 
 
 WILLIAM A K E R S L O O T. 
 
 Flourilhed, 1624. 
 He v.'as, according to M. Heineken, a painter as well as an engraver, and 
 lived at Harlem. I have never feen any fpecimens of his painting ; nor do 
 I recollect any engraving from his defigns. He engraved not only portraits, 
 but hiftorical fubjefts, amongft the latter is Peter denying Chrift, from P. 
 Molyn ; and another of Chrift loaded v.'ith chains, from the fame, tie 
 engraved alfo from A. Van der Vekle and other mafters. 
 
 3" 
 
 FRANCESCO A LEAN I. 
 
 ■ • ■ Born 1578. Died 1660. 
 
 It is aliTioft needlefs to inform the reader, that this eminent artift was 
 an hiftorical painter, born at at Bologne, and that he was the d:f:iple of 
 Lodov. Carracci and of Guido. His works, fojuftly efteemed, are the beft 
 eulogium, that can be produced in his praife. As an engraver, he has by 
 
 no 
 
A L K [ 8 j ALB 
 
 no means added to the fame his other works have eftablillved. Confcious, 
 no doubt, that the time and pains he mull beftow upon this branch of the 
 arts, to arrive at any great degree of perfc£tion, would too much engage 
 liim from his other purfuits, he quitcd the point, after having made but one 
 finall folio etching of Dido killing herielf j in which he has by no means 
 well fucceedcd. 
 
 CHERUBINO ALBERTI BORGHEGIANO. 
 Born 1552. Died 1615. 
 
 The laft name was given to him becaufe he was bom at Borgo S. Sepol- 
 cro. — From his father Michele Alberti, he learned the firfl: rudiments of 
 hiftorical painting, in which art he made very confiderable progrefs. His 
 greateft works are in Frefco at Rome. He alfo painted in oil ; but his 
 fuperior merit as an engraver is no lefs remarkable. From whofe inftruc- 
 tions he learned the ufe of the graver, is quite uncertain ; but his beft ftyle 
 of execution feems evidently to have been tounded on the prints of C. Cort 
 and Agoftino Carracci -, though without doubt, in his friezes and other 
 ilighter plates, he owed much to the works of Francefco Villemena, whofe 
 fieedom of handling the graver is juftly admired. 
 
 Like all thefe artifts, he worked entirely with the graver, and feems never 
 to have called in the alTiftance of the point. — His engravings, which are 
 very numerous, are not all in the fame ftyle, but thofe are the moft excel- 
 lent, which approach the neareft to that of Agoft. Carracci. Some times 
 he is very neat, and at other times, as in his friezes, and fmaller fubjefts, 
 he runs into a loofe open manner, very (light and frequently quite unequal 
 to himfelf. This manner, however, Henry Goltzius improved upon, and 
 carried to the greateft perfeftion. 
 
 The engravings of Alberti, are never very highly finifhed, or powerful 
 in effcft. The great fault of this time was, the little attention paid to the 
 Chiaro-Scuro. The lights are fcattered and left untinted, as well upon the 
 diftances, as upon the principal figures, of the fore-ground ; which deftroys 
 the harmony and 'prevents the proper gradation of the objefts. The 
 drawing of the naked parts of the figure in the works of this artift, is 
 rarely incorreft ; the extremities are well marked ; and the charafters of 
 the heads generally very exprefllve ; but his draperies are apt to be rather 
 ftiff" and hard. His prints may be confidered as very extraordinary efforts 
 of a great genius ; whilft the art was as yet at fome confiderable diftance 
 from pcrfeftion. According to the Lettere Pittoriche, Lattantio Pichi, 
 brother-in-law to Alberti, formed the defign of publiftiing fuch of his 
 prints, as had not appeared in his life time ; and though this projed: was 
 never entirely executed, it is certain however, that fome of his plates were 
 publifhed after his death, by his heirs : and for this reafon the year, dated 
 on his prints, does not always fignify the year, in which they were en- 
 graved ; but frequently the year of their publication. His ufual mark may 
 be feen on the plate at the end of the volume. 
 
 The number of platesj great and fmall, engraved by this artift, amounts 
 I to 
 
ALB [ 9 j ALB 
 
 to nearly i8o; of which 75 are from his own compofitions ; the reft from 
 Michael Angelo Buonaroti, Raphael, Polidoro, Andrea del Sarto, &c. Tiic 
 limits of my work being fo confined, I can only take notice of a few: — and 
 the rather becaufe the works of Alberti are far from being uncommon. 
 
 yj large nativity, with his cypher, from his own defign. 
 
 A dead Chrij}, fupportcd by an angel, oval. — ibid. 
 
 Stwtrz\ figures from the laft judgment of M. Angelo. 
 
 St. Jerom feated in a landfcape, meditating upon the crofs, a laroe 
 upright plate from the fame. 
 
 ^he re/urreilion of our Saviour, from Raphael, a large plate lengdi-ways, 
 dated 1628, publiihed by his heirs. 
 
 A holy family, where the Virgin holds the infant Chrift upon her knees, 
 and St. John prefents him with a bird; Elizabeth is kneeling by the fide 
 of tlie Virgin, and tlie back ground is a landfcape, dated 1582, a large 
 upright plate from the fame. 
 
 Creation of Adam and Eve, — Adam and Eve driven out of Paradife, — 
 and Adam and Eve fubjeSled to work : three fmall plates length-ways, 
 from Polidoro. 
 
 Great part of the friezes, which were painted by the fame mafter, in the 
 houies of feveral noblemen at Rome ; in thefe are reprefented the ftories of 
 Niche, the rape of the Sabines, &c. — long narrow prints, engraved on fe- 
 veral plates each. 
 
 'The miracle of St. Philip Benizzo, where the men, who defpifed the 
 exhortations of the faint, are ftruck dead with lightning : a large upright 
 plate, engraved from the piiSlure of A. Del Sarto, which is in the convent 
 of the Servites at Rome. This I always^ eftcemedj as one of the moll 
 excellent prints of the mafter. 
 
 DURANTE ALBERTI. 
 Flouriflied, 1590- 
 With his two brothers Cofmio and Giorgio, painters and engravers, 
 mentioned by Gandallini ; according to him they were natives of 
 Borgo S. Sepolcro. The two firft engraved upon copper and wood ; the 
 laft upon copper only, and he died young, 1597. Durante lived to the age 
 of 75, and died at Rome, 1613. — M. Heineken very reafonably con- 
 cludes, that they were artifts of no great note, and worked for the book- 
 fellers only, as their prints are not to be found at prefent. Perhaps indeed 
 the portrait of Henry the Fourth of France, with emblematical figures 
 round it, marked C. Albert, and dated 1585, is by Cofmio. 
 
 PIETRO FRANCESCO ALBERTI. 
 
 Born, 1584. Died, 1638, 
 
 An hiftorical painter, fon to Durante Alberti, mentioned in theprecedino- 
 
 article. By this artill we have a print, called the Academia de Pitori, a large 
 
 plate length-ways, containing many figures flightly etched, but with fpirfr, 
 
 VOL. I. C and 
 
ALB [ lo ] A L D 
 
 and in a flyle that indicates much of the mafter : it is figned at bottom^ 
 Petrus Francifcus Albertus inventor et fecit. 
 
 H. C. ALBERTUS. 
 
 Flourilhed, 
 Painter of Saxony. He painted and engraved the portrait of Joha 
 SeckendorfF, redor and profeflbr at Zwickau* 
 
 C. ALBRECHT. 
 
 Flouriflied, 
 
 An engraver and architedl at Berlin. 
 
 M. Heineken mentions this artift, and adds: " I cite him, becaufe I' 
 •would not omit the name of any one I have knowledge of. But his 
 engravings were only for the bookfellers, and of fo little value, as not tO' 
 merit a feparate lift." 
 
 H. VAN ALDE. 
 Flourifhedj 1650. 
 He was a painter, and excelled in portraits. We have by him an etchings 
 from a pifture of his own, of Gafper de Charpentier, an ecclefiaftic of 
 Amfterdam, yihich.;por trait is dated 1650. 
 
 HENRY ALDEGREVER. 
 Born, 1502. Died, 
 
 Many of the ancient engravers, particularly thofe of Germany, applied 
 themfelves chiefly to the engraving of fmall plates ; and for that reafon the 
 French authors, by way of diftinftion, firft called them h'tt/e majlers ; which 
 appellation is now generally ufed. In this clafs we muft place Aldegreverj 
 and in this clafs he doubtlefs claims the firft rank. 
 
 This celebrated artiil was born at Zouft in Weftphalla, in the year 1502 ; 
 but we have no certain account of his family. Both his names have been 
 miftaken ; for by fome authors he is called Aldergraft ; and others tell us,, 
 his chriftian name was Albert, But, where his fir name is written 
 at full length, as upon his own portrait, it is Aldegrever; and M. Chrilt 
 afliircs us, that his chriftian name was Henry, and not Albert. It is reported, 
 and with great appearance of truth, that he went to Nuremberg, and 
 ftudied under Albert Durer; for he certainly copied the ftyle of that mafter. 
 The time of his deceafe is by no means known ; but the laft date, which 
 appears upon his prims, is faid to be 15585 and the number of his plates 
 is extraordinarily great r according to Abbe de Marolles, no lefs than 350. 
 
 The criticifms, which have been made upon the works of this mailer, 
 are much to his honour; and the eftecm his pieces are jultly held in, is no 
 fmall proof of their value. It is univerfally fuppofed, "that if he had made 
 
 liis 
 
A L D t i^ A L D 
 
 his refidence in Italy, where he might have had the opportunity of examin- 
 ing the beautiful remains of antiquity there preferved, and the pictures of 
 the greateft mailers of the age, — the genius and ability, which fo confpi- 
 cuoufly difplayed itfelf in his own country, Would have fhone with double 
 luftre, affilled by fuch manifeft advantages. However, whilft we lament 
 in his works the want of that elegance and fimplicity which mark tlie Italian 
 fchool, let us not lofe fight of the expreflion, and propriety of compo- 
 fition, with a variety of other beauties, which we find in them at prefent. 
 
 The mechanical part of the engraving is extremely neat, executed entirely 
 with the graver, and in a ftyle (as before obferved) evidently founded upon 
 that of Albert Durer. The light parts upon his flefh he has often rendered 
 very foft and clear, by the addition of fmall long dots, which he has judicioufiy 
 interfperfed occafionally. His drawing of the naked figure, v/hich he feems 
 very fond of introducing, is much correfter, than is ufually found amongft 
 the old German mafters ; and much lefs of that ftiiF tafte, fo common to 
 ■them, appears in his beft works. But Florent le Comte's obfei-vation is 
 certainly very juft, that his men figures are far more corre£t, than his women. 
 His heads are very exprelTive, in general ; and his other extremities well 
 marked ; but fometimes rather heavy. As a painter alfo, he is fpoken of 
 very highly, and confidered as nearly, if not entirely, equal to his mailer 
 Albert Durer. 
 
 As this artift's works are fo very numerous, they cannot be fuppofed to be 
 all equal,- it is, dierefore, neceflary to fee many of his prints, before any 
 adequate judgment can be formed ; and it is juft as neceffar}'' to be careful, 
 that they are good imprelTions. For thofe retouched, or ill printed (which is 
 often the cafe) are unworthy of prefervation ; whilll the good impreffions of 
 the fame plates are highly eflimable. His monogram may be feen in the 
 plate at the end of the volume. 
 
 I fhall only notice the following : 
 
 His own portrait twice, and feyeral other portraits ; as thofe of Knipper- 
 dolling, Philip Melandlhon, &c. 
 
 The hijlory of Sujannah and the tiao Elders, on four fmall plates length- 
 ways, dated 1558. 
 
 Dives and Lazarus, in five fmall plates length- ways, 1554. 
 
 The Paffion of Chrift, in thirteen fmall upright plates. 
 
 The Labours of Hercules, thirteen fmall plates length-ways. 
 
 Several madonas, &c. many hijloricalfubjecls, as well facred as propliane ; 
 a variety of goldfmith ornaments very beautifully engraved ; and fome few 
 nudities; amongft which is thefociety of Anahaptijls, a fmall plate length-ways. 
 This laft v/as copied in the fame fize, by Virgil folis, with the mark of 
 Aldegrever ; but he has added his own. 
 
 Alfo three proceffions ; and many fingle figures, &c. 
 
 There is only one etching attributed to this mailer, which is very free, but 
 flight, reprefenting Orpheus playing on a violin, an d Eurydice feated at the 
 foot of a uxe, a fmall upright plate, dated 1528. 
 
 C 2 JOHN 
 
ALE [ i« 1 A L G 
 
 JOHN ALEXANDER. 
 Flourifhed, 1718. 
 
 A Scotfman by birth, and, according to M. Heineken, eftablirhed at 
 Rome about the year 1718 ; but whether as an engraver or printfeller, we 
 are not informed. His works are flight, loofe, incorredb etchings ; and fo 
 very indifferent, that the latter feems more probable than the fonr.er. Tliey 
 are (or at leaft all thofe I have feen) from pictures of Raphael in the Vati- 
 can ; and, as he himfelf informs us, both drawn and engraved from the ori- 
 ginals : but certainly they do him no kind of credit. There are fix of them 
 ■with a title, dedicated to Cofmio lU. great duke of Tufcany, middfing fize 
 plates length-ways, as follows : 
 
 ne be/iedinmt of Abraham, which I fhould rather call, the Deity appear- 
 ing to Noah, and commanding him to build die ark, dated 17 17. 
 
 The fac7-ifice of Abraham, 1718. The three Angels appearing to Abraham^ 
 The departure of Lot from Sodojn. Jacob's ladder, 1718. The Deity appear-^ 
 ing to Mojes in the burning bttfj, 17 17. 
 
 A L E M A N N A. 
 
 Flouriflied, 
 
 This artift is mentioned by Papillon (in his ufual flight way, quoting from 
 
 the Abbe Marollcs) as an eminent engraver in wood} and fome excellent 
 
 figures are attributed to him. But we have no account of his country, or the 
 
 tuTie in which he flouriflied. 
 
 DON EPIFANIO D'ALFIANO. 
 
 Flourifhed, 1600. 
 
 To which name M. Heineken adds, Monaco Valembrojo 3 but gives no fur- 
 ther account of him, than that he was a lover of the arts, who for his amufe- 
 ment engraved 
 
 A fet of feftivals and decorations, a. d. 1592, and a book of writing,, 
 A. D. 1607, in which he ftyles himfelf. Priori dello Spirito Santo di Fir enze^ 
 
 NICHOLAS WILLIAM ALFORiE. 
 
 Flouriflied, 
 
 An Italian artift of Lorrain, as liimfelf feems to teflify, and fettled at Rome. 
 
 By him we have a book of flowers, confifting of twelve fmall upright plates, 
 
 not very neatly engraved, but with great fpirit, and in a mallerly ftyle. To 
 
 tliefe he has fubfcribed, Nicolaus Guilielmus Alfora Lotbaringiis fecit Roma^ 
 
 ALESSANDRO ALGARDI. 
 Born, 1598. Died, 1654 
 This excellent artifl was both a fculptor and an architect, born at Bologna; 
 He was the difciple of Julius CsfarConventij and the reputation he acquired 
 
 in 
 
A L O [ 13 j ALL 
 
 in fculptiire nearly equalled that of Michael Angelo Buonaroti. It is faid, 
 that he much frequented the fchool of the Carraccii, where perhaps he learned 
 the art of engraving ; for the ftyle he adopted (if thofe plates be the work of 
 his hand, which are attributed to him) was very like that of Augoftino Car- 
 racci : all executed with the graver in a bold open manner, — flight and 
 free. Two plates fuppofed to be his, are 
 
 Chriji upon the crofs, a large plate upright, and the deliverance of the fouls 
 from Purgatory, in a fmall oval. 
 
 His mark is given on the plate at the end. 
 
 COUNT ALGAROTTI. 
 Died, 1763. 
 This gentleman, fays M. Heineken, is known by his writings, which are 
 highly efteemed. They were publifhed in eight volumes at Livourne, a. d. 
 1763 ; of wliich fome treat upon the fine arcs. He died at Pifa, the fame year, 
 and was buried in the church of Campo Santo, where a magnificent monument 
 was erefted to his memory. He defigned and engraved, for his amufement, 
 feveral plates of heads in groupes ; one of which, containing thirteen in the 
 antique ftyle, is dared February 15, 1744. This article is entirely from M, 
 Heineken ; for I do not recolleft to have ever feen any of this gentle- 
 man's performances. See his mark on die plate at the end of the volmiie. 
 
 JOHN ALIX. 
 
 Flourifhed, 1672. 
 
 This artift was a painter, the difciple of Philip Champagne, and for his 
 amufement took up the point. The only print noticed of his, is an 
 holy family from Raphael ; which he has executed in a very pleafmg ftyle, 
 and marked with thefe letters, R. V. P. that is. Raphael Urbin pinxt. 
 
 HUYCHALLARD. 
 
 Flouriflied, 
 
 What relationlhip there was between this man, and the two following of 
 the fame name, I cannot learn ; but from the great famenefs in the ftyle of 
 engraving, which appears in almoft all their works, one may be led to con- 
 clude, that they lived nearly at the fime time. Their prints, in general, are 
 confounded together without diftinftion j for they ufually marked them with 
 the name of Allard only. It is, however, a matter of little fignification ; for 
 their plates, which are exceedingly numerous, are all of them very indifferent ; 
 and by no means worthy the trouble of a particular defcription, in order to 
 afcertain, how many of them each of tiiefe three artifts might feparately 
 claim as his own ; I ftiall therefore content myfelf with mentioning fuch only, 
 as are diftinguiftied in the marking by themfelves. 
 
 The portrait of David Gloxin, I. V. D. Huych Alaerd,fcu. Alfo the 
 portrait of Adrianus Paw, Legat. Holland, marked in the fame manner. 
 
 ABRAHAM ALLARD was eftabliflied at Leydenj where, befides 
 
 engraviagi. 
 
ALL i 14 ] ALL 
 
 engraving, he traded in prints. M. Heinekcn mentions twelve plates, vJewi 
 oftozvHS; to which he adds, exactly drawn and engraved by Abrahaiii Aliard 
 at Leyden. 
 
 Amongft feme mifcellaneous prints at the Britifli Mufenm, is a very large 
 plate length-ways, entitled, //<;/. Luji-Hof van flora ; where, in a garden, is 
 rcprefented a fountain and a variety of figures, partly etched, and finiflied in 
 a ftifF, bad ilyle, with the graver; very poorly drawn, and totally devoid of 
 tafte : ji. Aliard cecinit — C. jlllard edit. 
 
 CHARLES ALLARD was a printfeller, as well as an engraver. 
 He alfo fcraped fome mezzotintos, according to M. Heineken, Thefe I do 
 not recolleft to have feen. But of his engravings there are, amongft the loofe 
 prints at the Britifh Mufeum, four plates reprefenting thefeajons, half figures, 
 exceedingly bad, and engraved in a coarfe, heavy ftyle, devoid of all tafte. 
 He alfo engraved fome portraits ; but they are in little or no eftimation. 
 
 ANTONIO ALLEGRI, called Correggio. 
 
 Bom, 1494. Died, 1534. 
 
 This extraordinary artift, one of the greateft painters Italy ever produced, 
 is faid by Abbe Marolles to have engraved feveral plates, from his own com- 
 pofuions. But the truth of this aflertion is exceedingly doubtful ; nay indeed, 
 pofitively denied by M. Heineken, in his Idea generale d' iine colleSlion d' EJlem- 
 fes." Certainly there is no mark, that ever I heard of, to afcertain thefe 
 etchings, if any fuch there be. The miftake, I doubt not, lies with the 
 Abbe, who, in feveral other places of his catalogT.ies, for want of fufficient 
 examination, has haftily attributed to one matter what evidently belongs 
 to another, 
 
 GUISEPPE ALLEGINI. 
 
 Flouriflied, 1746. 
 
 An Italian engraver, by whom we have the following plates: 
 
 A Virgin Mary, h^Xi ^gurc, -with, the infant Chrift with this infcriptiont 
 Egreditur virga de radice, ^c. 
 
 The circumcifion, infcribed, Guis. AUegrini Stamp, in rame delle crocc rcja. 
 a middle fized plate length-ways. 
 
 ThefloniiigofSt. Stephen, the fame. 
 
 A fmall print of Rinaldo and Jrmida. 
 
 A large arcbiteilal opera-Jcene length-ways, from Jofepli Chamont. 
 
 FRANCESCO ALLEGRINI. 
 
 Flourifhed, 1760. 
 This artift defigned, as well as engraved, and, according to M. Heineken, 
 lived at Florence. By him we have a vaft number oiportraits^ from dif- 
 ferent mafters. 
 
 The frontifpiece to the colleftion, entitled. Cento Ritratti della Real Fa- 
 
 miglia de Medici, for the nev/ edition publifhed 1762. Several of the plates 
 
 1 for 
 
ALL [ 15 1 ALL 
 
 for the coUeftion, entitled, Dei grand duchi di Tofcana delta a reale caja de 
 Medici, Protettori delle lettere e delle belle Arti, i£c. 
 
 "The image of St. Francis d'AJi/e, whicli is held in high eftimation at 
 Sienna, in the church named, L'Alberino. 
 
 G. L. A L L E M A N D, fee L'Allemand. 
 
 FLOPERT VAN ALLEN. 
 Flouriflied, 1686. 
 
 He is alfo named Van Aken Allen, as we find upon the view of the towr? 
 of Vienna, which he drew, a. d. 1686. This was engraved on two plates 
 by J. Mulder, at Amfterdam. But he himfelf engraved fhe town of Prague^ 
 a large, flight print, with many figures ; and marked with his name, — Vaa 
 Allen. 
 
 FRANCIS ALLEN. 
 
 Flourillied, 1652. 
 
 I found the name of this obfcure engraver, at the bottom of an oftavo- 
 
 froyitif piece, to a book, entitled, D/(z/s^;<i £). Urbani Regi. Lubeck 1652.. 
 
 On each fide of the infcription Hands a figure, one reprefenting Mofes, and 
 
 the other our Saviour, and a view of Lubeck is feen at the bottom; allflightly 
 
 etched, in imitation of the flile of C allot; but the figures are exceedingly 
 
 incorre6l, and the whole but very indifferent. 
 
 JOHN CHARLES ALLET, or ALET. 
 Flourilhed, from 1690 to 1732. 
 
 This engraver, according to M. Heineken, was a Frenchman, and worked 
 a long time in Italy, and is fuppofed to have died at Rome. Owing to his not 
 having always put his two baptifmal names, (or the inidals,) to his. 
 plates, but figning fome few of them with Charles only, feme have been led 
 to imagine, that there were two Allets. But my author with great reafoa 
 fuppofes, from the famenefs of ftyle, as well with refpeft to the drawing as 
 the engraving, which appears on the plates, with both fignatures, they were 
 done by the fime perfon. In the Abcedario he is called Carlo AJet 
 only. 
 
 He drew and engraved feveral portraits of eminent perfons ; and, amono-fl; 
 them, Cardinal Alvifio Amodei, from a pifture painted by J. M. Morandi,, 
 in folio, dated 1690. Alfo that of Carol. Eman. i. to vvhich he has put, J, 
 C. Allet ad vivam: dated 1732. 
 
 Alfo a variety of other fubjedts, faints, and facred hiftory, from different 
 mafters : amongft them, 
 
 Ananius rejlortng fight to St. Paul, a large upright plate, from Peter 
 Beretin de Cortona ; which pifture is over the altar in the church of the Capu- 
 chins at Rome. 
 
 The vifion of St. Paul, from a pifture of the fame artift, in the fame 
 church. 
 
 Thefe 
 
A L M [ i6 ] ALT 
 
 Thefe two prints, which appear to me to be his beft in the hiftorical line, 
 are executed entirely with the graver, in a cold filvery manner. They fhow 
 that lie had great command oT hand, though very little tafte. His ftyle is 
 evidently formed upon die finer prints of F. Spierre, and Corn. Bloemait, 
 But he has greatly failed in his imitation. The lights are harfli and unhar- 
 monized i and the fliadc^vs thin and feeble. The drawing, though not 
 incorrect, is often fliff ; and the heads in general, want charaftcr. His hands 
 and feet, however, are by no means devoid of merit : they, are uiually well 
 proportioned, and not badly marked. 
 
 JOHN ALMELOVEN. 
 Flourifhed, 
 
 Tliis artift, who was a Dutchman, profefled painting, as well as engraving. 
 The latter he did chiefly for the bookfellersj and as M. Heineken obfei-ves, 
 his works prove him to have been a man of ability. Befides the portrait of 
 Gifbert Voetius, to which he puts, J. Almeloven inv. et fee. we have fix 
 fmall landjcapes-, length-ways, from liis own draAvings. 
 
 Alfo, twelve views of towns and villages, the fame j and four landjcapes y 
 reprefenting the four feafons of the year, after Saftleven ; all thefe are fmall 
 plates length-ways 
 
 BALDASSARE ALOIS I, called Galanino. 
 
 Born, 1577. Died, 162,1. 
 
 A painter of great eminence in portrait and hiftory, born at Florence. He 
 learned from his father AlelTiindro Aloifi the firft principles of painting ; 
 but finifhed his ftudies from the works of other mafttrs. As an engraver, 
 little can be faid of liim ; for I know of but one print by him, which is a 
 copy of that beautiful etching of Guide's, from Annib Carracci, where St. 
 Rock is giving charity to the poor: but the copy is far inferior to the ori- 
 ginal. 
 
 ALBERT ALTDORFER. 
 
 Flourifhed, 1 5 1 1 . 
 Authors, in general, have agreed, that this remarkable artift was a native 
 of AltdorfT, in Switzerland. But Mr. Wild, a fenator of Ratifbon, who is, 
 according to M. Heineken, a very learned connoiffeur, with great reafon, 
 imagines him to have been born at a town named Altdorft, in Bavaria. And 
 he is confirmed in this opinion, by feveral documents, difcovered at Ratif- 
 bon ; where this family was known in the fifteenth century, being then efta- 
 bliflied in that town, or its environs. And the name of our Albert is found 
 in the regiftcrs, amongft the citizens of Ratillion, in the year 151 1; 
 where his artift, having palTed through all the civil offices, was at laft 
 made a member of the interior fenate, and architect to the town. He died 
 A. D. 1538, without ifTue. Some of his pictures are at Ratilbon ; and at 
 riie town-houfe is prefervcd a complete collection of his engravings. The 
 French call him Le petit 411'ert : that is, the little Albert, becaufe he 
 
 engraved* 
 
ALT [ 17 ] ALT 
 
 •engraved fmall prints only ; and for this reafon, he is ranked amongft thofr 
 artifts, diftinguifned by the name of little matters. 
 
 His meriv, as a painter, muft have been very confiderable, if the obferva- 
 tion of IM. Heineken bejuft, where he fays : " He applied himfeif more to 
 engraving than painting. But however, being the dijciple of Albert Durer, 
 end a rr.an of genius , his piSiures may be placed in the fame rank with thoje of 
 his mafler, being executed in the fame tajle." From the few pictures 1 have 
 feen of this artift, it would not be fair to form a decided judgment. It is 
 true, they feemed by no means to merit fo higli an eulogium. But furely the 
 prints of thofe two matters ought not to be fet in competition with each 
 other; for whatever merit we m.ay allow to Altdorfer, it certainlv cannot be 
 faid to equal that of A. Durer. Ncidier does it fo clearly appear, that he 
 was the difciple of A. Durer. His engravings, efpecially thofe on copper, 
 have much lefs the ftyle of that matter in the mechanical part of their execu- 
 tion, than might have been expefted, if he had really been his fcholar. But 
 this I fhall not infitt upon. It is certain, that his beft prints are thofe, which 
 he has cut in wood. He appears to have had a lively fancv, and facility of 
 invention. He defigned v/ith freedom, in the German ftyle, and executed 
 his defigns with great precifion. I fpeak now of his wooden cuts; and their 
 flight, {ketchy appearance hides, in a great meafure, thofe defedts, whicli 
 appear more vifibly, as he approaches nearer to neatnefs, and high finifhing, 
 becaufe a more determined outline is then required. For, in his engravings on 
 copper, we find the drawing, though fpirited,veryincorre6t ; the heads neither 
 beautiful nor expreffive, and the outlines of the other extremities exceedingly 
 defedtive. He marked his plates with two forts of monograms, though 
 little different from each other : fee both upon the plate at the end of die 
 volume. The fecond has been falfely attributed by fome to Aldegrever, not- 
 withftandjng the monogram of that matter is fo very difterent : but the ttyle 
 of the plates themfelves would be fufficient evidence to detedt the mittake ; 
 for Aldegrever, as an artift, doubtlefs was greatly fuperior to Altdorfer. 
 
 From the fpirited wooden cuts of this mafter, Hans or John Holbein is faid 
 to have drawn great affiftance. And this opinion feems to me to be well 
 grounded. For evident traces of the ftyle of Altdorfer, appear in the prints of 
 that inimitable artift, prodigioufly improved indeed, as well with refpect to the 
 fpirit and tafte of the defign, as to die excellency of the execution. 
 
 The number of his engravings on wood and copper amount atleaft to 170; of 
 courfe they cannot be all fuppofed to be equal in merit : it is requifite there- 
 fore to fee many of them, before a juft judgment can be formed of his ability. 
 
 I fliall only mention fome few of the engravings of this artift of both forts : 
 and firft thofe on wood. 
 
 "The fall and redemption of 'man, — forty very fmall upright prints. A 
 certain perfon, the initials of whofe name are G. L. F. having found fome of 
 thefe blocks, caufed what was deficient to be copied, to the number of 38, 
 and publilhed them at Zuric, A. D. 1604, with a defcription of each print in 
 verfe, and diis title, Alberti Bureri Nor ib erg. German. Icones facroe nunc 
 primum e tenebris in lucem edit^e ; which proves, in the firft place, the igno- 
 rance of the man, in attributing thefe prints to Albert Durer, notwithftanding 
 
 VOL. I. D they 
 
ALT [ i8 ] ALT 
 
 they have the mark of Altdorferj and his difingenuity, in declaring that time 
 to be the firft publication of them. 
 
 The rejtirrecfion of Chrift, a fmall upriglit plate dated 1 5 1 2, generally 
 efteemed one of his moft fpirited and bcfc prints. 
 
 The beautiful virgin of Ratijlon, from the image of the virgin, which was- 
 in the cathedral of that town, a fmall plate upright. This is printed in two 
 tints, or chiaro-fcuro, though tliere are fome few impreffions from the fingle 
 block, on which were engraved the outlines, without the half tint. 
 
 St. Jerom, kneeling before the crucifix, in a cavern, a fmall upright plate. 
 
 Anodier St. Jerom, a fmall upright plate: Thefe are two fpirited prints ; the 
 back ground of the latter is very romantic, and executed with great fpirit. 
 
 All tliefe have his monogram. 
 
 On copper: one of the earlieft I have feen, is. the head of an infant dated 
 1507. 
 
 An Adcm and Eve, a very fmall upright plate. 
 
 Several virgins, with the infant Cbriji, all fmall.. 
 
 A crucifixion, with feveral figures, a fmall upright plate.. 
 
 Another, with the Virgin Mary and St. John, the fame. 
 
 St. Jerort in his grotto, with an altar, in which ftands a crofs ; a book i& 
 open before it, and a tablet over it, on which is the monogram of Altdorfer. 
 
 Venus leaving the bath, a fmall upright plate. 
 
 A crouching Venus, tlie lame. Thefe two are copied from prints of M. Antonio 
 Ramondi, in a veiy neat ftyle, and the figures not badly proportioned, except 
 the extremities, v/hich are rather heavy. 
 
 A variety of other fubjecSts and jfg;«ri?i o/^^rcw and heroines, aiid many 
 ornamental plates for goklfmiths, &c. 
 
 To thefe may be added two etchings : 
 
 A fmall /G«i^''c/?/^, length-ways, executed with great freedom, elpecially the- 
 trees in the fore-ground, which are touched in a mafterly manner. 
 
 A cup or chalice, adorned with ornaments. , 
 
 ANDRE A L T O M O N T E. 
 
 Flouriflied, 1728. 
 
 What countrj'man this engraver was, I cannot learn ; but I find that he 
 •refided at Vienna, and was employed there by Prenner, to anifl him in engrav- 
 ing certain plates from the pictures in the Imperial gallery, publifhed- 1728. 
 
 W I I. L I x\ M A L T Z E N B A C K. 
 
 Flouriflied, 
 This engraver,, with William his fon, according to M. Heineken, lired 
 in the feventecnth century, and worked at Paris, amongft other places, 
 with Landry. After this, they refided at Strafburgh, where many of their 
 plates were publiflied by Gerard Altzenback, a printleller, and probably a re- 
 lation. Amongft others they engraved, 
 
 Tv.v^-" '-■'ii'-- •)? bihlefuljens, conjointly -with other mafters, 
 
 St. 
 
A M A [ 19 ] 'A •J'^I -1 
 
 Sf. Bridget kneeling hcfovco'm- Saviour, and the martyrdom of St. Mar- 
 garetta, both upright prints, from Touffaint. 
 
 The marriage of St. Catherine. Wilheh-n. Altzenback le June, Gerard 
 
 Altz. ex. 
 
 A fet o^flciver pieces from Touflaint and others, by W. Altz, and Fr. 
 
 Brun. 
 
 FRANCISCO AMATO. 
 
 Flourifhed, 
 
 An Italian painter. Some flight, fpirited etchings are attributed to him, 
 which are executed in the ftyle of Bifcanio : amongft others we have the fol- 
 lowing : ' ' , 
 
 St. Jofeph, feated, reading a book, accompanied by tlie infant Chrift, a fmail 
 upright plate, marked, Francifcus Amatus in. 
 
 St. Jercm, the fame. 
 
 The prjfdigal /cm, an upright plate, but no name. 
 
 CHRISTOPFIER AMBERGER. 
 Born, Died, 1550. 
 
 A native of Nuremberg, but he refided at Augiburg, where he died, 1550. 
 He w-as difciple to the famous Hans or John Holbein -, and he fucceeded fo 
 well in imitadng the Ilyle of his mafter, that many of his pictures have been 
 taken for Holbein's. He painted both hiftory and portraits ; in the latter of 
 which he is faid chiefly to have excelled. 
 
 Abbe MaroUes, and, after him, Florent le Comte mention Ainbergcr, as an 
 engraver, without fpecifying his w-orks ; and Bafan tells us, that he engraved 
 in wood feveral prints, from his own compofitions. 
 
 DOMENICO AMBROGI. 
 Flourifhed, 1653. 
 An Italian artift, who painted both hiflory and landfcape. He was the dif- 
 ciple of Brizio ; and for that reafon called Minghino del Brizio. In the 
 Abccedario he is fipoken of with great praife, and mentioned as an engraver ; 
 and Malvafia fays, that in the year 1653, he executed on wood fome prints in 
 chiaro-fcuro. Amongft others, engraved by him, is 
 
 A vjoman Jeated in a triumphal car, holding two flambeaux and a ferpentj 
 conduftedby Neptune. 
 
 FRANCESCO AMICI. 
 
 Flouriflied, 
 
 A modern engraver at Florence, who, according to M. Fleineken, em- 
 ployed himfelf in engraving fmall plates of devout fubjefts : fuch as, Chrijl 
 praying in the garden ; Chrtft before Pilate j the carrying the crojs ; and the 
 ento^nhing ofChrJji, &c. 
 
 D2 JACOPO 
 
AMI [ 20 ] A M M 
 
 JACOPO AMICONI. 
 Born, 1675. Died, 1758. 
 
 According to the befl: accounts, this artift was a native of Venice, where 
 he ftudied for fome years the art of painting, and afterwards went to Rome to 
 complete himfelf in his profeffion. He travelled into feveral countries of 
 Europe, and was much encouraged, efpecially at London, where he refided 
 fome time. He died at Madrid, A. D. 1758, being then employed by the 
 king of Spain. 
 
 His works, as an engraver, are very inconfiderable, becaufe he only followed 
 that art as an amufement ; but he is more remarkable for teaching it to 
 Jofeph Wagner, to whom it is no fmall credit, that Mr. Bartolozzi was for- 
 merly his pupil. 
 
 By Amiconi there is a fmall upright plate, reprefenting our Saviour ^ halT 
 figure, infcribed, Salvator inund':. 
 
 Jupiter and Calijiay a fmall plate length-ways Gi Giove di Cinihia, 6?<r. 
 
 And Zcphyrus and Flora, the fame, a Zefiro de eui, ^c. 
 
 CARL. G U S T A V. A B A M L I N G. 
 Born, 1651. Died, 1702. 
 This artift, who was a German, born at Nuremberg, a. d. 1651, wasapainter 
 and defigner, as well as an engraver. He learned the art of engraving from 
 Francis de Poilly, whofe ftyle he followed. But never nearly equalled his 
 mafter. He chiefly ejvcelled in portraits, (in which line he was much em- 
 ployed) many of which have great merit. He failed moft in hiftorical fubjefts. 
 His drawing of the naked figure was not correft, neither are his heads in thefe 
 plates ilifEciently exprcffive, or the other extremities well marked. The 
 effeft of the whole is cold and filvery, the draperies heavy, and the lights much 
 fatigued. However upon the whole, his works, which are very numerous, 
 are held in no fmall efteem by many colleftors. He was, according to Bafan, 
 engraver to the duke of Bavaria, and died, A.D. 1702^ 
 
 Amongft his porti-aits are, 
 
 Maximilian E^nanuel, prince elefliorial, from Thomas Macolinus, dated 
 1670, an oval, this is faid to be very fcarce. 
 
 Maximilian Emanuel, eleftor of Bavaria, from J. B. Champagne, a large 
 upright plate, this is efteemed as one of lils beft. 
 
 Amongft his hiftorical, I fhall mention only the following : 
 
 The hiftory of the Emperor Otho, from the tapeftries at the palace at 
 Munich, which were made after die paintings of Peter Candido -, engraved orr. 
 thirteen plates of different fizes. 
 
 The four Jeajons, from the fame tapeftries, by the fame mafter, &c. 
 
 J O S T or J O D O C U S AMMAN or A M M O N. 
 Born, 1539. Died, 1591. 
 M. Papillon obferving, that this artift had figned his name two different 
 ways, and that he fometimes added to it, of Zurich, where he was born ; at 
 other times, of Nuremberg, where he refided, has taken upon him confidently 
 
 to 
 
A M M [ 21 ] , A M M 
 
 to aflert, that there were two artlfts of this name, the one of Zurich ^ and the 
 other o{ Nureml/erg; pretending, that this opinion is perfectly eftablifhed by 
 the confiderable difference, which may be found between the works of the one 
 mafter and the other. But this argument is by no means decifive. For fup- 
 pofe, we fhould take thofe prints alone, where the artift has figned, of Ztirick, 
 we fhall find on examination, that they differ full as much from one 
 another, as thofe do, which are figned, of Nuremhcrg, from fuch as bear 
 the fignature of Zurich. And the fame obfei-vation will hold equally good, if we 
 examine thofe figned, of Nuremberg, alfo by themielves. For this reafon I 
 am readily inclined to agree with fuch other audiors, as have fuppofed, that 
 the prints figned both ways belong to the fame perfon. 
 
 Joft Amman "was born at Zurick in Switzerland, A.D. 1539, and died at 
 Nuremberg, where he refided, A. D. 1591, aged 52. He was a defigner,, 
 as well as an engraver ; for many of his compofitions were engraved by odier 
 artifts. He is ranked amongft the little mafter s, fo called from the diminu- 
 tivenefs of their works. 
 
 If patience and affiduity of themfelves could complete an artift, I know of 
 no one more likely to have attained to a fuperior degree of excellence than 
 Joft Amman. The muldtude of defigns which he made, and the nuir^ber of 
 plates which he engraved, are almoft incredible. But though a great genius 
 may be much improved by cultivation, yet it is equally certain, that neither 
 pains norftudy can create a great genius. I mean not, that this obfervation 
 ftiould detract from the merit of our artifl. Much merit he certainly polfeffed 
 as an engraver ; but not equal to what one might have expefled from the 
 labour he evidently muft have bellowed upon his profeiTion. He lived at a 
 time, when alinofl ever)' book, which made its appearance, was ornamented 
 with prints; and he was employed by moft of the great bookfellers ; efpecially 
 by the celebrated Feyeraband. 
 
 The engravings by Joft Amman, are chiefly upon wood. We have fome 
 alfo by him on copper ; but the laft are much inferior to the former. His 
 prints do not difcover any very great variety of invention. His figures are 
 well proportioned ; and in general not incorreft in the drawing. The hand 
 of the mafter appears in his defigns ; and animals, in particular, he touched 
 with great fpirit. His manner of engraving is neat and decided ; but if his 
 ftrokes are more regular than was ulual with the engravers on wood of his 
 time, it is to be feared, that as much as he gained,, by the pains he took with 
 this part of his execution, he loft in freedom and fpirit. ' 
 
 I fliall mention only the following of our artift's performance : 
 
 IlrtJvoTrA/as, omnium liberaiiitm mechanicarum et fedentarium artium. genera 
 tontitiens i^c. — Edit per Hoflman Schcperum, Francof. 1564. This work 
 confifts of the different tradefmen and artifts, reprefented in their reipec- 
 tive employments : and there are fome excellent figures amongft them. The 
 colledion amounts to 1 1 5 prints ; and it is faid, that Amman has given his 
 own portrait in that which reprefents the art of engraving. 
 
 The above edition is very fcarce. It was re-printed, A. D. 1574, and again- 
 1588^ in large oftavo. 
 
 Neuiirg- 
 
A ^I M [ 32 ] A N K 
 
 Ncnive Bihlifchi Figure)!, Franckfurt, 'per Jo. Amman von Ztirych, 1564, 
 ibid. 
 
 He alfo engraved on wood fome detached pieces; and on copper, the illuf- 
 .trtoiis li-omeu, begining at Eve, with this title, Eva die Gebererinn, on twelve 
 plates, Imall upright, figned, JoJ} Amman fee. Stefan Herman, exc. Thefe are 
 chiefly etched, and in a (light incorredl ftyle. 
 
 A let of figures cf warriors, 1590, fmall upright plates. T\\t four fea~ 
 Jons, and the four elements, fmall long plates, 1569; and two portraits, 
 ont oi Cajparis de Co /;^ho«, marked, Fecit Norimherg.^, Jofl Ammon Tigu- 
 rinis, i S7 3- See his marks on the plate at the end of the volume. 
 
 JOHN AMMAN. 
 Flouriflied, 1623. 
 According to M. Chrift, John Amman was not only an artift, but a book- 
 feller. He lived at Hanau in Germany, about the year 1640; and marked 
 his engraving in this manner, I. A. The fame letters, we are well aflured, 
 were alfo frequently ufed by Joft Amman. To this artift, amongft othw 
 things, is attributed a fet of fmall wooden cuts, reprefenting xhc pajficn cf our 
 Bleffed Saviour, executed greatly in the ftyle of Joft Amman. They are 
 very neat and fpirited, and poflcfs a confiderable fliare of merit. Thefe 
 prints were publifhed at Amfterdam with Latin verfes, a. d. 1623. 
 
 CLEMENT AMMON, 
 Flourifhed, 1651. 
 He was- fon-in-law to the famous Theodore de Biy ; and followed the 
 bufinefs of a bookfeller, as well as the profeffion of an engraver ; induced 
 thereto perhaps from the confcioufnefs of a want of fufficient abilities to fup- 
 port himfelf by the latter, independent of the former; for his engravings in 
 general, are very poor and ftiff, executed indeed in a laborious ftyle, copied 
 from the works of his father-in-law, but without tafte, and vaftly inferior to 
 them. Flis greateft work was the continuation of the colleftion of portraits, 
 firft publifhed by Theodore de Bn,'^, and afterwards by his fons, entitled, Biblio- 
 theca Calcographica, in fix volumes, quarto. To tliefe Clement added a 
 feventh, and an eighth volume; the firft of which was publifiied at Frankfort, 
 A. D. 1650, to which he puts, Sculpt ore Clemen. Ammon junior, Calcograp. 
 and to tlie laft, publiflied in the year 165a, Sculptore Clemente Aminonio 
 cbidcogr : Franc, to both is added. Imp. f oh, Ammon. 
 
 J O H A N N AMMON. 
 Flourifhed, 
 This artift, according to M. Heineken, was a native of Schaffhoufen. His 
 engravings, of which my author cites half a dozen, are portraits only ; amongft 
 which is one of John Locke, Phil, without any name of the painter. 
 
 ANKER VON Z W O L L. See Zwoll. 
 
 SIMON 
 
AND t 23 ] AND 
 
 SIMON RENARD DE ST. ANDRE. See Renard. 
 
 NICOLO DI ANDREA. 
 
 Flourifhed, 1578. 
 
 Of the life of this engraver I can find no account, M. Heineken informs 
 \is, that in the year 15785 he engraved at Conftantinople, xht portrait of the 
 ambaflador, Giles de NoailleSj Abbe de St. Amand. 
 
 ALESSANDRO DE ANDREA. 
 
 Born J Died, 17 11. 
 
 A native of Abriozzo, and the difciple of Solimene, who engraved a few 
 things for his amufement only. This article I have from M. Heineken ; bur. 
 have never feen any of his works. According to this author, he died in 17 1 1 . 
 
 JEROME ANDREA E. See Apsch. 
 
 T. ANDREAE. 
 Flouriflied, 
 
 An artift of no great merit, whofe name, to the beft of my recoIIeiSion, is 
 not mentioned by any author. There is a fmall upright etching by him ; it is 
 a fort of emhlematical /ubje5t, in which is reprefented a woman fallen down in 
 the front, and another wom.an Handing over her, who liolds a book in her hand,, 
 on which is written, Guilio Cejare opera. The defign is not amifs ; but the 
 execution is fo flight, that much of the original intention is loft. The heads 
 are but indifferent, and the other extremities veiy badly drawn. He figns 
 his na.Tie, T. Andreae inv.. et fee. 
 
 ANDREA A N D R E A N I. 
 Born, Died, 1623. 
 
 This juftly celebrated artift was a native of Mantua ; for which reafon he 
 has frequently added to his name or monogram, intagliat. mantuano ; 
 or elfe, in mantoua; which it feems has led fome haftily to miftake 
 him for Andrea Mantegna, an artift who lived nearly an hundred years before 
 Andreani. Others again call him Andreaffi ; whilft others have run into a 
 ftill grofter error, and confounded him with Altdorfer, a native of Switzerland, 
 under the name of the P^/zV, or little Albert : which appellation was given to 
 Altdorfer, on account of the fmallnefs of his engravings in general. This 
 laft miftake, it is likely, was occafioned by the great refemblance there i.5 
 between the monograms of the one and the other. 
 
 When our artift v/as born does nor appear lO clearly; but he died, a. d. 
 1623, at a very advanced age. Befidesthe prints which lie performed him.felf, 
 he procured a great many other engravings, the works of different m.afters, and 
 fold the impreflions, with his own name, often effacing the name of the true 
 artift, to fubfdtute his own with more fecurity. Thus, amoiigft others, we 
 
 find 
 
AND [2+3 AND 
 
 find tlie death of Ajax, a fmall plate length-ways, from Polydore, lias his 
 cypher with the date 1608, whereas the tirft imprcfTionsof that print bear the 
 name of 10. NIC. VICENT, who was really the engraver, witiiout the 
 cypher of Andreani, or the date. In the fame m.anner he has adopted fomc 
 of the engravings of Hugo da Carpi and Antonio da Trento, &c. This 
 difingenious artifice, altogether unworthy of him, renders it veiy difficult to 
 diftinguifh his works precifely; for, after all, it is moft likely, that many 
 prints are attributed to him, in which he had no concern. 
 
 Andieani engraved on wood only, in a peculiar ftyle, diftinguifhed by the 
 name of chiaro-Jcuro ; which is performed with two, three, or more blocks 
 of wood, according to the number of tints required, thefe are ftampcd upon 
 the paper one after another, fo as to produce the efFe6l of a wafhed drav/ing. 
 The invention of this fpecies of engraving was greatly prior to the aera of our 
 artift. Among his countrymen he had Hugo da Carpi and Antonio da Trento 
 for models; and, in the early part of his time, he feemsto have followed them 
 very clofely. But at length he carried tlie mechanical part of the work to a 
 far greater degree of perfeftion ; and we often find in his prints a correct and 
 determined outline. At times, he ufed only two blocks (as for fome 
 of his (lighter performances) but oftner three : one for the outline, and very 
 dark fhadows, the other two for two different tints. This number, I believe, 
 he never exceeded. His great merit, as an artift, is acknowledged by 
 all who are converfiint in prints. His drawing is excellent, executed with 
 great fpirit, and in a very mafterly ftyle. The heads of his figures, though 
 flight, are chara6teriilic and expreffive ; and he has difplayed great judgment 
 in the management of his various tints. Tn fiiort, his works are juftly con- 
 fidcred as admirable tranfcripts from the fketches of many of the greateft 
 painters. 
 
 Amongft his moft finiftied prints may be reckoned, ChTiJi departing from 
 Pihte, who is wafhing his hands : a large print, lengthways, on two blocks, 
 engraved from a bafs relief of Giovan. Bologna. On the fliield of one of 
 the foldiers is written, Gian. Bologna fcolps. Andrea Andriano lontagliatore. 
 Dedicated to Giovan. Baptijla Deti, a gentleman of Florence: without 
 date. 
 
 An e?)iMematical print, rcprefenting the Chriftian, after his fpiritual warfare 
 in the prefent life, received as vi6lorious into Heaven, and crowned by Chrift. 
 At the left corner is this mark, B. F. which fignifies the name of the painter, 
 Baptifta Franca of Venice. It has alfo the cypher of Andreani ; and the 
 date 16 10, with this infcription : Bonwrn certamen certavi, citrfmn conjtanmavi, 
 Fide-mjervavi, repofita efi mihi Corona Juftitite. Pauli Epift. ad Timo. cap. 
 IV. This print is of a middling fize, upright. Someof tlie impreflions are 
 with a dedication to Louis Gonzago. 
 
 To thefe may be added. 
 
 The Triumph of Julius dcfar, from Andrea Mantegna, the original 
 of which is at Hampton-Court. It is cut on ten blocks of wood, including 
 the tide, dated 1598. But it is very difficult to find all thefe pieces of the 
 fame colour or equally good impreffions, 
 
 I The 
 
AND [ 25 ] A N G 
 
 The entomhhig of C^rifl, from Rapliael da Reggio, a fmall upright plate, 
 half figures. »-' ■- : i' .' ' 'o'<^ ^ 
 
 The rape of the Sabiues, from a group, by the fculptor, Giovan, Bologna ; 
 three feveral views, dated 1583 and 1584. 
 
 Another print o{ thc/ame JubjeSi from a bafs-relief of the fame mafler, on 
 three blocks, dated 1585. 
 
 Variety of other prints equally excellent, from Raphael Urbin, Poli- 
 doro, Permigiano, &c. &c. The fcarceft of all his works is faid to be the 
 pavement of Sienna, after a drawing of Francefco Vanni, from Domenico 
 Beccafuni Sanefe. See the cyphers or monograms which Andriani often put 
 to his engravings, inftead of his name, on the plate at the end of die volume. 
 
 FRANCOIS ANDRIOT. 
 
 Flourifhed, 1672. 
 
 A French engraver, who worked both in France and Italy. We have leveral 
 prints hiflorical and others, from fome of the greateft painters, by this artifl. 
 He worked chiefly with the graver, in the ftyle of Francois de Poilly, but 
 without any powerful efFe^l. His drawing is fliff", and the extremities of 
 his figures in general, are rather heavy, 
 
 I fhall only notice the following : 
 
 The good Samaritan, a large print, length-ways, from Nicholas Poufin. 
 
 The incredulity ofThom.as, the fame, from Nicholas Le Sueur. 
 
 The portrait of John Everhard, Card. Nidard, from Jonas de la Bonde, 
 dated 1672. 
 
 And forne of the anatomical fiatues, publifhed at Rome byRofTi, 16 91. 
 
 JAMES ANDROUET DU CERCEAU. 
 
 Flouriflied, 1576. 
 
 This artifl was a Frenchman, and fome fay a native of Orleans. I have 
 feen a book in folio, entitled. Premier Volume de plus excellent Bajliments de 
 France, par Jacques -ylndfouet du Cerceau, Architeife a Paris, 1576. That is. 
 The firfl volume of the moft excellent Buildings in France, by James 
 Androuet du Cerceau, Architeft at Paris. The plates, which are faid to 
 be done by himfelf, are etched in a very flight coarfe ftyle, without any 
 tafte ; yet fufficiently correft perhaps for his purpofe. 
 
 MARCO ANGEL I. 
 
 FLouriflied, 
 
 According to Gandelline, this Angeli engraved fome grotcfque figures and 
 ornamients; if, fays M. FIcineken, the author has not, as I fear, mifiakcn the 
 name of fculptor fgr that of engraver. I have never fcen any print by this artifl. 
 
 N I C O L O ANGELI. 
 
 Flourifhed, 1635* 
 
 The difciple of Remigius Canta Gallina. He engraved, conjointly with 
 VOL. I. E his 
 
A N G [ 26 ] A N G 
 
 his mafter, the feftivals which were publifhed at Florence in the year 1635, 
 from the drawings of Giulio Parigi. 
 
 FILIPPO DI ANGEL I, called Napolitano. 
 Born, 1640. Died, i63o. 
 
 According to moft authors, this artift was born at Rome, A. D. 1640 ; 
 and the name of Napolitano was given him becaufehe was carried to Naples 
 by his father, whilft he was very young. To fome prints, engraved by him- 
 felf, he iignshis name, Theodor. Filippo de Liagnio Napol. from whence 
 fome have doubted \vhether he was not really a Neapolitan. But leaving this. 
 matter, which we have not fufficient light to clear up, we find he purfued his 
 ftudies as a painter with great luccefs, and returned to Rome, where he was 
 employed, and died in 1680, aged 40 years. As an engraver he is not fo well 
 known. However, we have etched by him a fet of thirteen fmall prints of 
 military habiliments, &c, which are marked with his name in the manner 
 fpecified above. 
 
 GIOVANNA BATISTA DE ANGELIS. 
 
 Flourifhed, 
 An Italian artift, who, according to Pafcoli, engraved fome plates in. 
 Italy i but we have no particular account of him or his works. 
 
 ANGELO ALBANASI. 
 Flourifhed,. 
 
 An artift by whom we have fome very pretty, fpirited etchings of ruins, 
 chiefly in and about Rome. From the appearance of tlie ft)'le of thefe 
 litde prints, I ftiould fuppofe he flouriftied at the begining of the prefenc 
 century. 
 
 PETER ANGELUS. 
 Flouriflied, 161 1. 
 
 An obfcure engraver, of whom I have met with no account. Amongftthe 
 colleftions of Mr. Bagford for a hiftory of printing, which arc in the Harle- 
 nian library at the Britifti Mufeum, I found an ornamental frontijpiect 
 to a folio volume of Lud. Tena's commentaries upon St. Paul's epift. to 
 the Hebrews, by this engraver. It confifts of fevcral figures, with tiie Tri- 
 nity rcprcfented at the top ; all rudely defigned and executed, entirely with 
 the graver, in a bad ftyle, without the leaft mark of tafte or judgment : 
 the drawing and efieft are equally indiff"erent. 
 
 PAUL ANGIERS. 
 Flouriftied, 1749. 
 What countryman this young artift was, I have not been able to learn. 
 The beft information I could meet with is, that he refided in London, and 
 
 was 
 
A N G [ 27 ] A N S 
 
 was inftrufted in the art of engraving by John Tinney. He never arrived ac 
 any great excellence. It feems he was chiefly employed in engraving 
 landfcapes, and alfo fmall plates for bookfellers. His landfcapes are etched in a 
 fliffht ftyle fufficiently neat, and with no great tafte. M. Heineken informs 
 us"^that he v/as only thirty years old when he died ; which was within thefe 
 few years. His heft print is faid to be landfcape entitled, Vue dc Trooli, 
 after Moucheron. I have before me a view of. Roman rnir.s, from Paul 
 Panini, a middling fized plate, length-ways, with figures. _ This print is very 
 neatlv engraved, but the figures are very indifferent. It is dated November 
 
 ANGLO IS. See Langlois. 
 
 BENJAMIN ANGLUS. 
 
 FlourilTied, 
 M. Heineken mentions this engraver, but without any account of him, 
 or the time when he lived ; and cites two emblematical fubjecfs- engraved by 
 him, one from Antonio Tempefta, the fecond moft probably from his own 
 defign, as he adds the word fecit to his own name. 
 
 PIETRO ANICHINI. 
 
 Flouriflied, 1655. 
 
 This was an Italian artift ; but we have no account of his life. Amongfl: 
 other plates, engraved by him, are the following : A fmall holy family in a 
 landfcape, length- ways, dated 1655. The Virgin is feated holding the infant 
 Chriftupon her knees, he is reading a fcroU, which St. John, who is kneeling, 
 prefents him. Th.& good Samaritan, zl^os.ivcidiW plate, length-ways j and the 
 portrait of Cofmus P. Etruriss, P. Anichinus fee. 
 
 ANSELME or ANSHELME. 
 Flourifhed, 1590. 
 
 Among thofe prints, the engravers of which are unknown, is a veiy fine one 
 of a middling fize upright, reprefenting//i?rfzJ(,'j and Omphale, from B. Spran- 
 ger. The fbyle of this engraving, feems to me to be a ftrong evidence, that 
 its author received his inftruttions in the fchool of Henry Goltzius ; and phe 
 manner of John MuUei-, a difcipleof this mafher, the moft refe.mbles it. There 
 is a fine impreffion of this curious print in tiie Britiih Mufeum, which I 
 examined very carefully. It is not equal to Muller, either in freedom or 
 correftnefs. Omphale is a back figure, entirely naked, excepting her right 
 fhoulder, over which is thrown a part of her robe. Fler hand is too large : 
 excufing this fault, the drawing and general proportion of the figures are 
 not amifs. The draperies are very neat ; yet the whole is flight, and the 
 lights are too much fcattered, which defl:roys the eff'efL But harmony was by 
 no means the chara6lerifl:ic of this sra of engraving. Inftead of a name fub- 
 joined to this print, we have a fingular fort of rebus: a capital A; and, be- 
 
 E 1 tween 
 
ANT [ 28 ] ANT 
 
 tween it and the v/ord fecit ^s. caique or helmet, v/hich is copied on the plate at- 
 the end of this volume. It is dated 1590. Profciror Chrifl gives us the fol- 
 lowing ingenious folution of this extraordinary mark : " C'eji vrai/emblable- 
 raent un «(?»;;;;^ Anfclme, ciui a 'voulii fe cacber Jons ce rebus ; comme Michel 
 Ange Anfelme, peintre de Sienur., fort connu en ce temps, & dont Vajari parte 
 avec clogeJ' To this M. Sellius the tranflator adds the following explanatory 
 note: " C<fque fignlfe en ^Hemand Helme, dont la Jig:'.re,jo!/tte au rej}, peut 
 former un KchwSy pour exprimer Anfelme cu Anflielme." In EngliHi thus: 
 " This artift very probably was named Anfelme, and chofe to conceal his 
 name under this rebus, like Michael Angela Anfelme, a painter of Sienna, well 
 known at that time, and of whom Vafari fpeaks with praifc. In the note is 
 added, " cafqu; fignifies in German ^f/;«f, the figure of which, joined with the 
 reft, may form the reliis, to exprejs the name Anfelme or Anfljelme." I have 
 thought that the fixft letter may be the initial of the artifts baptifmal name, 
 and tlien it m.ay be read A. Helme. 
 
 \Vhatever appearance of truth this conjefture may be allowed to bear, I 
 hope it v/ill be remembered, that I give it as a coiiietture only; and, I triift, I 
 Ihall ftand excufed for adding to my lift fuch names, as plaufibility at leaft will 
 admit, until fuch time as the true name ftiall be difcovered, or a more reafon- 
 able conjedlurc propofed: efpecially, as, on alloccafions of this fort, I fhall be 
 fcrupuloufly careful not to miflead the reader by giving tliat for fad, which ia 
 built on liippofition only. 
 
 SEBASTIAN ANTOINE.. 
 
 Flourifhcd, 1729. 
 
 Native, as it feems, of Nancy, the capital ofLorrain. But whetlier he 
 refided there entirely or not, I cannot difcover. It was diere he engraved the 
 portrait of R . P. Auguftin Calmet, in a large oval, A. D, 1729. The enter- 
 prije of Prometheus, from the cielings of Verfailles, painted by Mignard, was 
 alfo engraved by liim ; and the croivn of precious fiones, withwliich Louis XV. 
 was crowned, Oft. 25, 1722. He worked chiefly with the graver in a thin 
 feeble ftyle, widiout eff"e6l ; — he was alfo very deficient in the other rcquifites 
 of the art. 
 
 SILVIUS A N T O N I A N U S. 
 Flouriilied, 1567. 
 An engraver on v/ood,.who, according to Papillon, ornamented with cuts,, 
 a fmall book of fables by Gabriel Faerno, publifhed at Antwerp, entitled,. 
 Centum Fabul^e ex antiqiiis AuScribus dele5l<£, iS a Gabriele Faerno Cremonenft, 
 Carminibus explicitce. Antuerpia cxofficina Chrifloph. Plantini, 1567. To 
 each fable he has given a print, the whole of courfe amounting to an hundred; 
 all which, two or three excepted, are marked with a fort of cypher, compofed 
 of an A and an S ; which is copied on the plate of monograms, at the end of . 
 the volume : thcfe are the initials, adds my author, of the name of Sihius 
 Antonianus, the engraver of this work, v/hicli was dedicated to Cardinal 
 Charles Borromee who was canonized after his deadly 
 
 Upon- 
 
ANT [29 J APS 
 
 Upon what foundation Papillon inferted this name, I cannot difcover. M. 
 Chrilt takes notice of the fame cypher, and informs us, that it is to be 
 found on the prints of the emblem.s of Sambucus alfo ; and attributes it very 
 tilfely, in my opinion, to Abraham de Bruin of Antwerp. 
 
 PIETRO ANTONIO DE PITRI. 
 
 Flouriflied,. 
 This artift feems to have been an Italian, and perhaps refided at Rome : 
 but I have not met with any account of his Hfe. He engraved a frontijpiece 
 to z co\\.t&i\oi\oi altar-fiecesh^ IVIariotti, wiiichGio. Giacomi de Roffi, pub- 
 lifhed at Rome : it is from Ciro Ferri, a flight, fpirited etching, in a ftyle 
 fomething bordering upon that of Pietro Aquila. The drawing is good ; the 
 extremities are touched in a mafterly ftyle: it is infcribed Pietro Antonio de 
 Pitri, fculp. 
 
 MARC ANTONIO. See Raimondi. 
 
 ANTONIO DA TRENT O. See Trento, 
 
 CORNELIUS ANTONISZE. 
 
 Flouriflied, 1536. 
 
 This artift was a painter, and lived at Amfterdam ; where, about the year 
 1536, he engraved a fet of twelve prints on blocks of wood, reprefentino-^ 
 ancient Amftefdam, with the convents, churches, and other buildings. 
 
 G. A P P E L M A N S, 
 
 Flourifhed, 1671. 
 
 The bookfellers appear to have been the chief,, if not the only employers 
 of Applemans. We findthe ^or/r^Z/of T. Bartholinus to the o6lavo edition- 
 of his book of anatomy engraved by this artift, as were many of the anatomical 
 plates in the edition of 1674. They are all executed with the graver in a 
 neat, ftiff ftyle, the effeft of labour without genius. The portrait, which is the 
 beft, has-little to recommend it: however, it was again repeated by him for 
 Handius's coUeftion of eminent men. 
 
 C. A P E N S. 
 
 Flouriftied, 1673. 
 •He refided at Groningen in the Netherlands, about the year 1670, where he 
 engraved the ^or/r^z7 of Samuel IMarefius, Theol. in quarto, a. d. 1673. 
 
 JEROME ANDREAE APSCH. 
 Born, Died, 1556. 
 
 According to M. Fleinekcns this artift was a native of Nuremberg. He 
 
 engraved. 
 
A Q^U .[ 3° ] A Q^U 
 
 engraved on wood, and affiftcd Burckmayer in the "works Avhich tlie emperoj' 
 of Germany defigned to publifh. He died, it is faid. a. d. 1556. 
 
 C R I S T A F A N O DELL' A Q^U A, or A C QJJ A. 
 
 Flouriflicdj 1760. 
 
 His employnnent feems to have been chiefly for the bookfellers, as far as I 
 can judge from the prints I have feen of his. Many of them are in the archi- 
 teital line ; all executed with the graver, in a poor feeble fh-le, without effect, 
 he engraved, befides, the portrait of the prefent king of PrulTia. There is alfo' 
 a large upriglit plate by him, reprefenting 7nerit crooned by Apello, from 
 Andrea Sacchi, and fome other portraits and vignettes, &c. 
 
 FRANCESCO FARAONE A Q^U I L A. 
 
 Flouriflied, 1691 to 1722. 
 
 An engraver of fome eminence, born at Palerma; but he appears to 
 have refided chiefly at Rome, where it is likely he died. His engravings are 
 numerous, and many of them efl:eemed. We find from the fignatures upon 
 his plates, that he ufually made the drawings himfelf, from die pictures he 
 intended to engrave. How far he fucceedcd in them, the pi-ints will in fome 
 meafure fliow. In merit he certainly never equalled Pietro Aquila, who re- 
 fided at Rome at the fame time, and very probably was not only of the fame 
 famihj but alfo a near relation. His fl^de of engraving in general is rather 
 neater than diat of Pietro ; but in drawing and expreffion he fell far (hort of 
 him. Thofe plates, which he executed with the graver only, are cold and 
 filvery, without effeft, and by no means fo meritorious as thofe, where he 
 called in the afliftance of the point. Some of the fliatues, which he engraved 
 for Rofli, are of this ftamp. 
 
 Among the fets of prints, which he publiflied, T fhall notice the following : 
 
 L.e Camcre Sepolchrali di Livia Augufta, confifl:ing of forty plates, after the 
 defigns of P. Ghezzi. 
 
 Piclur^ Raphaelis Urhinat'ts, &c. or the piftures of Raphael Urbin, which 
 are in the hall and chambers of the Vatican, engraved on twenty-two large 
 plates, including the title, dated 1722. 
 
 Amongft his fingle prints, 
 
 A Repofe, where the Virgin, with the infant Chrifl:, is reprefented feated 
 under a tree, and Jofeph appears working in the back-ground, a large upright 
 plate, engraved at Rome, a. d. i 691, from Correggio. 
 
 The Jirj} Mofaic Arch in tlie church of St. Peter of the Vatican, a large 
 plate, engraved a. d. 1696, from Ciro Ferri. 
 
 The rape of Eur op a ^ a large plate, length-ways, dated February i, 1699; 
 from Paolo de Mattei. 
 
 He alio engraved from Albano, Pietro de Cortona, Bernini, Annib. Car- 
 racci, Giovanni Lanfranchi, Carlo Maratti, Nicholas Poufin, and feveral other 
 mafters. 
 
 PIETRO 
 
A Q^U [ 31 ] A Q^U 
 
 P I E T R O A QU I L A. 
 
 Flourifhed, i5y6. 
 
 The prevalence of genius in this artift was fuch, that even the gloomy 
 retirennents of an ecclefiaftic life could not overcome it. He was born at 
 Palerma, and in his youth applied himfelf to fuch ftudies, as might capaci- 
 tate him for the reception of orders, which he actually took upon him, and 
 fupportcd his charafter in a very refpeftable manner. His ftudies and retire- 
 ments, however, prevented not his following the dilates of his natural 
 inclination, with refpeft to the arts. How much he loved them may be 
 eafily conceived, by tlie rapid progrefs he made in them. As a defigner and 
 a painter, he ftands high in die eftimation of the curious. But as an engraver, 
 he is more generally, and perhaps more defervedly known. He dr^w admj- 
 rably, and etched in a bold, free manner, finifhing his lights, and harmonifing. 
 his fhadows with fmall dots. His greateft faults are want of effedt from 
 fcattering his lights, and what by the artift is called ;»^«:K^r in his drawing.. 
 The firft gives a confufed, flat appearance to his prints ; and the laft prefents 
 us with a ftyle of his own, inftead of that of the painter from v/hich he copied ; 
 and thefe faults feem never more glaring, than in his prints from 
 Raphael ; where the chafte fimplicity of outline, the great chara6teriftic of 
 that wonderful mafter, is loft in the manner of Pietro Aquila. It is from 
 Annib. Carracci, that he has beft fucceeded; and his prints from that artift> 
 will, I truft-, be always held in great eftimation. In all his works he difcovers 
 much fcientific knowledge. The extremities of his figures, in general, are well 
 proportioned, the heads expreflive, and the charafters finely preferved ; but. 
 his outlines are often too hard upon the lights; and the folds of the drapery too 
 ftrongly marked. It appears from his prints, the drawings of which he made 
 from the original pidlures, that he refided chiefly, if not entirely, at Rome, 
 where perhaps he alfo died. 
 
 He engraved feveral plates from his own compofition : amongft the reft. 
 
 An adoration of the wife men, a large, upright plate. 
 
 Two of the flight into Egypt : the one a fmall, the other a large plate, both- 
 length-ways. 
 
 Diana and A£ieon, a fmall plate, length-ways. 
 
 Many from other mafters : amongft tlie reft, 
 
 Lnagines veteris ac novi 'Tejianienti, commonly called Raphael' s Bible, from 
 the pictures of that mafter in the Vatican. This work confifts of fifty-five 
 plates, of which Cjefar Fantetti drew and engraved the fii-ft thirty-fix plates, 
 and the fortieth. 
 
 'The battle of Conjiantine, on four large plates, from the pidture of Julio 
 Romano, which he painted from the defigns of Raphael. 
 
 Concilium Deoriim, commonly called Lanfranc's Gallery, reprefenting the 
 aflembly of the Gods, on nine plates, including the title, a large folio, from 
 Giovan. Lanfranchi. 
 
 The battle of Arhella, where Alexander overcame Darius king of Perfia, 
 from Pietro de Cortona, a large print on two plates. 
 
 the rape of the Sahines, a large plate, length-ways, from the fame. 
 
 Thejacrifceof Polyxana, the famcj from the fam.e. 
 
 rhe 
 
A CL U [ 32 J A R D 
 
 -^he triumph of Bacchus, the faine^ from the fame. 
 Sacrifice to Diana, by Xenophon, on four large plates, from the fame. 
 Mojesjlr iking the Rock, from Giro Ferri, a large plate, length-ways. 
 The triumphs of the Chriftian religion, an emblematical print, from Carlo 
 Maratti, a large plate. 
 
 The death of the Virgin, a large plate, length-ways, from Giovan. Morandi. 
 
 A QJJ I L A. See Arent Van Halen. 
 
 TOBIAS A Q^U I L A N U S. 
 
 Flourifhed, 1570. 
 
 I find no account of this artift. He engraved an uprigiit plate of the Cru- 
 cifixion, dated 1570. 
 
 HORATIUS DE SANCTIS AQUILANUS. See Sanctis. 
 
 P O M P E O A QJJ I L A N O, or D E L L' A QJJ I L A. 
 
 Flourifhed, 1550, to 1570. 
 
 A Neapolitan painter, born in the town of Abruzzo. He is fpoken of in 
 the Abecedario as an artift of great merit. It is alfo faid, that he engraved ; 
 and to him is attributed, the lower part of a dejcentfrom the crofs, from a com- 
 pofition of his own; the whole of which was afterwards engraved by Horatius 
 de Sanifbis, a. d. 1572. Florent Le Comte mentions feven prints, of this 
 artift, without fpecifying, whether they were engraved by him or not. 
 
 LEONARDO DELL' ARC A. 
 
 Flouriflied, 
 
 Engraved, according to the Abbe de Miirolles, fome plates of ornaments 
 And grotefque figures. 
 
 JAMES M A C A R D E L L. 
 Born, Died, 1765. 
 
 The works of tliis excellent artift are too well known, and too much 
 efteemcd, to need any eulogium here. Bafan calls him " ore of the befi en- 
 gravers in mezzotinto, that England ever produced." Whether he has 
 been ilirpaffed or not by our more modern artifts, I ftiall leave entirely to the 
 judgment of my readers. It is generally faid, that he was an Irifhman by 
 birth. I have heard indeed (though not by fuificient warrant to affert it for 
 faft) that he was born in England, but of Irilh parents. Hovvever this may 
 be, he refid-d chiefly in London, and died June 2, 1765. 
 
 Tlie far greater part of his works are portraits, and many of them from the 
 moft celebrated painters of his time. I dijnk it is generally remarked, that 
 he fucceeded beft in his engravings from Vandyke. Two moft beautiful 
 prints from this mafter are, 
 
 I " Time 
 
A R D [ 33 ] A R N 
 
 Time clipping the zvings of Love, an upright plate j and Mojes in the ark of. 
 iulniflies, found by Pharoah's daughter, the lame. 
 
 Add the following portraits alfo from Vandyke : 
 
 George duke of Buckingham and his brother, whole lengths, from the pi'ilure 
 at Kenfington, dated 1754. 
 
 Rachel, countefs of Southampton, feated in the clouds, whole length, upright, 
 dated 1758, 
 
 I fhall alfo -take notice of the following : namely, 
 
 ■St. Francis, a mod beautiful print, whole length, from Morillls. 
 
 St. Jerotn, the fame. 
 
 The portrait of Rubens with his wife and child, from a pidlure painted by 
 Rubens himfelf. 
 
 The tribute -money, from Rembrandt, a very fine print. 
 
 Daniel Lock, from Hogarth. 
 
 Mr. Garrickand Mrs. Gibber, in the charafters of Jafficr and Belvidera, in 
 Venice Preferred, a large plate, length-ways, from ZofFany. 
 
 The countefs of IFaldegrave, from Sir Jolhua Reynolds. 
 
 SANTES DE ARDUINIS. 
 
 Flouriflied, 15 15. 
 He is alfo called Ardulno de Bologna; and, according to Gandellini, was 
 both a painter, and an engraver on wood ; but his prints are not fpecified. 
 
 ANT. JOSEPH D'ARGEN V ILLE. See Dezaillier. 
 
 JONAS ARNOLD, or ARNOUL. 
 
 Flourifhcd, 
 
 A painter and engraver of hiftor)' and portraits. He worked, amongfi: 
 other places, at Nuremberg, at Ulm, and at Paris. He drew the portraits 
 and fgures for Sigifmond Van Bircken, Spiegel der Ehren, or Mirrour of Ho- 
 nour, which were engraved by Philip Kilian. Among his own engravings 
 are, 
 
 Louis le Grand, feated upon his throne, whole length, a large upright plate, 
 from Antoine Dieu. 
 
 Louis Dauphin, whole length, the fame, and from the fame painter. 
 
 JOHN ARNOLD. 
 
 Flourifhed, 
 
 An engraver of no great merit, by whom, among other things, is a fmall 
 plate oi Daniel in the lion's den, from Fr. Xav. Palco. 
 
 N. A R N O U L T. 
 
 Flouriflied, 1684. 
 
 A French engraver, who refided at Paris, and acquired fome reputation by his . 
 VOL. I. F portraits 
 
A R N [ 3+ ] ASP 
 
 portraits a la mode, of the perfonages at court. Of this kind are a fet o'ifix 
 figures \x\ folio, publifhed in the years 1673 and 1674; alfo the portrait of 
 Madame la marquis d'Angeau at her toilet, with many othefs, all engraved ia 
 a poor, coarfe manner, without any tafte. 
 
 BALTHASAR ARNOULLET. 
 Flourilhed, 
 
 Papillon informs us, tliat there is in the coUeftion of the King of France, a 
 large print, length-ways, of the /otevz o/Po/VzVrj, engraved, as it fliould feem,. 
 on wood, by Balthafar ArnouUet oH Lions,, with the privilege of his royal 
 majejly for fix years. 
 
 A R R E. 
 
 Flouriflied, 
 A Swedifii artifl, by whom we have the portraii of Thorftan Ruden, Epis, 
 de Liukoping, in the form of a medallion. 
 
 COSMAS DAMAN ASAM. 
 Born, Died, 1739. 
 
 A native of Bavaria ; he went to Rome to purfue his ftudies as a painter,. 
 and fucceeded both in hiftory and portraits. After which he refided at Mu- 
 nich, where he died, a. d. 1739. On the plates, to which he engraved his 
 name, it is infcribed Cojmus Afam ; he is alfo called Cojme Damien Afam,, 
 and Go/mond Daniel Afam. We have by him. 
 
 An altar-piece, reprefenting a Franciican before the Virgin Mary, who 
 appears in the air, furrounded by Angels : a large, upright plate. 
 
 Another large altar-piece, like the former in fize,, where Jofeph is prefent- 
 ing a book to abifliop : both from his own.defigns. 
 
 A S N E, See Michael Lasne.. 
 
 J O H N A S' N E R. 
 Born, Died, 1748. 
 
 He was born at Vienna, and inftruiSled in the art of Engravmg by Dietel.. 
 However, he never produced any very meritorious work, being chiefly employ- 
 ed on devotional fubjefts. He died at Vienna, where he refuled, a. d. 1748, 
 
 AMICO ASPERTIN I. 
 Born, 1474. Died, 1552. 
 Native of Bologna, and the difciple of Francefco Francia. Mafini pre- 
 tends, that he alfo engraved on copper, without fpecifying his works. The 
 invention, if not the engraving, of a large upright plate, reprefenting thtjacri- 
 fice of Cain, is attributed to him : a Itrange grotefque defign* Above we fee 
 the Angel driving our lirfl: parents out of Paradife : wlUlIl nearer to the 
 
 front 
 
ASP [ 35 J ASS 
 
 front is an altar with an offering. Below, on the Icfc fide of the print, h 
 Adam lying upon the groiuid, with an axe by his fide; and oppofite to him 
 Evefeated holding a fcepter. In the middle Cain appears holding a mirror and 
 near to him a tree, at the foot of which is reprefented the ferpent. The en- 
 graving is very indifferent, and the drawing worfc. I Ihould miich rather fup- 
 pofe it to have been done by one of the inferior fcholars of Marc Antonio. 
 
 FRANTZ ASPRUCK. 
 Flourifiied, 
 
 Was born at Bruflfels. From a great refemblance, difcovered in the works 
 of this artift, witli thole of Spranger, ibme have been led to conclude, that he:; 
 was the difciple of that mafter. He feems chiefly to have emploved himfelf 
 in painting figures : many of which have been engraved by different mailers. 
 He alfo fometimes amufed himfelf with the graver j and his ufual mark was 
 F. A. the initials of his name. By him we have. 
 
 Four archatigels, half figures, on four fmall plates : namely, Michael, 
 Gabriel, Raphael, and Uriel. 
 
 Love and Anteros, halfligures, a fmall plate, marked with his name, Frantz 
 Afpruck, B. fecit. 
 
 JOHN W A L T H E R VAN A S S E N. 
 Flourifhed, 15 14. 
 
 Among the early prints on wood, we find few fuperior to thofe attri- 
 buted to this mafter. They are very boldly cut, with great fpirit, and Ihow 
 a vaft fertility of invention. However, when he has attempted to exprefs the 
 naked parts of the figure, he has by no means fucceeded fo well, as in the 
 ^xpreffion of his heads, and the variety of characters he has given them. His 
 mark, which is very fingular, is copied on die plate of monograms, at the end 
 of the volume, The reader will readily fee the difficult)', which attends the 
 explication of it. However, as it is thus decyphered by M. Chrift, and lean by 
 no means find a better folution, I have therefore willingly avoided all unnecef- 
 fary difpute, by giving it as I found it, A fmall upright print by this artift, 
 reprefcnting an armed figure on hor/eback, infcribed St. Hadrianum, has alfo 
 written upon it, ' Amftelodamus, in ^Edibus Donardi Petri ad figne Caftri 
 Angelici :' from which we may reafonably conclude, he refided at that time at 
 Amfterdam ; but whether he was a native of that city or not, I cannot take 
 upon me to fay. We have befides by him, a fet of prints on wood, in circles 
 about nine inches diameter, reprcfenting the life and fajfion of cur blejfed 
 Redeemer, dated 15 14. That which re^rt^tnt^ Chrijl praying in the garden 
 is particularly excellent. 
 
 Some very fpirited procejfmts-, &c. 
 
 ADRIAN ASSCHOONEBECK. 
 Flourifhed, 
 A Dutch engraver, by whom we have fome ilight, incorre^ etchings, pub- 
 
 F 2 lifhed 
 
A U B [ 36 ] A U B 
 
 lidTied in Holland the latter end of the laft century, rcprefenting the flight of 
 king James of England: with a defcription of each plate. Thefe etchings are 
 of a middling fize, length-ways. 
 
 JOHN A U B E R T.. 
 
 Flourifhed, 1700. 
 
 This engraver v;as a native of France, and mentioned by M, Heineken as. 
 an architect. As an engraver he is much better known, at leaft, I believe in 
 England. His prints in general, are little m.ore than etchings, very flight, and 
 without cfFcifl. Befides academy figures from Edme.. Boucherdon, he engraved, 
 among a variety of other things, a book of ftudies for drawing, from Raphael 
 and other great mafters, after the drawings of Boucherdon,. Add to thefe the. 
 portrait of Giilot, an upright ovaL 
 
 MICHAEL AUBERT, 
 Born, Died, 1740. 
 
 This aitift, as well- as the former, was a Frenchman, and perhaps of the fame- 
 family. He refided at Paris, and died, a. d. 1740. He was much employed 
 in engraving portraits ; but we have many other fubjefts by his hand. His 
 manner was flight and freej and in his beft hiftorical fubjefts, he feems to have 
 had an eye to the prints of G. Audran. 
 
 Amongft his portraits I fhall only notice the following :■ 
 
 Louis the Dauphin of France en horfebacli, an upright plate from Le Sueur. 
 
 Louis XV. alfo on horfeback, the fame. 
 
 Mars and Venus, bound by Love, middling fize, upright plate, from Paolo- 
 Veronefe, for the Crozat colleftion. 
 
 Mars difarmed by Venus, of die iame fize, from the fame mafter and foE 
 the fame coUeftion. 
 
 Laban Jeekingfor his gods, and the reconciliation between Jacob and EJau^ 
 two middling fized upright prints, from Stephen Jeaurat. 
 
 l!he brazen ferment, from Rubens ; and many others from various nnafters.. 
 
 A U B R I E R. 
 
 Flourilhed, 
 
 A name, as M. Heineken informs us, found upon the portrait of Csefar 
 Bargio, duke of Valentinois. 
 
 ABRAHAM AUBRY. 
 Flourilhed, 1650. 
 A native of Oppenhcim ; about the year 1650, he refided at Strafbourg,, 
 where he followed the employment of a printfeller. As an engraver, he pof- 
 fefled fo little merit, that his works are not worth recording. 
 
 The twelve months, from Sandrart, eleven of which are engraved by Abra- 
 ham Aubry, are among his beft plates : the twelfdi, tlie niontli of May, is by 
 F. Brun. 
 
 PETER 
 
"A U B I 37 '] A U D 
 
 PETER AUBRY. 
 
 Flouriflied, 
 An engraver and printfeller, a native of Oppenheim, and probably of die 
 fame family with the preceding artift, was alfo eftabliflied at Strafburgh, where 
 lie traded very largely ; efpecially in portraits, of which we have a great 
 number engraved by him, or under his diredion. But they are fo very indif- 
 ferent, as not to merit a ieparate lift. Profcflbr Chriit attributes to this 
 engraver, thofe prints, marked P. A. but I muft differ from him in this 
 inftance ; for all the prints I have feen thus m^arked, are in a ftyle as much, 
 fuperior as it is different from that of Peter Aubiy. 
 
 JOHN PHILIP AUBRY- 
 
 Flouriflied, 
 
 An Engraver and printfeller at Franckfort, of the fame family with the pre- 
 ceding, who alfo engraved a prodigious number of prints, fome of them being 
 poru-aits, as well for the bookfellers as for his own coUeftions; but by no- 
 means fuperior to the former in merit. 
 
 ROBERT VAN AUDE N-A E R D. 
 Born, 1663. Died, 1743. 
 
 From the town of Oudenord, or, as. the French often write it, Audenaerde,. 
 of which his father was a native, our artift is faid to have taken his name.. 
 He himfclf was born at Ghent, a. d. 1663, and very early in life applied 
 hiirrfelf to painting. He ftudied under Mierhop Van Cleef, and fevcral other 
 maftersj and going to Rome, was received by Carlo Maratti, into 
 his academy. As a painter he is fpoken of with great praife. It is fufficient, 
 in the prefent work, to confider him as an engraver only. But his ftudies in 
 the art of engraving were interrupted in their beginning, by the followino- 
 unexpefted. incident. He frequently ufed to amufe himfelf at his lei- 
 fure, with the point ; and being plealed, as it ftiould feem, with a fkctch of 
 his mafter, reprefenting the marriage of f he Virgin, he etched a plate from it. 
 The imprefllons being circulated abroad. Carlo Maratti accidentally fav/ one 
 of them in a print Ihop ; and by enquiry foon difcovered. its author.. 
 Auden-aerd felt feverely the effeds of his refentment, which he carried to 
 fuch an height, that he forbid him to approach his fchool, declaring he would 
 never fee his face again. However, after fome time had pafled, his friends, 
 made known to Maratti, how very forrowful the young man was for his offence ; 
 and by their intercelTion, and his promifing never to publilh any thing again 
 from his piftures without his confent, the fault was excufed; and the pupil was 
 again received by his mafter, who encouraged him to purfue the art of 
 engraving with "affiduity; which he accordingly did, and made fuch great 
 progrefs, that Maratti was extremely plealed with his performances, and em- 
 ployed him aftei-wards to engrave many of his beft pictures. 
 
 After refiding a long rime at Rome, he returned to his own country, where 
 he died, a. d. 1743» His prints have not always the name atfuU length 5 but 
 
 af;cT. 
 
A U D t 38 ] A U D 
 
 after an R he fubftituted a cypher, compofcd of an A and a V, adding the 
 word Gandenfis, that is, of Ghent, the name of the town where he was born. 
 See the cypher on the plate, at the end of the volume. 
 
 'I'he plates, which were done by this artift, entirely with tlie graver are not 
 equal, in my opinion, to thofe, where he alfo ufed the point : they are cold, 
 and deftitute of effeft, and often, from his great folicitude to avoid an outline, 
 his draperies appear heavy, and want fliarpnefs in the folds. The fame hca- 
 vinefs appears alfo in his heads and other extremities, and all the naked parts 
 of the figure in general ; as I think, will readily be allowed on examination of 
 that print, which reprefents the affumpiicn of the Virgin, from Carlo Maratti, 
 a middling fized, upright plate, with this infcription, ^'.afi aurora covjurgens • 
 which, if compared with the (light etching of Hagar and JJIjmael, from the 
 fame mafter, I think the fpirit of the latter will well repay the want of that 
 neatnefs, which is found in the former. He certainly polTefled great know- 
 ledge of the human figure; and his drawing is feldom incorrefl, unlefs it may 
 be thought, that the extremities are fometimes rather large. 
 
 Among his beft prints are generally ranked the few which follow : 
 
 The birth of the Virgin, a large upright plate, arched at the top, from Anni- 
 bal Carracci. 
 
 The death of the Virgin, a large plate, length-ways, from Carlo Maratti. 
 
 The martyrdom of St. Blaze, a large upright plate, from the fame mafter. 
 
 Saint Phillippe Neri, a middling fized upright plate, from the fame. 
 
 Apollo and Daphne, a large print, length-ways, on two plates, from the 
 fiime. 
 
 Among his other works, which are from a variety of mafters, there are fome 
 portraits, and alfo three etchings from Domenichino, which are very flight 
 and indifferent, 
 
 CLAUDE AUD R A N". 
 Born, 1592. Died, 1677. 
 The firfl: of the celebrated family of the Audrans, mentioned as an 
 artift. He was the fon of Louis Audran, an officer belonging to tlie wolf- 
 hunters, in the reign of Henry the Fourth of France. Claude Audran was 
 born at Paris, a. d. 1592, but I think he did not take up the graver till rather 
 late in life; and we have very few tilings done by him. He never made any 
 great progrels in the art; fothat his prints are held in little or no cilimation. 
 Yet though he acquired no great reputation by his own works, it was nofmall 
 honor to him to be the father of three great artifls, Germain, Claude, and 
 Girard ; the laft of which has immortalized the name of the family for ever. 
 Claude Audran retired from Paris to Lyons, where he refided, and died a. d. 
 1677, 
 
 CARL or KARL A U D R A N. 
 Bom, 1594. Died, 1674. 
 It is generally believed, that this eminent artift was the brother of Claude 
 Audran, mentioned in tlic preceding article j btit otiiers have afierted, that he 
 
 wa! 
 
A U D I 39 ] A U D 
 
 was coufin-german to him only. It is, liowever, univerfaily agreed, that he 
 was born at Paris, a. d. 1594. In his infancy he difcovered much tafte, and 
 a great difpofition for the arts ; and to perfeft himfclf in "engraving, which he 
 appears to have been chiefly fond of, he went to Rome, where he produced 
 feveral prints, that did him great honour ; at his return, he adopted that fpc- 
 cies of engraving, which is perfornied with the graver only. 
 
 What mafter he ftudied under at Rome, cannot eafily be determined. The 
 flyle he adopted is very Hke that of Cornelius Bloem.artj but fcill neater ; per- 
 haps the prints of I^ucas Kilian and of the Sadelers may have laid the firft foun- 
 dation which he built upon. A print I havenov/ before me by him, namely, an. 
 emblematical Jubjen, wherein is reprefented a prince, leatcd upon a throne, 
 furrounded by a variety of figures, from Alex V'ajanus, has much of Kilian's 
 manner. 
 
 On his return to his own country, he fettled at Paris, where he died. a. d.. 
 1674, v/ithout having ever been married. The Abbe Marolles, who always 
 fpeaks of this artifl with great praife, attributes i jjo prints to him : amongll 
 which, the annunciation, a middling fized plate, upright, from Annabale Car- 
 racci ; and the ajfumftion, in a circle, from Domenichino, are the raoft. 
 efteemed. 
 
 In the early part of his life he marked his prints with C, or the name of 
 Carl, till his brother Claude publifhed fome plates with the initial only 
 of his baptifmal name; v/hen, for difdnftion fake, he ufed the letter K, or 
 wrote his name Karl, with the K inftead of the C. Befides thofe prints already 
 mentioned, I fliall notice the following: 
 
 ^ large emblematical print, length-ways, from Pietro de Cortona. 
 
 A holy family .iWixh. St. Catherine, accompanied by many Angels, a middling 
 fized plate, length-ways, from James StcUa. 
 
 Another hcly family, where the Virgin is taking an apple, which St. John 
 prefents to her ; and St, Catherine, who is reprefented kneeling before her,, 
 is raifing the infant Chrift, with this infcription beneath : Ofculetur me, &c. 
 
 A dead Chrift, with two Angels, from J. ab Ach. This print is evidently 
 copied after that, which Raphael Sadeler engraved from die fame painter. It 
 has much of the manner of Sadeler, and is of the fame fize. 
 
 Several ^portraits, and a vaft variety of other fubjeds, from tlie greatcft 
 mafters. 
 
 GERMAIN AUDRAN.. 
 Born, 1 63 1, Died, 17 10. 
 This artift was the eldeft fon of Claude, mentioned in the precedino- article 
 but one, and was born at Lyons, where his parents then refided. Not con- 
 tent with the inftruftions of his father, he went to Paris, and perfeded himfelf 
 under his uncle Carl ; fo that, upon his return to Lyons, he publifhed feveral 
 prints, which did great honour to his graver. His merit was ig fuch efcima- 
 tion, that he was made a member of the academy eftablifhed in that town 
 and chofen a profcffor. He died atLyons, a. d. 1710, and left behind him 
 four Ions, all artifts: namely, Claude, Benoiil, John, and Louis- 
 
 Among^ 
 
A U D [ 40 ] A U D 
 
 Among liis works are Ibmc portraits, and a variety of other fubjeftSj afi 
 tr>} anient Sy "oajes, cielings, &c. &c. 
 A large book ofvre'tvs hi Italy. 
 A book of fix lattdfcapes from Gal'pre. 
 
 CLAUDE A U D R A N. 
 
 Born, 1639. Died, 1684. 
 
 The fecond of this name, and fecond fon to Claude, of whom we have 
 ipoken in a former page. He was born at Lyons, a. d. 1639, and went to 
 Rome to ftudy painting, he fucceeded fo well, that, at his return, he 
 was employed by Le Brun, to aflill him in the battles of Alexander, which 
 he was then painting for the king of France. Pie was received into the Royal 
 Academy in the year 1675, and died unmarried at Paris, a. d. 1684. His 
 virtues, fays Abbe Fontenai, were as praife-worthy as his talents were great. 
 M. Heineken mentions this artift as an engraver, without fpecifying any of 
 Jiis works in this line. I own I have never feen any. 
 
 GIRARD, or GERARD AUDRAN. 
 Born, 1640. Died, 1703. i„'' 
 
 The mod celebrated artift of the whole family of the Audrans. He was 
 the third fon of Claude Audran, mentioned in a preceding article, and 
 born at Lyons, a. d. 1640. He learned from his father the firft principles of 
 defign and engraving : following the example of his brother, he left Lyons, 
 and went to Paris, where his genius foon began to manifeft itfelf j and his 
 reputation brought him to the knowledge of Le Brun, who employed him to 
 engrave the battle of Conftantine, and the triumph of that emperor ; and for 
 thefe works he obtained apartments at the Gobelins. At Rome, where he 
 went for improvement, he is faidto have ftudied under Carlo Maratti, in order 
 to perfeft himfelf in drawing j and in that city, where he refided tliree years, 
 he engraved feveral fine plates ; among the reft, the portrait of pope Cle- 
 ment the Ninth. M. Colbert, a great encourager of the arts, was fo ftruck 
 with the beauty of Audran's works, whilft he refided at Rome, that he per- 
 fuaded Louis XIV. to recall him. On his return, he applied himfelf 
 afliduoufly to engraving ; and was appointed engraver to tiie king, from whom 
 he received great encouragement. In the year 168 1, he was named counfel- 
 lor of the Royal Academy; and died at Paris, a. d. 1703. He had been 
 married ; but left no male ifllie behind him. 
 
 I ov/n my great partiality for this mafter ; and tliat partiality may by fome 
 of my readers be thought to lead me too far, wlien I fay, that I confider him 
 as tlie greatelt engraver, without any exception, that ever exiftcd in the 
 hiftorical line. However, I am not fingular in this opinion; and, I 
 believe, a careful examination of the battles cf Alexander alone, engraved 
 by this artift (which are faid to be equal, if not liiperior to the pictures) will 
 juftify tlie aflertion. His great excellency, above that of any other engraver, 
 was, that though he drew admirably himfelf, yet he contracted no manner of 
 his own; but tranfcribed (if I may be allowed the exprelTion) on copper 
 
 fimi^ly. 
 
A U D [ 41 J A U D 
 
 fimply, with great truth and fpirit, the flyle of the mafter, whofe piftures he 
 copied. On viewing his prints you lofe fight of die engraver, and naturally 
 fay, it is Le Brun, it is Poufin, it is Mignard, or it is Le Sueur, &c. as 
 you turn to the prints, which he engraved from thofe mafters. Let any one 
 examine the battles above-mentioned from Le Brun, the frejervatim of 
 the young Pyrrhus from Nicholas Poufin, the Peji from Mignard, and 
 the martyrdom of St. Laurence from Le Sueur, and then judge candidly of 
 the truth of this obfervation. Thus much, I hope, the reader will excufe my 
 faying ; and I thought it the more indifpenfably neceflary in this place, 
 becaufe a modern writer on prints has profefl"ed to give, in one of the chap- 
 ters of his ejfay, the charaiflers of the *' moft noted mafters'" in the art of en- 
 graving; and begins that chapter with the " tnafiers inhiflcry." But neither 
 in it, nor in any other part of the book, has he once mentioned the name of 
 Girard Audran. Indeed Francois de Poilly, Girard Edelink, Robert Nan- 
 teuil, Lucas Vofterman, and very many other great artifis, are in the 
 Tame predicamicnt. From what caufe fo unwarranted an omifTion could pro- 
 ceed, I am at a lofs to account. The engravings of all the artifts above-men- 
 tioned are too well known, one would think, to efcape the obfervation of an 
 author, pretending to criticife on the works of the " moft noted mafters ■" and 
 if they were known to him, and he has not thought them worthy a place in 
 his lift, it muft argue, that his want of judgment on the one fide muft be as 
 great as his careleffhefs on the other. It is a harfh unpleafing tafk 
 to cenfure others ; for me efpecially, becaufe I am thoroughly fenfible 
 of the numberlefs errors, which muft unavoidably be found in the 
 courfe of a work, like this of mine, and for which I fliall ftand in 
 great need of the excufe, and indulgence of my readers. Yet in juftice 
 to the public in general, and this excellent artift in particular, I thought it a 
 duty incumbent on me to fpeak as I have done. To what has been faid, I 
 beg leave to add the following judicious obfervations, on the works of Girard 
 Audran, by the Abbe Fontenai, taken chiefly from M. Bafan, with fome 
 fmall variation and additions. " This fublime artift, far from conceiving, 
 *' that a fervile arrajigement of ftrokes, and the too frequently cold and 
 " afFefted clearnefs of the graver, were the great eflentials of hiftorical 
 *' engraving, gave worth to his works by a bold mixture of free hatchings 
 " and dots, placed together apparently without order, but with an inimitable 
 " degree of tafte ; and has left to pofterity moft admirable examples of the 
 '' ftyle, in which grand compofitions ought to be treated. His greateft works, 
 *' which have not a very flatt'cring appearance to tlie ignorant eye, are the 
 *' admiration of true connoiflTeurs, and perfons of fine tafte. He acquired 
 " the moft profound knowledge of the ai't by the conftant attention and 
 " ftudy, which he beftowed upon the fcience of defign, and the frequent 
 *' ufe he m.ade of painting from nature. This great man always knew how 
 <' to penetrate into the genius of the painter he copied from ; often improved 
 " upon, and fometimes even furpafted him." Thus far my author, who then 
 adds the followng afiertion : " without exception, he was the moft cele- 
 " brated engraver, that ever exifted in the hiftorical line. We have, fays he, 
 _" feveral fubjeds. which he engraved from his own defigns, diat manifefted 
 VOL. I. G " as 
 
A U D [ 42 ] A U D 
 
 " as much tafte, as charafter and facility. Butj in the battles of Alexander, 
 " he fiirpaired even the expeftations of Le Brun himfelf." 
 
 One may, I think, very properly divide the works of Girard Audran into 
 four clafTes, without mentioning his portraits. 
 
 First, his flight prints or etchings ; to which very little or nothing was 
 done with the graver. Among thefe I Ihall rank the following : 
 
 The deluge, a large plate, lengthways, from La Fage. 
 
 The pajfage through the Red Sea, the fame, from the fame. 
 
 T\\Q combat of Jojhua agahi^ the Jmalekites r mth other plates, {rom die fame. 
 
 The empire tf Flora, from Poufin, a middling fized plate, length-ways. 
 
 An admirable large print on two plates, length-ways, from die fame 
 mafter, reprefenting the prejervation ofPyrrhus. 
 
 A deling from Lc Brun, wherein is reprefented x!cvt four Jeajons of the 
 year, dedicated to Louis XIV. engraved on five plates, which being parted 
 together form an oval, &c. 
 
 Secondly, thofe more finiflied, but in a rough, bold manner. For 
 example : 
 
 Taul and Barnabas at Lyftra^ from the tapeftries in the Vatican, a large 
 print, length-ways. 
 
 Coriolanus appeafed by bis family, on two plates, a large print, length-ways, 
 from Poufin. 
 
 Time Jupp or ting Truth, from the fame, an admirable print. The impreflions,. 
 without the piece of drapery over the figure of truth, are very rare. 
 
 The cielingof the chapel de Saulx, reprefenting the aceomplifiment of the 
 eld law by the new one: engraved 168 1, from Le Brun, on fix large 
 plates, which join together. Great fpirit, charadler, expreffion,. and beau- 
 tiful drawing, are wonderfully united in this print. 
 
 The death of St. Francis, from Annibale Carracci, a lai^e upright plate. 
 
 Thirdly, thofe in his moft finifhed manner: as. 
 
 The battles of Alexander, three very large prints, length-ways, each con- 
 fiding of four plates, which join together, from Le Brun : namely. 
 
 The pajfage of the Granicus. 
 
 The battle of Arbela. 
 
 Par us brought to Alexander, after his defeat. 
 
 To this fet are added two more large prints, length-ways, on two plates 
 each, from Le Brun ; as follow : 
 
 Alexander entering the tent of Darius, 
 
 And the triumphal entry of Alexander into Babylon. The former was 
 engraved by Girard Edelink, and the latter by Girard Audran. It is to be 
 remarked of all thefe plates, that thofe impreflions are generally moft efteemed, 
 which have the name of Goyton, the printer, marked upon them. 
 
 The Peji, from Peter Mignard, a large plate, lengthways. In the firfV 
 imprefl;ions, the figure indie clovids is Juno with her peacock behind her j in 
 the latter, the peacock is obliterated, and the wings of an Angel are added ta 
 the figure. 
 
 The haptijm of the Pharifees, on two large plates, length- ways, from N. Poufin. 
 
 The martyrdom cf St. Laurence, from Eullache le Sueur, a large plate, 
 upright, arched at the top. 
 
 The 
 
A U D [ 43 ] A U D 
 
 Tlie martyrdom of St. Jgnes, from Dominichino, of the fame fize, arid 
 lifually made a companion for the former. 
 
 And Fourthly, fuch as he did with the graver only : thefe are but few 
 and by no means equal in merit, as I think, with the former. I fliall 
 only mention, 
 
 jEneasJaving his father An-chifes from the plunder of Troy, after Domi- 
 nichino. 
 
 A fmall {oYio frmtifpiece to the effigies of the popes and cardinals, publiflied 
 at Rome, from Cyro Ferri. 
 
 His works, of which thefe are only a few, are ver}' numerous, from Raphael 
 Stella, Ant. Coypel, and many other mailers. 
 
 BENOIT AUDRAN. 
 Born, 1661. Died, 1721. k--' 
 
 He was the fecond fon of Germain Audran, born at Lyons, a. d. 1661, 
 where he learned the firft principles of defign and engraving, under the in- 
 ftruftion of his father. But foon after going to Paris, his uncle Girard Aud- 
 ran took him under his tuition, and Benoit fo greatly profited by his inftruc- 
 tions, that though he never equalled the fublime ftyle of his tuitor, yet he 
 acquired, and defervedly too, great reputation. Nay, the Abbe Fontenai 
 adds this eulogium : " we admire in his works a Ihare of thofe beauties, 
 *' which we find in the engravings of the illuftrious Girard." He was honoured 
 witli the appellation of the king's engraver, and received the royal penfion. 
 He was made an academician, and admitted into the council, a. d. 1715. 
 he died unmarried at Louzouer, where he had an eftate, a, d. 1721. 
 
 His manner was founded upon the bold, clear ftyle of his uncle. His out- 
 lines were firm and determined; his drawing correft ; the heads, of his figures, 
 are in general, very exprefTivei and the other extremities well marked. His 
 works, when compared with thofe of his uncle, appear to want that mellownefs 
 and harmony, which are fo confpicuous in the latter ; they are more dry ; and 
 the round dots, with which he finifhes his fielh upon the lights, are often too 
 predominant. In his moft finifhed plates, we find the mechanical part of the 
 engraving extremely neat, and managed with great tafte and judgment. 
 Among his neateft prints may be reckoned that, which reprefents 
 
 Alexander fick^ drinking from the cup, which his phyfician prefents liim : a 
 circular plate, fromLe Sueur. 
 
 I fhall alfo notice the following : 
 
 Mofes defending the daughters of JethrOy engraved by him, conjointly with 
 his brother John; a large plate, length-ways, from Le Brun. 
 
 The efpoufals of Mofes, companion to the formers from the fame, 
 
 The brazen ferpent, a large plate length- ways, from the fame. 
 
 The elevation of the <:rofs, the fame, from the fame. 
 
 The f even facraments , copied from thofe of Pefne, feven large plates, length- 
 ways, from N. Poufin. 
 
 Two fine plates from Rubens, engraved for the colleflion, from the 
 Luxembourg gallery. 
 
 Chrifi with Martha end Mary, a large plate, length-ways, from Euftache 
 Le Sueur. 
 
 G i St. 
 
A U D [ 44 1 A U D 
 
 St. Paul preaching at Athens, the fame, from the fame. 
 Several excellent ^or/raZ/jj and a variety of other fine plates, from differen!; 
 mailers. 
 
 JOHN AUDRAN. 
 BorOj 1667. Died, 1756, «--^ 
 
 The third fon of Germain Audran; was alio born at Lyons, a. d. 1667 ; 
 and, after having received inftruclions from his father, went to Paris, to per- 
 fect hi mfelf in the art of engraving, under his uncle Girard Audi-an. At the 
 age of twenty years, the genius of this great artift begun to dilplay itfelf in a 
 furprifing manner; and his future fuccefs was fuch, that, a. d. 1707, he 
 obtained the title of engraver to the king, and had a penfion allowed him by 
 his majefty, with apartments in the Gobelins ; and the following year he was 
 made a member of the Royal Academy. He was eighty years of age, before 
 he quitted the graver ; and near ninety, when he died at his apartments, 
 affigned him by the king. He left three Ions behind him; one of which 
 was alfo an engraver, as we fhall fee below. 
 
 The mod mafterly and beft prints of this artift, in my opinion, are thofe, 
 which are not fo pleafing to tlie eye at firft fight. In thefe the etching con- 
 ftitdtes a great part ; and he has finifhed them in a bold, rough ftyle. The 
 fcientific liand of the m after appears in them on examination. The drawing 
 of the human figure, where it is ftiown, is correft. The heads are exprel^ 
 five,, and finely finifhed ; the other extremities well marked. He has not, 
 however, equalled his uncle. He wants that harmony in the efFedt ; his lights 
 are too much and too equally covered; and there is not fufficient difference 
 between the ftyle, in which he has engraved his back grounds, and his dra- 
 peries. This obfervation refers to a fine print by him of Athaliah, and fuch 
 as he engraved in that ftyle. 
 
 At other times he fcems almoft to have quitted the point, and fubfti- 
 tuted the graver. But here, I think Iij; has not fo well fucceeded. The 
 effedl is cold and filvery. See, for example, the Andromache from Silveftre. 
 One of his beft finifhed prints, in this neat ftyle. Items to me to be Cupid 
 and P/yche, from Ant. Coypel. 
 
 The following prints, among a large number of others by this mafter, 
 are ufually much efteemed : 
 
 Mojes Javed by Pharoah's daughter a large plate length-ways, from Ant. 
 Coypel. 
 
 Athaliah rending her cloaths, on dif covering the king in the Temple ; a large 
 plate, length-ways, from the fame mafter. 
 
 Efther before Ahajuerus, a large plate length-ways, from the fame mafter. 
 tjCupidand P/yche, a middling fized print, length-ways, from the fame. 
 
 Thii prejsntation of Chrijl in the Temple, a large plate, length-ways, from 
 Mich. Corneille, a mafterly performance. 
 
 The miraculous draught offjjjes, from Jouvcnet, and its companion, the 
 refurreHicn of Lazarus, from the fame mafter, both large plates, length-ways. 
 
 Duchange added to thefe plates two more : Tiie merchandi/ers driven from 
 
 she 
 
A U D [ 45 ] A U D 
 
 the Temple hy oar Saviour, and Chrift's repaji •with Simon the Tharijee : both 
 of the fame fize as the former, and from the fame mafter. 
 
 Three plates from Rubens, in the coUedion engraved from the Luxem- 
 bourg gallery, painted by that mafter. 
 
 The battles of Alexander, copied fmaller from die large prints, engraved 
 by Girard Audran from the piftures of Le Brun. 
 
 Mojes defending the daughters of Jetbro, from the fame mafter, engraved 
 conjointly with his brother Benoit. This plate and its companion, MoJes 
 efpoufing the daughter of Jethro, were copied fmaller by this artift, afTifted 
 by Bernard Picart, the Roman. 
 
 Themiracleofthefive /o«i'fi,a large plate, length-ways, from Claude Audran. 
 
 Chrifl healing the fick and lame, a large plate length-ways, from Ant. 
 Dieu. 
 
 Chrift carrying the crofs, a very large plate, length-ways, from the fame. 
 
 Andromache interceding for herfon, a large plate, length- ways, from Louis 
 Silveftre. 
 
 St. Scholaflic, a large plate, upright, arched at top, from John Reftout. 
 
 St. Benoit, the fame, from the fame. 
 
 Many good portraits, and oihtrfine prints, from various mafters. 
 
 LOUIS AUDRAN. 
 Born, 1670. Died, 1712. 
 
 The laft fon of Germain Audran, born at Lyons, a, d. 1670 ; from whence 
 he went to Paris, after the example of his brothers, to complete his ftudics 
 in the fchool of his uncle Girard. He died fuddenly at Paris, a. d. 17 12, 
 aged 42, before he had produced any great number of prints by his own 
 hand. He affifted, it is prefumed, his brothers in then- more extenfive 
 works. Among the moft efteemed prints by this artift, are the following : 
 
 T]\tfeven aH's of mercy., on {t\tn middling fized plates, length-ways, 
 from Sebaftian Bourdon. , 
 
 The cadavre or corps, from R. A. Houaffe, a middling fized platCj 
 length-ways. 
 
 BENOITAUDRAN. 
 
 Flouriftied, 1735. 
 
 This Benoit, the fecond of that name, an engraver, was the fbn of John 
 Audran, and nephew to the former Benoit j and was alio eftabliflied at 
 Paris. He engraved but a few plates. It is neceflary, how- 
 ever, to be careful not to confound him with his uncle. But a little 
 attention will eafily prevent this miftake ; for the fecond Benoit is vaftly 
 inferior to the firft, in point- of merit. 
 
 We have (ome itw portraits by this artift; and among other plates, the 
 def cent from the crofs, from a picture of Poufin. 
 
 The ages and elements, from Lancret,. engraved conjointly with Defplaces 
 and Nicholas Tardieu. 
 
 . J. VAN 
 
 I 
 
AVE I 46] AVE 
 
 J. V A N D E R A V E E L E. 
 
 Flourifhed, 1698. 
 The name of an obfcure artift, affixed to the frontif piece of the nineteenth 
 volume, in folio, of the work, entitled, Thejaiirus Antlj. Rom. publifhed by- 
 Peter Vander Aa, 1698. It is executed entirely with the graver, in a ftyle, 
 that refiefts but little honour on the artift. 
 
 JOHN VAN DER AVELEN. 
 Flourifhed, 1696. 
 ADutch engraver, who lived in the latterpart of the laft, and the beginning 
 of the prefent century. He was chiefly employed by the bookfellers. He 
 made a large etching q^ floipping. He alfo etched a large view, length- 
 ways, of the Orangerie de Sorguliet ; and feveral of the plates for Lilii Giraldi 
 opera, LugJ.Bat. 1696, in folio, are by this engraver. Alfo t\\c cabinet of 
 the fine arts, copied from that which was publillied at Paris by Perault. 
 
 JOSEPH A V E L I N E. 
 Born, 1638. Died, 1690. 
 An obfcure engraver, who feems to have worked for die bookfellers only. 
 His name is cited by M. Heineken, without any reference to his works. 
 
 ANTONY AVELINE. 
 Born, 1662. Died, 1712. t 
 
 A Frenchman by birth, and fettled at Paris, where he died, a. d. 17 12, 
 aged 50. His engravings are chiefly landfcapes and views; which he alfo 
 defigned himfelf, or drew from nature, and executed in a neat pleafing ftyle. 
 
 I Ihall notice, 
 
 A fet of twelve landfcapes, middling fized plates, length-ways, from his 
 own defigns. 
 
 Another fet of fix landfcapes, the fame. 
 
 A fet of views of Paris, the fame. 
 
 A fet of views of different towns in France. 
 
 A fet of views of different towns in Europe, &c. 
 
 PETER AVELINE. 
 Born, 17 1 1. Died, 1762.- 
 This artift was a Frenchman ; but the place of his birth has not been 
 noticed by any author I have met with. Perhaps he was born at Paris ; and 
 moft likely was of the fame family with Antony Aveline, mentioned in the 
 preceding article. According to M. Heineken, he was inftrufled in the art 
 of engraving in the fchool of the Poillys, and died at Paris, a. d. 176a, 
 aged 5 1 . He defigned, as well as engraved ; and his general ftyle appears 
 to have been founded upon the neater manner of John Baptifta de Poilly. 
 His drawing of the human figure was rather mannered than correft ; and his 
 extremities often appear to be much neglcded. His prints, for the moft 
 
 part. 
 
AVE [ 47 ] AVI 
 
 part, are not highly finiflied ; but we frequently find in them a ckarnefs of 
 efFed, which is very agreeable. 
 
 We have a prodigious number of plates, engraved by this artift, which one 
 does not fo much wonder at, feeing how flightly they are finifhed in 
 general. 
 
 He engraved a few plates from his own defigns ; the reft are from a 
 variety of matters, as well ancient as modern. I Ihall mention the following : 
 
 The death of Seneca, from Luca Giordano, a large plate, length-ways, 
 after a pifture by that mafter in the gallery at Drefden. ■' 'v.v.'. 
 
 Noah preparing to enter the ark, and its companion, the departure df Jacob, 
 two large plates, length-ways, from the pidures of J. Ben. Caftiglione, which 
 are in the Drefden gallery. 
 
 A large land/cape, length- ways, with figures and cattle, from Berghem. 
 
 The birth of Bacchus, and the rape of Europa, its companion, two large 
 plates, length-ways, from Francois Boucher. 
 
 Folly, a middling fized plate, length-ways, from a defign of Cornelius 
 Viflcher ; in which he has attempted, and not unhappily, the ftyle of that 
 mafter's engraving. 
 
 A fet of Academy figures, from Boucherdon. Afet of boys in groups, from 
 Boucher. Soim portraits, &c. 
 
 LEON A V E N. See Dave.v. 
 
 JOHN GOTTFRIED AVERBACH. 
 Born, 1687. Died, 1743. 
 This artift was painter to the emperor Charles the Sixth, and was born at 
 Mulhaufen, a. d. 1687. He refided at Vienna, where he died 1743, aged 
 56. As an engraver, he is cited by M. Heineken, who mentions a print 
 wherein he has introduced his own portrait, and in which he is reprefented 
 painting that of his wife, which is engraved by himfelf. 
 
 AUGUSTIN VENETIAN. See Musis. 
 
 GASPER ABAVIBUS. 
 Flouriftied, 1560 to 1580, 
 
 This engraver appears to have been a native of Padua ; becaufe he fomc- 
 times fubfcribes his prints, Gajper Patavinus. When he was born does nor 
 appear; but I am inclined to think, he ftudied under George GhifTi Mantu- 
 anus, many of whofe prints he profefledly copied, and whofe manner in them 
 he entirely adopted. But though he polfeffed Ibme degree of merit, he 
 never nearly equalled that excellent artift. He often figned his prints with a 
 curious monogram, compofed of the letters, which form the word Ga/par. 
 It is given on the plate at the end of the volume. At other times, he put 
 Gafpar only, or G. A. P. F. and fometimes Gafper Oflello Padovano j 
 and his prints are dated from 1560 to 1580. 
 
 a I ftiall 
 
 I 
 
AVI [ 48 ] A V O 
 
 I fliall firft take notice of a few of his prints, copied from George Ghifli. 
 
 The lajl /upper, which that artifl: engraved from Lamb. Lombard ; of the 
 fame fize, or nearly, with the original print, marked GAS. P. F. 1564. 
 
 Venus and Adonis-^ and its companion, a youth carrying his miflrejs upon his 
 flooulders ; two middling fized upright plates, with the cypher above men- 
 tioned, dated 1563, from Lucas Pennis. 
 
 Venus bathing., from the fame painter, marked on a tablet, GASP. F, 
 dated 1564. 
 
 'The Mount Tarnaffus, a large plate, lengtli-ways, from the fame painter. 
 Thefe are chiefly the contrary v^ay, from the originals. Other prints of his 
 are, 
 
 The zvoman taken in adultry, a middling fized plate, length-ways, marked 
 Gafpero Ofello Padovano/. from an uncertain mafter. 
 
 The fcourging of our blejfed Saviour, a large upriglit plate, Gafpar ab Avi- 
 bus Citadelenfis fecit. 
 
 But his cliief work appears to have been the large folio volume, in five 
 parts, containing the portraits of the emperors, archdukes, princes, &c. of 
 die Auftrian family. Each portrait is a whole length figure ; and the plates 
 are embellifhed with ornamental borders. Here he has changed his manner; 
 and fomething more of the ftyle of the Sadelers appears in it. The figures 
 are very neat, but ftifl-", yet well proportioned, and poflefs much merit. He 
 figns himfelf Gafpar Patavinus incifor, 1569, and at the bottom he has alfo 
 added the word Citadelenfis to his name. 
 
 CiESAR AB AVIBUS. 
 
 Is cited by M. Heineken, as an engraver and a native of Padua ; and 
 it is faid, that he alfo figned himfelf Caefar Patavinus. But, 1 own, I muft 
 doubt die exiftence of fuch an artifl, and thole very portraits of the Auftrian 
 family, which Florent Le Comte has attributed to this engraver, belong evi- 
 dently to Gafper ab Avibus, mentioned in the preceding article. Others, 
 depending upon the afTertion of Le Comte, have been led into the fame error. 
 
 The CHEVALIER AVICE. 
 
 Flourilhed, 1655. 
 
 A lover of the afts, who lived at Paris, and, for his amufement, made fomc 
 
 flight, fpirited, but incorreft etchings, from Nicholas Poufin and others. 
 
 Among thefe the adoration cf the Magi, a middling fized plate length-ways, 
 
 from Poufin, is much efteemed. 
 
 PETER VANDEN AVONT. 
 Flourilhed, 1645. 
 
 He was a native of Antwerp, and a painter of figures and landfcapes. He 
 engraved fome few plates, and fold the engravings of other artifts whom he 
 employed. Among thofe, which he performed himfelf, are the following: 
 three Madonas, and a Magdalen afcending to Heaven ; but from his pidures 
 ^ greajt many plates were engraved by various mafters, 
 ■ " ' I N I C II O- 
 
A U R [ 49 ] A Z E 
 
 NICHOLAS AUROUX. 
 
 Flourifhedj 1650. 
 According to M. Heineken, this engraver was a native of Lyons ; but iie 
 "worked alfo at Turin, chiefly, I fiippofe, for the bookfellers. The plates I have 
 feen by him are executed with the graver, and in a very indifferent manner. 
 The above-mentioned author fpeaks of four J>ort}-aits by him, and a Virgin, 
 feated, holding the infant Chrift, and St. John kiffing his feet, in folio, 
 infcribed Sanfta Maria Mater, &c. publifhed at Lyons ; and the fronti/piece 
 to the fecond volume of Daniel Sennertus is by him, dated 16 co. 
 
 C. A U T G U E R S. 
 
 Flourifhed, 1623. 
 
 An obfcure engraver, who feems only to have worked for the bookfellers, 
 ■and probably refided at Lyons ; for I have feen fome few frontifpieces 
 engraved by him for books, which were there publifhed, and one of them is 
 dated i6it,' His works are by no means eftimable. 
 
 A U T R E A U. 
 
 Flouriflied, 
 
 - An engraver o^ portraits, as it fhould feem, by whom we have the princefi 
 Hefle Homberg 
 
 D* 
 
 A U V R A Y. 
 
 Flouriilied, 1760. 
 
 - An engraver of little eminence ; according to M. Heineken, he was in- 
 flrufted in the art of engraving at Paris, and refided at Bafile, and produced 
 fome few portraits of French comedians. 
 
 JOHN AZELT. 
 
 Flourifhed, 
 
 He alfo figned his name Azeld or Atzueld, and according to M. Heine- 
 ken, refided at Nuremberg. He feems to have confined himfelf entirely to 
 portraits j and in that line he never rofe higher tlian mediocrity. Amongft 
 his works are the following. 
 
 The emperor Jojephy from A, Hanneman. 
 
 George Frederick prince of Waldetk. 
 
 A fet of portraits, of the kings of Spain, of Hungary, of Bohemia, and 
 of Denmark. 
 
 And many of thofe plates in Freherl 'Theatrum Viroruin Eruditione clarorufn. 
 
 i 
 
 VOL. I. , H FRAN- 
 
BAB [50 J BA^ 
 
 I 
 
 B. 
 
 FRANCIS DE BABY LONE. 
 
 Flourillied, 
 
 This name, according to M. Chrift, has by feme authors been attributed t» 
 an artift called thtmajler of the caduceus, becaufe he conftantly marked his en- 
 gravings with a caduceus, withotrt any name or initial letters. He doubts how- 
 ever, the authority upon which this afiertion is grounded. And indeed, in a 
 variety of other cafes, where we have not only marks, but even initials, I fear 
 iuft as much muft be given upon conjefture, as in the prefent. Witli this 
 caution, I have ventured to place the engravings of this mafter, which are too 
 fingular to be omitted, under this name. Thofe authors muft certainly be very 
 greatly deceived, who have called him Ilrael Martin, and confidered him as a 
 very ancient engraver ; adding further, that Albert Durer, Lucas Van Leyden, 
 and Aldergrcver,were his difciples. Judging, from a careful examination of the 
 flyle of his prints, I iuppofe that he flouriflied about die middle of the fixteenth 
 century. His manner of engraving appears to be quite original. He exe- 
 cuted ail his plates (at leaft all thofe that I have fcen) widi the graver, in a flight 
 manner, with fine ftrokes, and not much crofled. His drawing of the naked 
 figure is generally very defedtive, efpecially the extremities, which are Con- 
 tinually too large,, and very poorly marked. His heads are neither charac- 
 teriftic nor expreffive ; and his drapeiy is divided into a prodigious number 
 of fmall folds, like cords, which have a difagreeable effeft. But the fingu- 
 larity of his prints gives them a confequence, they would never otherwife have 
 obtained. Among others are the following : 
 
 A fmall upright plate, reprefenting Afollo and Diana. 
 
 Another fmall upright plate, reprefenting three men bound. 
 
 A holy family, on a fmall fquare plate, half figures : the Virgin is leaning on 
 die ftump of a tree, and the head of Jofeph is feen towards the right hand of 
 the print. 
 
 Anot\\er holj family, z fmall plate, length-ways, where the Virgin is repre- 
 fented featcd at the foot of a tree; the child is (landing by her fide; Eliza- 
 tedi is fcated near him ; an angel is playing upon a mufical inftrumentj and 
 Jofeph appears at the right hand of the print. 
 
 The ivffe mens' offering, a fmall upright plate. 
 
 St. Jercni writing, and a crucifix before him, a fmall plate, length-ways. 
 
 Two fmall upright plates : one reprefenting a man carrying a boat 
 and the other, a woman ivilh a child in her arms. Jerom Hopfer has 
 engraved both thcfe figures on one plate, much larger, and decorated the head 
 of die woman with flars and a glory. 
 
 A 
 
BAG [ 5* ] BAD 
 
 A Jacrifice to Priafus (which is attributed to M. Antonio, becaufeit has 
 his tablet) is copied fmaller by this artitt, and the indecency, which appears 
 in die former plate, is here removed. It reprefents a woman {landing by the 
 altar, and anodier oppofite to her, holding an infant; and an old woman's head 
 appears in the back ground. 
 
 The marlc, which he conftantly putsto his engravings, is given on the plate 
 of monograms, at tlieend of the volume. 
 
 BACCIARELLI. 
 
 Flouriflied, 
 A modern engraver, chiefly, I believe, of portraits. There is by him a 
 portrait of Auguft. StaniQaus Poniatowfki, king of Poland. 
 
 E. BAG H. 
 
 Flourifned, 
 I have never feen any of this artift's performances: he is, however,- cited 
 for fome hiftorical pieces. 
 
 J. BACHELEY. 
 
 Flouriflied, 1760. 
 According to M. Bafan, this artift refided at Roan. He engraved feveral 
 landfcapes from different mailers. 
 
 LUDOLPH BACKHUYSEN. 
 
 Born, 1631. Died, 1709. 
 This great artift was born at Embden, a. d. 1631. His firft inftruflions in 
 painting he is faid to have received from Albert Van Everdingen; but he per- 
 fefled himfelf chiefly by his own oblervation of other mafters. His great 
 excellency confifted in painting fliipping, fea-pieces, and fea-ports ; and his 
 merit, in this line, is too generally known to require any repetition. He died 
 at Amfterdam, a. d. 1709, aged 78. As an engraver, we have a few little 
 etchings by him, views of the T^ a fmall arm of the fea near Amfterdam. 
 
 SISTO BADALOCCHIO. 
 
 Flouriflied, 1607. 
 This artift was born at Parma, a. d. 1581, according to Bafan; and died at 
 Rome A. D. 1647, aged 66. But what authority that writer had for his affer- 
 tion, I do not know. Other authors tell us, that he died young. He was the 
 difciple of Annibale Carracci, and made a very confiderable progrefs in his 
 profcflion as a painter. He alio amufed himfelf with the point; and we 
 have many etchings by him, in a flight, free, mafterly ftyle. They are gene- 
 rally more finifhed, thfin thofe of G.yido ; but the extremities are by no mearjs 
 fo finely drawn, 
 
 H 2 Amongft 
 
\ 
 
 BAD [ 53 ] B A £: 
 
 Amongft others are the following : 
 
 Raphaels bible, from the pidures of Raphael In the Vatican : fitiall plates,.' 
 lengthways, engraved conjointly with Lanfranchi. 
 
 The Gallery, which Annibale Carracci painted for cardinal Fernafc, en- 
 graved alfo conjointly with Lanfranchi, and dedicated to his maftcr, a. d. 1607. 
 
 A holy family, with St. John, a fmall upright plate, half figures only. 
 
 Several fpirited etchings from his own defigns, and fome from Correggio.. , 
 
 He ufuaUy marked his etchings, Sifto. B. F. 
 
 ALESSANDRO BADIALL 
 
 Born, 1626. Died, 1671. 
 
 This artift was a painter of confiderable eminence, born at Bologna, a. d.. 
 1626. He was the difciple of Flaminio Toro, and died a. d. 1671, aged 45. 
 He amufed himfelf with etching, which he performed in a very flight ftyle. 
 Among others, there are by him the following pieces : 
 
 Chrift taken down from the crofs,z fmall upright plate, from his mafter 
 Flaminio Toro. 
 
 A holy family, the fame, from the fame. 
 
 A Virgin feated, with die infant Chrift upon Her lap ; a bifhop and aa 
 ecclefiaftic are kneeling before Ker: a middling, fi zed, upright plate, from a. 
 compofition of his own. 
 
 J. B A E C K. 
 
 Flourifhed, 
 A modern engraver at Augfbourg, who, according- to grofeflbr Chrift,^ 
 engraved feveral fmall plates, which he marked with B. fc. and J., B.fe,. 
 The mark I. B.E. I have feen affixed to fome very mafterly etcliings of the 
 cardinal virtues, from a painter whofe name I know not; but thefe initials 
 are fubftituted for it, A. C. I-which perhaps may mean Agoftino Carracci, inv. 
 
 J. A. B A E N E R. 
 
 Flouriflied, 
 
 I have feen a large folio plate by this obfcure artift, reprefenting an emble- 
 matical fubjeft, in which we fee a man kneeling at the feet of another man,, 
 with a book before him ; and an hand, holding a fword, isr. ftriking from the 
 clouds at the latter : a very indifferent print, executed entirely with the 
 graver, in a heavy^coarfejand bad ftyle. 
 
 M, B A E S. 
 
 Flourilhed, 
 An engraver of very little note, whofe labours, I fuppofe, were chiefly con- 
 fined to the libraries. I have feen a fmall fcratchy etching by him, en an 
 upright oval plate. The portrait of F. Paulus, a jefuit, who was put to dcatii, 
 
 Embie.- 
 
B A I [ 53 ] B A 1 
 
 Emblematical of iris fuffcring, the defigner, according to the ufual metlwd^. 
 has rcprciented a fword thruft into his brealh 
 
 ALEXANDER BAILLE. 
 
 Flouridied, 1764. 
 
 What countryman this obfcure engraver was, I cannot tell. His works 
 however, are but little known. I have feen a print by him of St. Ceciliay, 
 engraved on a middling fized upright plate, reprelenting only half of the figure,, 
 from Francis Fernando, dated 1764. To his. own name he added del. et- 
 fculp. 
 
 F. B A [ L L E U L.. 
 
 Flourifhed, 1722* 
 
 A modern French engraver, who was employed, among a variety of other 
 artifts, upon the plates, which were engraved.at Paris, reprefenting the coro- 
 nation of Louis XV. 
 
 PETER B A ILL IT or B A L L I U. 
 
 Flouriflied, 1643. 
 
 This engraver is faid to liave been a native of Antwerp. He learned the firfl 
 principles of the art of engraving in his own country; after which he went. 
 to Italy, to perfedl himfelf in drawing; where he engraved fome fewplates» 
 On his return, to Antwerp, he was much employed ;, and his engravings, by 
 ^many colleftors, are held in no fmall eftimation. To me his drawing appears 
 exceedingly defedtive. His heads are feldom expreffive or beautiful ; 
 and his extremities are conftantly heavy, and not well marked. His general 
 Ityle, particularly in his beft- prints, feem.s to- have been founded on that 
 of Paul Pontius. He executed alfo his plates, like that artill, entirely with. 
 the graver. But, in point of merit, I conceive Baillu falls infinitely Ihort,. 
 •when compared with Pontius. 
 
 Among his moft efteem.ed prints are reckoned the following : 
 
 A dead Chrijl, lying upon the knees of the Virgin JVIaiy, a large upright 
 plate, from Annibale Carracci. 
 
 St, Michael overcoming the Demon, from Guido; a middling fized upright 
 plate. 
 
 The reconciliation between Jacob and Laban, from Rubens, a large upright 
 plate. 
 
 Cbrift fraying in the garden, a fmall upright plate, from the fame. 
 
 The combat of the Lapithte, a large plate, length-ways, from the fame. 
 
 A crucifixion, from Ant. Vandyck, a middling fized, upright plate, dated 
 
 1643- 
 
 A Virgin in the clouds,, a middling fized pkte, upright, from the lame, 
 
 Rinaldo fleeping with Armida, a. large upright plate from the fame. The 
 
 companion of this print is engraved by Peter de Jode. 
 
 h.holy familj, from Theodore Rombout, 
 
 Siifanmi- 
 
B A 1 I 5+ ] B A K 
 
 Sufctmia and the Elders, a middling fized upright plate, from Martin 
 Pepyn. 
 
 Cbriji Jcourged, a large upright plate, from Abraham Diepenbeck. 
 
 The croixirting with thorns, the lame, from the fame. 
 
 Several efteemed portraits, and other plates, from Pietro de Cortona, Rem- 
 brandt, John Thomas, and others. 
 
 B E N A R D B A I L L U or B A L L I U. 
 
 , Flourifhed, 1672. 
 
 His name is alio written Baleu. He appears to have been much employed 
 in engraving portraits, which with his otiier works were chiefly publifhcd at 
 Rome : from whence it feems reafonable to conclude, that his principal 
 refidence was at this city. But whether he was a native of Flanders, or of 
 the fame family with the preceding artift, I cannot difcover. He worked 
 entirely widi the graver. His ftyle is heavy, and his portraits have no grea,t 
 fhare of merit, either with refpedl to the drawing, or the execution of the 
 mechanical part of the engraving. He certainly flourifhed towards the latter 
 end of the lafl; century. The time of his birth, and of his deceafe, are to me 
 equally as uncertain, as the place of his nativity. 
 
 Among his other works I note the following : 
 
 The portrait o^ Cardinal Urftni, afterwards pope Benedift III. 1672. 
 
 Some of the plates for the book, entitled. Effigies Cardinal, nunc viventimi, 
 publilhed at Rome by Jacobo di Rubeis. 
 
 Part of the cornijljes and cieiings, in a large folio volume, containing en- 
 gravings from the piftures of Pietro de Cortona, painted in the palace of the 
 great duke of Tufcany. 
 
 I. B A I L L Y. 
 
 Flouriflied, 
 I found the name of this artift to fome very fpirited etchings from Callof, 
 in which the ftyle of that mafterwas exceedingly well imitated i but witliout a 
 date. 
 
 JAMES BAKKER. 
 
 Born, 1608. Died, 
 
 Bafan tells us, that this artift was a native of Haerlem ; that he etched at 
 Amfterdam feveral pieces of his ^wn compofition, and diat he died rnthe 
 year 1638 or 1641. I wifh the author had fpecified thefe pieces : I never 
 faw them ; nor can 1 tell, Avhat fubjedis employed his point. There was a Jacob 
 Bakker or Backer, painter of portraits and hiftory, born, according to Pii- 
 kington, at Harlingen 1609, who died 1651. James Bakker, the fame 
 author informs us, was a native of Antwerp, and was dead before the above 
 Jacob was born. 
 
 B A L- 
 
B A L I 55 1 B A I. 
 
 B A L D A S S A R E. See Peruzzi. 
 
 BACCIO BALDINI. 
 
 Flourllhed, 1480. 
 
 A goldfmithj born at Florence, to whom, according to Vafari, Maib 
 Finiguerri communicated the invention of engraving, which he had 
 lately difcovered- Baldini, not being able to make the dcfigns for 
 his engravings, revealed the fecret t-o AlefTandro Boticelli, and they 
 worked conjointly. At this diftance of time it is impoffible to fay, 
 v/ith any degree of certainty, what part of the ancient reliques of engraving 
 belong to this mafter. There are none of liis works fpecified by any of the 
 early writers } nor is any mark, by wliich they may be diilinguifhed, put 
 upon them. Some curious prints, without doubt coeval with this artift, 
 and which, I am much inclined to think, are theproduftions of his graver, are 
 defcribed in the fixth chapter of the efiky at the begining of this volume, to 
 which the reader is referred. 
 
 They reprefent xhsmM/es, the planets, the arts, znd/ciences ; with various 
 trades, and handicraft-occupations, &c. chiefly by lingle figures inclofed in a 
 narrow border, engraved on fmall upright plates, one for eacli figure, to the 
 amount of fixty or upwards. Twenty-one were lent me by Mr. Thane, the 
 reft I found in the colleftion of Dr. IVIonro. 
 
 VITTORIO BALDINI. 
 
 Flourifiied, 1599. 
 
 According to M. Papillon, there was a printer of this name, who alfo en- 
 graved. He cites tht frontifpieccs to the acls of the play called Aminthe,, 
 written by Taflb ; which are rudely cut ; and one of them is marked 
 B. F. for Baldini fecit. This play was publifhed by him, a. d. i 599. 
 
 JOHANNSSEN BALDUNG. 
 
 Flouriftied, 1534. 
 An artifl: of the German fchool. Johannflen, the firft name, fignifTes the 
 fonof John. According to M. Heinektn, he was alfo called Baldung-Grien ; 
 ■or, as M. Chrift reads it, Grun. M. Papillon makes another artiil: of this 
 Grien, and reads the name Hans or John Bald Green, mentioning Baldung by 
 himfclf in another place. But, for want of proper attention to the fubjedl:, this 
 laft author has been betrayed into fuch a multitude of miftakes, that it is 
 dangerous to follow him. I know of no fufficient authority, that he could 
 have for the above aflertion ; therefore I (hall follow the opinion of the two 
 firft mentioned authors. If the monogram, compofed of an H. a B. and a 
 G. be attributed to him, as from the ftyle I think it fafely may with great 
 appearance of certainty, then it will appear, that he worked from a. d. 15 10, 
 to 1534. He alfo frequently ufed the H. and the B. joined together, wi:nuut 
 the G. All thefe marks the reader will find faithfully copied on the pla.te at 
 the end of the volume. He worked only on wood j and his engravings are 
 X executed 
 
13 A L [ 56 ] B A r, 
 
 cxecurcd in a bold ftyle, with great freedoin of hand^ and poiTcrs (his 
 kttfer prints efpccially) an uncommon fhare of merit. His figures are rather 
 cxpreflive than correiSt ; the naked -parts of thc^ii are poorly drawn ; and 
 the extremities, though free and fpirited, are often heavy, and not well marked. 
 Among the variety of prints attributed to this mafter, are the following : 
 An iruantaiion, a middling fized prints upright, dated 15 10. 
 A man ivith a horfe, a large upright in folio, no date. 
 Chriji and the twelve ylfojlles, on feparate blocks, fmall upright prints, 
 xlatcd 1519. 
 
 All thcfe are marked with the H. B. and G. joined together. 
 Add the following : 
 
 Four fmall upright prints, reprefcnting the effcfts of love : 
 1l. Solomon's Idolatry ; II. Satn/on betrayed by Dalilab; III. David and 
 Bathpeba ; I Y . Ariftetle and his mijtrejs. Thefe are very fpirited,fine prints, 
 and all I have feen belonging to this fct ; though originally there might be 
 more of them : they are all inclofed in ornamental borders. 
 
 A holy family^ with Elizabeth and St. Catherine, half figures, a middling 
 fized upright print, dated 151 2. 
 
 K fingular fri'iit ., reprcfenting a fore-fliortened figure of a man, lying on his 
 ■back in the fore-ground. Above appears an horfe, and an old woman 
 ■holding a light; exceedingly -fpirited, and well. Thefe have the H. and the B. 
 without the G. 
 
 Two middling fized prints, length-ways, very finely cut, and exa61:ly in the 
 ftyle of that laft mentioned. They reprelent horjes in a foreft, and have the 
 name baldvng written at length, and the date 1534, on each of them. 
 
 JOHN JOSEPH BALECHOU. 
 
 Flouriflied, 1750. 
 
 A very celebrated and well known French engraver. He died, according 
 to Bafan, fome few years fince at Avignon. This extraordinary artift worked 
 •entirely with the graver; and he was perfeftly mafter of that inftrument. 
 1'he clearneis of his ftrokes, and the depth of colour which he produced, 
 are far beyond any produftion prior to his own. But he did not draw well ; 
 on this account his prints want that freedom, correftnefs and harmony, which 
 a perfeft knowledge of drawing generally produces. With all their beauty 
 they appear heavy ; and the flefli is not fufficiently diftinguiftied, by the llyle 
 of engraving, from the other parts of the figure ; but has a cold filvery cffc6t. 
 This obftrvation muft be fuppofed to refer only to his figures. The two large 
 plates, which he did from Vernet, one reprcfenting ^ftorm, die other a calntj 
 muft ever be confidcred as very aftoniftiing exertions of the artift. They are 
 too well knov/n, and too much admired, to need any further eulogium ; and 
 were never equalled, until they were furpafi"ed by a countr^a'nan of our own. 
 Let any one look at the Niobe, the Ceyx and Alcyone, &c.from Wilfon, and, 
 I believe a very moderate Ihare of judgment will be neceflary to turn the 
 balance in favour of the latter. 
 
 His moft ©fteemed prints are. 
 
 The portrait of the king cf Poland, whole length, from Rigaud, a large 
 
 upright 
 
.f 
 
 B A L [ 57 . 1 BAN 
 
 tipright plate, which is placed at the head of die colledion of prints, engraved 
 from the gallery at Drefden. 
 
 The portrait of Crebillon, from Aved, twice engraved, large and fmall. 
 
 Saint Genevieve, the patronefs of France, a large upright plate, from Vanloo. 
 
 The _y?orw, a large plate, length-ways, from Vernet. 
 
 The cahn, its companion, from the fame painter. 
 
 A large print, length-ways, from the fame, in which is reprefcnted feveial 
 •women bathing. Thefe four lail prints are ufually feen with thick ftrokes en- 
 graved over the writing ; but in the firft imprelTions, thofe ftrokes are wanting. 
 
 ANTONIO BALLESTRA. 
 Born, 1666. Died, 1740. 
 
 A painter of great eminence, born at Verona. After having fpent fomc 
 time in learning the firft principles of the art of painting from Antonio Be- 
 lucci, he vifited Bologna and Rome, ftudying from the works of the greateft 
 iTiafters j and, at laft, entered the fchool of Carlo Maratti. The progrefs he 
 made under that mafter is fuch, that he is faid to have nearly equalled him. 
 He died a. d. 1740, aged 74. We have fome few etchings by him, in a 
 bold, mafterly ftyle, but very flight. Among the reft, a fmall upright print, 
 reprefenting the Firgin, with the infant Jejus and St. John. The heads of 
 three cherubs appear at the top : marked Antonius Baleftra inv. et fecit, 
 1702. 
 
 F- BALTESYS. 
 
 Flourifhed, 
 
 An obfcure artift, who engraved the portrait of Sii' William Brog, an officer 
 of one of the Scotch regiments. 1600, ^etat 37. 
 
 J. B A L Z E R. 
 
 Flouriftied, 
 
 An engraver I believe, but little known : by him we liave the portrait of 
 Joann. /Imos Comenius. 
 
 B A M B O C C I O. See Peter Van Laer. 
 
 PETER VANDER BANCK. 
 Born, Died, 1697. 
 
 This artift, apparently of Dutch extraftion, was born at Paris, and received 
 his inftrudtions in the art of engraving from the celebrated Francois de Poilly. 
 He came over into England with Gafcar the painter, about the year 1674, 
 and married the fifter of a gentleman of eftate in Hertfordftiire, named Fo- 
 refter. He was a laborious artift ; biit the pay he received for his plates, 
 being by no means adequate to the time he beftowed upon them, he was 
 reduced to want ; and, retiring from bufinefs, fought an afylum in the houfe 
 cf his brother in law. He died at Bradfield, and was buried in the church 
 
 VOL. I. I there 
 
BAN [ 58 ] BAN 
 
 there, a. d. 1674 ; leaving his widow in poflinion of the chief part of his 
 plates, which fhe difpofed of to Brown, a printfeller, to great advantage, and 
 left an eafy fortune. 
 
 His chief employment was engraving of portraits ; and, according to Vir- 
 tue's account of this artift, publilhed by the Hon. Mr. Walpole, he was the 
 firfl; in England, who engraved them on fo large a fcaie. But even the 
 jiovckv, itVcems, added to their merit, could not fufficiently recommend them 
 to fupport the artiil. Lil'Ce many of Poilly's difciples, his great merit con- 
 fifts in the laboured neatnefs, and management of the mechanical part of 
 the art. Freedom, harmony, and challcnefs of outline, are by no means the 
 charafteriftic of his prints. However, though they cannot rank with the fu- 
 perior productions of Edelink or Nantueil, &c. they have their fhare of 
 merit, and doubtlels will be always elleemed in England, as preferving the 
 befl: refemblance of many eminent perfons, who were living at that time. 
 
 Among his portraits, the following are much efteemed: 
 
 Sir Thomas Jliet', a very large whole fheet print. 
 
 Thomas Lamplugh, archbifliop of York, a large half fheet print, 
 
 F-rederick duke ofSchomberg, the fame. 
 
 George lord Dartmouth, the fame. 
 
 James Smith, writing-mafter, from Faithorn^, half fheet print. 
 
 Sir JVilUam Temple, after Lely, die fame. 
 
 Richard Lord Matt land, 1683, the fiime. 
 
 A' portrait of M'^ood, the miller, whofe arm was torn off" by the mill-wheel, 
 has the name of P. A'anderbank, fubfcribed to it. " This could not," fays 
 the Hon. Mr. Walpole, " be done by P. Vanderbank the elder ; for Wood's 
 arm was torn off' in 1737. As I find no account of his fecond fon (for he 
 left thr^e behind him) his name, (continues the fame author) was probably 
 Peter, and he might be an engraver." This plate was certainly executed by 
 Vanderbank the painter, from whofe defigns we have a fet of prints for Don 
 Ouixot, &c. Whether he was a fon of Peter Vanderbank mentioned above, 
 oi- not, I cannot difcover. 
 
 BANE. 
 
 Flourifhed, 
 A name found at the bottom of a portrait of Ann Scott, duchefs of Mon- 
 mouth. 
 
 ALEXANDER BANNERMAN. 
 
 Flourifhed, 
 
 A modern Englifli artift, by whom we liave feveral etchings; among 
 others the death of Jojeph, a midtlling fized plate, length-ways, from 
 Vcliifco ; and feveral other plates from the fame mafter. 
 
 B A N N O I S. 
 
 Flourifhed, 
 A name fubfcribed to a print of queen. Elizabeth, 
 
 1 J. BAP- 
 
B A P ■[ 5<) ] B A R 
 
 J, BAPTIST. 
 
 Flourifiied, 1720, 
 
 The name of an obfcure and very indifferent engraver which I found fub- 
 fcribed to fome of the plates belonging to a collection :n folio, entitled Figures 
 de la Bible, publifhed at Anifterdam, 1720. Thefe plates are engraved from 
 the defigns of Picart and others. 
 
 D 
 
 JOHN B A P T I S T A. See Mon-nover. 
 
 JACOB B A P T I S T A. 
 
 Flourillied, 
 
 An obfcure engraver, whofe name is affixed to fome portraits ; among titc 
 Teftj to one oi Martinus Geterus, Dr. Theol. Sax. 
 
 MAURICE BA QJJ O Y. 
 Flourifhedj 1720. 
 
 An engraver of this century, fays Bafan, by whom we have feveral etchings ; 
 amongft the reft, 
 
 A naval combat^ from Martin. This is one of the four plates executed for 
 the Czar. 
 
 A fet of very neat vignettes, for the hiftory of France by Daniel, from 
 drawings by Boucher. 
 
 He alfo engraved fome of tlie large views of Verfailles. 
 
 JOHN and CHARLES BAQUOY. I believe, thefe were both 
 fons to the above artift. The firft, Bafan alTures us, was -, and I have met 
 ■^^'\^h. the latter name on very modern prints : perhaps they may be both living. 
 
 ANTONIO BARATTL 
 
 Flourifhed, 1759. 
 
 This artift engraved fome of the plates for a coHeftion of prints from the 
 
 piftures of the marquis Gerini, entitled, Raccolt di Stavipe, rcprejentanti i 
 
 quadri piu Jcelti dei Sigiwri Marchefi Gerini. 1'omo 1. ixi large folio, pub- 
 
 lifhed at Florence. 
 
 LE BARAUDIE. 
 
 Flouriflied, 1638. 
 
 An artift mentioned by Florent le Comte, who engraved feveral plates of 
 dsfigns and ornaments for gardens, which were printed at Paris, and pub- 
 lifhed by Michael Van Lochon, 1638. 
 
 LOUIS BARBASAN. 
 
 Flourifhed, 
 
 An ecclefiaftic of Premontre, who engraved the plan and perfpe^ivs view of 
 
 I 2 the 
 
BAR [ 60 ] BAR 
 
 the abbey of Premontre, where he refided, from a drawing executed by Fran- 
 cois BayettCj another ccclcfiaftic belonging to the fame abbey. 
 
 B A R B A U L T. 
 
 Flourifhed, 
 A modern artifb, who refided at Rome, where he died, according to Bafan, 
 not many years fince. He was a painter ; but, I believe, of no extraordinary 
 eminence. As an engraver, we have by him a calledion of prints, in folio, 
 of the antiquities of Rome ; alfo a few etchings ; amongft the reft, the mar~ 
 iyrdom of St. Peter, from Peter Subleyras. 
 
 JOHN BAPTISTA BARBE. 
 
 Flouriftied, 1638. 
 
 A Flemifli artift, born at Antwerp, and apparently inftrudled in the art of 
 engraving by the Wierixcs, whofe ftyle he imitated with great fuccefs. 
 ^^ot content, fays M. Bafan, with what he learned from the mafters of his own 
 country, he went to Italy for impro-vement, particularly in the art of drawing, a 
 rcquifite though pofitively neceffiiry, yet frequently neglefted by engravers in 
 general. He never indeed loft fight ofthatftifF, laboured ftyle, which was 
 the charafteriftic of the time in which he flouriflied. His prints, though pro- 
 digioufly neat, (being performed with the graver only) are however flat and 
 wanting in effeft. But his drawing is generally correft, and the extremities 
 of his figures well marked. 
 
 He engraved fome of the plates for vita, pajio, et refiirrenlo Jeju Chrifti, 
 the life, paftion, and refurrcdtion of Jefus Chrift, publifhed by the Colberts, 
 1638, confifting of fifty middling fized prints, length-ways, from Martin de 
 Vos. 
 
 Some devotional fubjeSfs, of various fizes, exadtly in the ftyle of the 
 Wierixes. 
 
 K holy family, vfhcrt the infmt Chrift is reprefented turning and kifTing 
 Jofeph, a fmall upright plate, from P. P. Rubens : the firll imprelTions are 
 svithout the name of Rubens. 
 
 He alfo engraved from J. Bap. Paggi, Francifco Franck, I'heodore Van 
 L/5on, &c. 
 
 B A R B E R I. 
 
 Flouriflied, 
 A French artift, mentioned by Florentle Comte, as the engraver of a print, 
 reprcfenting Paul and Silas in prifon, with die convertion of the goaler, from 
 MonLignt: to him is alfo attributed the -^onrMtoi Madatn de Miramion. 
 
 ANTONY BARBE Y. 
 
 Flouriflied, 1697. 
 I found the name of this engraver upon a large whole flieet map of Rome:, 
 very neatly executed, and dated 1697. 
 
 ^ GIG- 
 
BAR [ 6i ] BAR 
 
 GIOVANNI FRANCESCO BARBIERI. 
 Born, 1590. Died, 1666. 
 
 GuERciNO DA Cento is the appellation, by which' this juftly celebrated 
 painter is moft commonly known. He was called Guercino, from a caft in 
 his eyes : and Cento, from the village named Cento, where he was born. The 
 pidlures and drawings of this artift are univerfally held in the greateft eftima- 
 tion. As an engraver, he has left only two memorials behind him, which are 
 executed with great freedom and fpirit, in a manner much refembling thofe 
 admirable drawings of his with a pen ; fome of whicli were poorly imitated by 
 Jo. Bap. Pafqualianus on copper ; and fince that time, in a very fuperior 
 ftyle, by an excellent, and well known, modern artift, from the original draw- 
 ings in the colleftion of his prefent majefty.. 
 
 The etchings by Guercino, are. 
 
 Si. John, a fmall upright plate, and 
 
 St. Antoyiy of Padua, a half figure readingi nearly of the fame fize with the 
 preceding print. 
 
 DOMENICO DEL BARBIERE.. 
 
 Flourifhed, 
 
 This artift is better known by the name of Diomenico Fiorentino. 
 He has often been confounded with Dominique Barriere -, but the difference 
 fo eafily to be difcovered in the works of thefe two artifts, will on examina- 
 tion, evidently prove the miftake. Domenico del Barbiere was born at 
 Florence. Bafan fpeaks very highly of him as a painter, and greatly com- 
 mends his works in ftucco, which he performed under the infpeftion of Roflo 
 in France. As an engraver, he certainly does not merit equal commendation. 
 The prints, which I have feen of his, are chiefly groups, and fometimes fingle 
 figures, from Michael Angelo, and other great mafters. They are often exe- 
 cuted entirely with the graver, in a very ftifi' incorreft ftyle. His etchings are 
 by no means more meritorious. Conftdering him as a painter the drawing 
 and the effeft of his prints ought to have been greatly fuperior to what we 
 find they are : for in thefe he is as defedlive, as in the mechanical part of 
 engraving. Among the reft of his engravings is. 
 
 An Angel, ftanding on a globe, holding two trumpets ; and the artift's 
 name is fubfcribed Domenico del Barbiere Fiorentino. 
 
 To the groups 3>.n6. fingle figures, from the laft judgment of Michael 
 Angelo, he ufually writes his name Domenico Fiorentino. 
 
 V. B A R D U C C I. 
 
 Flourifhed, 1768. 
 By this engraver we have a portrait of Pafcal Paoli, die Corfi'can general. 
 
 M. 
 
BAR [ 6i ] BAR 
 
 M. B A R G A S: 
 
 Flourifhed, 
 According to Bafan, this artift lived at the beginning of the prefent cen- 
 tury, and etclied ftveral plates from the pitlures of Peter Bout j amonfrlt tiie 
 reft, from that mailer, are two large hiftorical land/capes. 
 
 A. F. B A R G A S. 
 
 Flourilhcd, 
 
 1 have feen a fet of fmall land/capes, length-ways, with cattle and figures, 
 nightly etched ; but in a free maftcrly ftylc, iubfcribed, A. F. Bargas, iuv. 
 €t fee. 
 
 THOMAS BARLACCHIUS. 
 
 Flouriflied, 
 A name inferted in the catalo2;ue of the engravers, at the end of the Abece- 
 ••dano ; but none of his works are fpecified. I never favv any engravings " by 
 this ariift. 
 
 FRANCIS BARLOW. 
 Born, Died, 1702. 
 
 This artift was born in Lincolnfhire, and received his firft inftru6bions in 
 painting from Shepherd, a portrait painter. His chief excellency lay in 
 defigning birds, fifties, and animals of all kinds, which he drew widi great 
 fpirit, and in a very mafterly ftyle. His drawings are generally flight; and 
 the colouring of his pidtures is by no means equal to the defigns. The 
 figures, which he often introduced into his compofitions, are well executed, 
 and dilpofed with great judgment. And the diftances and admirable land- 
 fcapes, with which he alio ufually embellifhed them, prove the fertility of his 
 invention, as well as the excellence of his tafte. I have now before me a 
 fet of twelve prints, engraved from him by Hollar, reprefenting feveral 
 ways of hunting, haivking, and fijhing, publiflicd by John Overton ; which 
 prove, in every infbance, in my opinion, the truth of thefe obfervations. 
 According to Mr. Symonds, he refided in Drury-lane, near the Drum. 
 Mention is alfo made of his felling a pidlure of fiflics for eight pounds. But 
 whether this was a price adequate or inadequate to its merit, cannot be afcer- 
 tained ; unlefs the fize of the pidlure, and the labour beftowed in finifbing it, 
 had been fpecified. I fliould fear he was not well paid for his performances, 
 iinlcfs he lived extravagantly ; for notwithftanding all his excellency in defign, 
 the multitude of piftures and drawings he appears to have made, and the 
 affiftance alfo of a confiderable fum of money, fiiid to have been left him by a 
 friend, he died in indigent circumftances, a. d. 1702. 
 
 He defigned the cuts for Ogilby's tranflation oi jEfop's Fables, and etched 
 feveral of the plates himfelf. 
 
 Part of the plates for Edward Benlow's Divine Poems, called Theophila, 
 in folio, publiflied a. d. 1652, v.ere alfo engraved by him. 
 
 A print 
 
BAR [ 63 ] BAR 
 
 A print reprefenting an eagle flying in the air, with a cat in its talons. This 
 event the artift himklf" was witnefs of in Scotland, wliilft he was drawing views 
 there. The eagle was overpowered by the ftruggling of the cat, and both fell 
 to the ground, where he took them up. 
 
 He frequently ufed the initials of his name, inftead of infertin^ it at full 
 length, as F. B. and thofe he fometimes inclofed in a fmall circle. 
 
 FREDERICO BAROCCIO. 
 Born, 1528. Died, 161 2. 
 
 This admirable artift is better known as a painter, than as an engraver. He 
 was born at Urbino, a. d. 1528, and died at the fame city, in the year 1612, 
 aged 84. His genius for the arts difcovered itfclf in the very early part of his 
 life ; and according to De Piles, while yet a young man, he was employed at 
 Rome by Pope Paul III. for whom he painted feveral things in frefco. Flis 
 gi-eat reputation as a painter need not be recited here ; fuffice it to fay, that he 
 engraved feveral plates from his own compofitions; which thougji flight, and 
 not well managed, with refpeft to the mechanical part of the workmanfhip, 
 are neverthelcfs moft admirable, on account of the exprefTion, and excellent 
 drawing, which is difcovered in them. His heads are very beautiful and cha- 
 rafteriftic ; and the other extremities of his figures finely marked. Amidlt 
 all the difficulties he appears to have met with, in biting his plates with the 
 aquafortis, after he had etched them, and his unfl<.ilfulnefs in handling the 
 graver, to harmonize and finifh them, the hand of the mafter appears fo evi- 
 dent, that the beauties we difcover in them flir overbalance the defefts. 
 
 The following are by him, and from his own compofitions. 
 - An annunciation, a large upright plate. 
 
 A fmall print in which the Virgin is reprefented holding the infant Chrift. 
 This plate was never compleatly finiflied at the bottom. 
 
 St. Francis receiving the Jligmata, or pretend'cd marks upon his hands, feet, 
 and fide, a fmall upright plate. 
 
 . The extatic vifion of, St. Francis, in which our Saviour and the Virgin appear 
 to him^ a large plate upright, arched at the top. 
 
 JOHN BARON, or B A R O N I U S. 
 
 Flourifhed, 
 
 He is alfo called T'p/o/"^;?!?, becaufe he was native of Touloufe. He refided 
 chiefly at Rome, as it feems from his works ; the greater part of which were 
 publiftied there. He executed his plates entirely with the graver, in a R-rvile, 
 dry manner, very neatly, but exceedingly defective in drawing, expreffion, and 
 effecfl. Ju^'ging from the ftyle and appearance of his prints, I fhould imagine 
 he flouriftied towards the latter end of the laft century. 
 
 We have by him. 
 
 The Pefl, a large plate length-ways, from Nicholas Poufin. 
 
 A middling fized plate upright, reprefenting an emblematical Jubje^f, from 
 
 Andrea 
 
BAR [ 64 ] BAR 
 
 Andrea Sacchi; where IWeral ecclefiaftics, clothed in white, are reprefentcd 
 alcfnding to heaven ; whicli was alfo engraved by Giacoaio JVcii. 
 
 A Madona, a fmall plate, from Bernini. 
 
 A variety of other fubjefts from different maflers. 
 
 BERNARD BARON* 
 
 Born, Died, 1762. i^ 
 
 This artifl: was a native of France, and in his own country received the fii-ft 
 
 inftruftions in the art of engraving. He was brought into England by Du 
 Bole J but they difagrceing about the places of the hiilory of Ulyfles, engraved 
 from Rubens, went to law with each other. Being afterwards reconciled. 
 Baron accompanied Du Bofc to Paris, where he engraved fome plates for the 
 Crozat collection. How foon afterwards he returned to England, I know not : 
 but he died in Panton-fquare, Piccadilly, January 24, 1762. His manner of 
 engraving feems to have been founded on that of Nicholas Dorigny. It is 
 flight and coarfe, without any great cffeft; and his drawing is frequently very 
 defedlive. Among his beft plates may be reckoned, the Jupiter and Anti- 
 cpe, from Titian, a large plate, length-ways, from the Crozat coUedlion. 
 
 The Conaro family., from the pi£tures of Titian at Northumberland-houfe. 
 
 Charles the Firft on horfeback, from Vandyck, a large upright plate. 
 
 The Pembroke family, from a picture of the fame mailer at Wilton, a large 
 plate length-ways. 
 
 Belifariiis, the fame, from the fame. 
 
 The Naffau family, the fame, from the Hime: the pi(5ture is in polTeflion 
 of earl Cowper. 
 
 Henry the Eighth granting the charter to the barber Jurgeons, from John Hol- 
 bein, a large plate, length-ways, &c. 
 
 JOSEPH BARON. 
 
 Flourifhed, 1720. 
 
 I have feen but few prints by this engraver ; and thofe are very indifFerently 
 executed. If he was not a native of Venice, it feems by his prints, (which 
 were, I believe, chiefly engraved for the bookfellers) that he refided there. 
 His manner is coarfe and unpleafing ; and his drawing exceedingly defective. 
 
 I fliall only remark, 
 
 A large upright plate, arched, reprefenting the crucifixion of our Saviour, 
 with angels in the air, and Mary Magdalen and Saint John at the foot of the 
 crofs ; which was engraved by him for a large folio book, thus entitled, 
 
 II gran Teatro dells Pittnre di Venezia, 1720, with his name Ifeppo Baroni 
 Incid, 
 
 JOHN BARRA. 
 
 Flourifhed, 1624. 
 An engraver of the laft century, of whom we have no account. He refided 
 however at London, as we find by fome of his prints. Of what country 
 
 he 
 
BAR I <55 ;3 BAR 
 
 he was a native, or when he died, are equally uncertain. He executed his plates 
 entirely with the graver, and without any etching. At leaft, all that I have 
 feen are in this ftyle. He feems to have formed his tafte upon the prints of 
 the Sadelers. But though he imitated, in fome degree, their manner of en- 
 graving, yet he by no means equalled them, either in correftnefs of the draw- 
 ing or expreflion. His prints are cold and filvery. We fee in them a painful, 
 laborious exertion, without genius. He engraved the portrait of Lodoivick, 
 duke of Richmond and Lenox, a. d. 1624. 
 
 'Time and Truth, a fmall upright plate, from Paulus ab Eftatis. 
 
 Bathjheba at the bath ^ a fmall upright plate, from a painter whofe initials are 
 G. W. 
 
 Some grotefque ornaments, from Nicafius Rouffeel, infcribed John Barra 
 fculp. Londini. 
 
 SEBASTIAN BARRA S. 
 
 Flouriflied, 1700. 
 An engraver in mezzotinto, who was employed by M. de Boyer, counfellor 
 of the parliament at Aix, conjointly with James Coelmans, to engrave the pic- 
 tures of the great mailers, which were in the pofleflion of that connoifleur. The 
 plates of this artift are all fcraped in a very indifferent ftyle ; the lights are too 
 fudden upon the (hadows, and the grounds appear to have been very badly 
 laid J fo that the effeft is coarfe and harfh. His drawing is alfo very dcfeftive. 
 
 GEORGE BARRET. 
 
 Died, 1784. 
 
 An excellent landfcape painter, by whom we have fome (light, but fpirited 
 etchings of landfcapes. He was a member of the Royal Academy, and died 
 at London, A. D. 1784. 
 
 GIACOMO BARRL 
 Flourifhed, 1650. 
 This artift was a painter, born at Venice, but he alfo amufed himfelf with 
 the point ; and we have feveral etchings by him, as well from his own com- 
 pofitions, as thofe of other mafters. In the year 1651, he publilhcd at Venice 
 a book greatly efteemed, entitled Viaggio Pittorefco d' Italia, odtavo. 
 
 I fhall only notice the following etching by him, which I have now before 
 me : A nativity, from Paolo Vcronefe, with angels in the clouds above : a 
 middling fized upright plate, very flight and free, but by no means correft. 
 
 DOMINI QJJ E B A R R I E R E. 
 
 Flourifhed, 1650. 
 
 This artift (who is often confounded with Domineco del Barbiere, of whom 
 we have fpoken above) was a native of Marfeilles, and flouriflied according 
 to Bafan, about the middle of the laft century. His etchings greatly refembled 
 
 VOL. I K thofe 
 
!B I&. Wi 1^6 1 «AR 
 
 thofe of Stephen de la Bella; and we have by him many pretty /a«/^i?^«f 
 and /ea-vieius, from his own compofitions ; and others from Claud Lorrain. 
 Alfo the hiftory of Jpollo, confilling of feveral plates, from the pidlures of Do- 
 minichino and Viola. 
 
 A. BARRODUCCEO. 
 
 Flourifhed, 
 A name I found infcribed to fome fmall upright plates, reprelenting the 
 liberal arts andjciences, executed in a ftiff, dry ftyle, entirely with the graver. 
 The heads and other extremities of the figures are very incorreftly drawn* 
 Thefe plates were publifhed by die artift himfelf. 
 
 B A R T O L O M E O. See Breenbergh. 
 
 GOTFRID BARTASH or BARTASCH. 
 
 Flourifhed, 
 
 I find no account of this artift, Balan indeed tells us, that he was a native 
 of England; but without affigning any realbn for fuch an affertion. I find 
 his name to the finall colleftion of prints, from the gallery at Berlin. It is 
 pofTible he may have been a Pruflian ; but however, as an engraver, he pof- 
 feffed ver)'^ little merit. All the prints I have feen by him, are executed in a. 
 poor, dark ftyle, without tafte ; and greatly defeiftive in the drawing. 
 
 I ftiall only notice, 
 
 A holy family y from Vandyke, a finall plate, length-ways. 
 
 And the portrait of Catherine de Bohra, wife of Martin Luther. 
 
 Bafan attributes to him a print from Rubens, reprefenting Meleager pre- 
 -feiitingthe head of the boar to Atalanta^ a middling fized upright plate ; but 
 I do not recoUedt to have feen it, 
 
 PIETRO SANTE B'ARTOLT, called PERUGINO, 
 Born, r635. Died, 1700. 
 
 This celebrated artift was a native of Perugia, and appears to- have been, 
 born about the year 1635. He refided chiefly at Rome, where he is faid to 
 have died A. D.-I700. He is mentioned, as a painter ; but his reputation is 
 certainly much better eftablifhed, as an engraver. He drew in a correft, 
 agreeable ftyle ; and his plates, which are chiefly etched, are executed in a 
 free, mafterly manner. His great excellency lay in copying the bafs-rclief, 
 and other works of the ancients. Though he has not always marked his 
 name at full length upon his plates, yet to a pcrfon, the leaft acquainted with 
 his works, they are eafily ciiftinguifhed, as his manner is original ; and the 
 freedom and lightnefs of his point, cannot eafily be counterfeited. 
 
 He did many of the plates, and certainly the beft of them, for the Admi- 
 ratidi Antiq. Romenorum. The following alfo arc lets of prints : 
 
 The 'Trajan, and Antonine ccltimi.s. 
 
 I The 
 
BAR [ ^7 ] B: A R" 
 
 The toml> of the Najonian family, and the ancient piftures, &c. found 
 tlierein. 
 
 Tlie actions of Leo the 'Tenth, from Raphael. 
 
 The friezes painted in the Vatican, in imitation of the antique, b/ the 
 fame mafter. 
 
 Julii Romani PiHur^ in Miifeo Matitttam, dated 1680. 
 
 The J'z/or)' o/^^Jf. P^/^r, from Lanfranchi, &c. 
 
 Among his detached prints I fliall notice the following : 
 
 A large upright plate, reprefenting St. Charles kneclingy accojnpanied by at7 
 Angel, from Antonio Carracci, the natural fon of Agoftino Carracci. This is 
 the only print we have, from this mailer, of whom the greateft expedtations 
 were formed ; but he died young. 
 
 The' adoration of the Jhepherds, from Annibale Carracci, a large upright 
 plate. 
 
 He alfo engraved from Pietro Perugino, Polidore Caravaggio, Albano, 
 Pietro di Cortona, Pietro Tefta, F. Mola, and other mafters. He fometimes, 
 though not frequently, put only the initials of his name to his plates, with the 
 letter F, {or fecit : as P. B. F. But ufually he abreviated It in the follov/ing 
 manner: Petr. Ss. Bartsfc. Romas. 
 
 H. B A R Y, 
 
 Flourifhed, 1659. 
 
 I fufpeft, that this artift was a native of Holland 1 at leaft I think, it appears 
 from the portraits which he engraved, that he refided there. His %le of 
 engraving feems to have been formed upon the prints of Cornelius Viflcher ; 
 and the imitation appears moft evident in his portraits, efpecially thofe which 
 he has executed in his neateft manner. However, it is but a feeble attempt. 
 In drawing, tafte, and harmony, he is, I think, greatly deficient. Yet fome- 
 times he has difcovered much mechanical knowledge, and feems to have 
 handled the graver with great facility. One of his bed and moft finidied 
 prints, I believe, is Summer and Autumn, reprefented by two children ; one of 
 which holds a handful of corn: a fmall upright plate, from Vandyke, com- 
 panion to the Spring and Winter, which Munichuyfen engraved from Girard 
 LaireiTe. This plate is executed entirely with the graver (which, I believe, was 
 his conftant cuftom) in a neat clear ftyle, and fliows his management of that 
 inftrument in the moft ftriking light. 
 
 Among liis portraits are noticed, 
 
 Hugo Grolius, a middling fized upright plate, from Michael Janfon Mire- 
 veldt. 
 
 Fan Tromp, the Dutch admiral, from F. Bol. a large upright plate. 
 
 Admiral Ruyter, the fame, from the fame. 
 
 Ketels the painter, engraved from a pi dure, which that artift painted him- 
 felf, and dated ,1^59, a fmall upright plate. 
 
 ArnoldGe'efieran, a fmall upright plate. 
 
 A variety of other fubjeds, from different mafters, 
 
 K a MARTIN 
 
B A S [ 68 ] B A S 
 
 MARTIN BAS, or BASSE. 
 
 Flourifhed, 1591 to 1622. 
 
 An artift who flourifhed at the beginning of the laft century ; and his ftyle 
 of engraving is in that neat, ftiff manner, which charadterifed the fmall por- 
 traits of that time. It feems very hkely to me, that he ftudied in the fchool 
 of the Wierexes ; at leaft, he certainly imitated them. His chief employment 
 appears to have been the engraving of portraits. Among them are the fol- 
 lowing : 
 
 The portrait 0^ Edmund Genings, the jefuit, prefixed to his memoirs, pub- 
 liihed 1 591. 
 
 The portrait o( Philip Bofquieri. To this he figns his name. Mart. BafTe. 
 
 A finall frontifpiece reprefenting St. Peter and St. Paul, dated 1622. 
 
 JAMES PHILIP LE BAS. 
 
 Flouriflied, 1754. ■ 
 
 A modern French artift, by whom we have fome excellent prints. His 
 great force feems to lie in land fc apes and fmall figvires, which he executed in a 
 fuperior manner. His flyle of engraving is extremely neat; but yet he proves 
 the freedom of the etching, and harmonizes the whole with the graver and 
 dry point. We have alfo a variety of pretty vignettes by this artift. Among 
 the reft, the chief part of thofe, which adorn the oftavo edition of Rollin's 
 Ancient Hiftory in Englifh, publiftied by the Knaptons, a. d. 1754. 
 
 Among his moft efteemed works are rlie following plates : 
 
 The works of mercy ^ a large plate, length -ways, from Tenier. 
 
 A fet of feveral Dutch merry-makings , f^ifs^ &c. from the fame mafter, 
 all large plates, length-ways. 
 
 The Italian chafe, and the milk-pot, two large plates, length-ways, from 
 Philip Wouvermans. 
 
 The wild boar, from the fame mafter, a large plate, lengtli-ways. 
 
 Several large plates of hunting, &c. from Van Falens. 
 
 The feaports of France, 3.fterVcrnet, very large plates, lengtl>ways : the 
 etchings of thefe plates were by Cochin. 
 
 The environs de Groningue, a large plate, length-ways, from Ruyfdaal. 
 
 The environs de Guelders, its companion, the fame. 
 
 He alfo engraved from Bergham, Vander Velde, Watteau, Oudry, Paro- 
 cel, Lancret, Gravelot, &c. 
 
 B A S I R E. 
 
 Flourifhed, 
 An engraver of maps, and father of the prefent Mr. John Bafire, engraver 
 to the Antiquarian Society. 
 
 J. B A S S. 
 
 Flourifhed. 
 A name fubfcribed to the portrait of Uladijlaus VJI, Sigis. Rex. 
 
 CiESAR 
 
B A S [ 69 1 B A U 
 
 C^SARBASSANUS. 
 
 Flourifhed, iSil. 
 This artift was a painter, as well as an engraver, and according to Florent 
 le Comte, there are three prints engraved by him, from J. Battifta Lampus, 
 Joan. Ant. Loelius, and Jacobus Lodus ; and from him nine prints have 
 been engraved ; but he has not fpecified any of them. I have feen in a 
 fmall upright oval, the portrait ofGa/per ^JfelliuSy executed with the graver, 
 in a ftyle fomething refembling that of Cornelius Cort, and infcribed Baf-^ 
 Janus fee. Alfo an architeSfal frontijpiece with figures, &c. dated 1622. 
 
 DANIEL BASSELLI. 
 
 Flourifhed, 
 I have feen by this engraver a large upright plate, arched at the top, from 
 P. Caton, reprefenting Daniel in the lion's den, etched, and retouched with the 
 graver, in a very flight ftyle. The effeft is not well managed, nor is the 
 drawing; correal. 
 
 *D 
 
 BASSEPORTE. 
 
 Flourifhed, 1729. 
 This ingenious lady engraved, among other things, fome of the plates for 
 the Crozat colleftion, which was publifhed at Paris, a. d. 1729. 
 
 T. B A S T O N. 
 
 Flourifhed, 1721. 
 An Englifh artift, though of no great eminence. His chief employment 
 was painting fea-pieces andfhipping; many of which were engraved in mez- 
 zotinto, and other ways, by Kirkall, Harris, &c. He himfelf etched fome 
 few plates from his own deligns ; among the reft, a large print length-ways, 
 reprefenting the Royal Jntie^ furrounded with other fhips, dated 1721. 
 
 B A T H O N. 
 
 Flourillied, 
 
 A name fiibfcribed to the portrait of Fran. Mieris, the painter, a middling 
 fized upriglit print. 
 
 STEPHEN BAUDET. 
 
 Flourifhed, 1672 to 1700. ». ^' 
 
 By what mafter this artift was inftrudted in the art of engraving does not 
 appear. From a careful examination of his prints, I have been led to fup- 
 pofe, that he frequented the fchool of the Poillys : unlefs he was educated at 
 Rome, where his moft early worki feem to have been done ; and then per- 
 haps the works of Cornelius Bloemart may have laid the foundation of his 
 firft ftyle, which was all with the gaaver. Thefe prints are in general, exceed- 
 ing 
 
B A V [ 70 ] B A U^ 
 
 ing neat ; but the effeft of them is cold and filvery ; and the extremities of 
 the figures are heavy, and not well marked. But at times he called in tlie 
 affiftance of the point, and produced much bolder engravings, in a manner 
 greatly refembling that of John Baptifta de Poilly ; and thefe prints, in my 
 opinion, are far fuperior to the former in freedom, drawing, and effedl. 
 
 Among thofe in the firft ftyle is, 
 
 Tlie tribute money, a middUng fized plate, nearly fquare, from Valentino, 
 which, I think, is the moll mafterly of all h^- executed in that manner. 
 
 Add to this. 
 
 Four large land/capes, length-ways, with figures from Albano, publiftied 
 at Rome, 1672. 
 
 The /o«r elements^ large circular prints, from the fame, dated 1695. 
 
 The martyrdom of St. Stephen, a large plate, length-ways, from Annibale 
 Carracci. 
 
 Among thofe in the fecond ftyle, are the following : 
 
 Mojes trampling upon the crown ofPharoah, a large plate length- ways, from 
 Nicholas Poufin. 
 
 Mufes Jiriking the rock, the fame, from the fame mafter. 
 
 The Ifraelites dancing round the golden calf, a fpirited print, the fame, 
 from the fame. 
 
 Several large landfcapes, length-ways, from the fame. 
 
 Some of the flatues, in the garden at Verfailles, were engraved by 
 Baudet. Thefe he has executed with a fingle ftroke, without any hatch- 
 ing, in imitation of Melan, who performed the greater part of thofe ftatues. 
 
 Baudet engraved alfo, from cUffcrent mafters,. a variety of other plates, 
 both at Rome and at Paris, at which laft place I think, it is likely that he died. 
 
 S. R. B A U D O U I N. 
 
 Flouriflied, 
 According to Bafan, this gentleman was an officer in the French guards, 
 and a lover of the arts. He etched for his amufemcnt a fct of prints, from 
 'his own compofitions, confifting of fixty-three plates, reprefenting the military 
 exercife of the French infantry. 
 
 Several battles, from Charles Parocel. 
 
 Several little landfcapes, froaxMichaut, and others. 
 
 ANTONY FRANCIS BAUDUINS, or BAUDOUINS. 
 
 Fiourilhcd, 1 660. 
 This artift was, I believe, a native of France, and, according to M. Hel- 
 neken, the difciple of Vandcr Meulcn. He etched in a bold, free ftyle ; 
 not unlike that adopted after^va^ds by Chatelain, a well known artift, who died 
 in England fomc years fince. Bauduins' beft engravings are from the piftures 
 of Vander Meulen, confifting of many plates ; fome of diem large, and 
 others of various fizes, which may be found in the works of diat painter, in 
 three large folio volumes. 
 
 R. B A U- 
 
^ A U .[ 71 3 ^ A U 
 
 R. B A U D O U X. 
 
 Flourifhedj 
 
 The name of an artift who according to Florent le Comte, engraved 
 fome plates from the defigns of Lucas Van Leyden. I do not recoUedt to 
 have feen any of them. 
 
 J. B A U G I N. 
 
 Flourifhed, 
 
 The name of an obfcure engraver^ affixed to the portrait of H. de la 
 Mo the. 
 
 JOHN WILLIAM B A U R. 
 
 Born, 16 10. Died, 1640. 
 A painter of no fmall eminence, born at Strafburgh, a. d. 1610. He was 
 the difciple of Frederic Brendel, and is univerfally confidered as a man of 
 great genius and fertile imagination. His landfcapes, in which fpecies of 
 painting he chiefly excelled, he ufually enriched with architefture, and a 
 -.variety of figures. But his paintings in water colours on vellum, are held in 
 •the liigheft ellimation. He refided a confiderable time in Italy, and died at 
 Vienna, a. d. 1640, aged 30. This artift engraved a vaft number of plates 
 from his own defigns j and his works were completed by Melchior Kuffel, to 
 the amount of 500 prints, including thofe by his own hand. As his en- 
 gravings from the metamorphofes of Ovid, are generally preferred to the reft, 
 I ftiall only mention thofe, with the following ftiort obfervations. They are 
 flightly etched, and retouched with thegraver. The figures, which are in- 
 troduced, are generally fmall, and very incorre6t in the drawings the back- 
 grounds are dark and heavy, and the trees want that lightnefs and freedom 
 -which are neceflary to render the effeft agreeable. The pieces of architec- 
 ture, which he is very fond of introducing into his defigns, appear to be well 
 executed -, and the perfpeftive is finely preferved. In his manner of en- 
 graving he feem.s in fome degree, to have imitated Callot ; and the nearer 
 he approaches to the ftyle of that m.after, the better are his produftions. 
 Thefe defigns manifeft great marks of a fuperior genius, but without cultiva- 
 tion, or the advantage of a refined judgment to make a proper choice of the 
 moft beautiful objefts. 
 
 The metamorfhofes confift of 150 middling fized plates, length-was. 
 
 PETER BAUT. 
 
 Flouriflied, 
 By this artift, who appears to have been a painter, I have feen a flight 
 etching of a Butch market, executed in a ftyle, that does little honour to him. 
 
 HER- 
 
B A Z [ 72 1 B E A 
 
 HERCULES BAZICALVA. 
 
 Flourifhed, 1641. 
 The name of an engraver, mentioned in the index, at the end of the Abe- 
 cedario j but none of his works are fpecified. I do not recoiled, that 1 have 
 feen any prints by this matter. 
 
 NICHOLAS BAZIN. 
 Flourilhed, 1^92. 
 
 This engraver never arrived at any great excellency ; he was chiefly em- 
 ployed upon devotional fubjefts, which he executed in a ftiff, dry manner, 
 entirely with the graver. Among others, we have by this artift Sai^it Mar- 
 guerite, after Raphael, from a pidture of that mailer, in the king of France's 
 coUedtion, a fmall upright plate. 
 
 And die portrait of Jean Craffet^ a jefuit, dated 1691. 
 
 THOMAS BEARD. 
 
 Flourifhed, 1728. 
 
 A modern engraver in mezzotinto, of no great eminence ; a native, I believe 
 of Ireland. Among other prints of his, we have the portrait of the arch- 
 bijhof of Armagh, z.\^\io\^\tr\%x}[\yi\Q)\Xi P. Afhton, dated 1728. Alfo the 
 countejs of Clarendon^ from Kneller ; and John Sterve, bifhop of Clogher, 
 from Carlton, &c. 
 
 NICCOLOBEATRICL 
 
 Flourifhed, 1550. 
 
 This artift was a native of Lorrain ; but the chief part of his works were 
 executed at Rome. I will not take upon me to fay, that he was a difciple 
 of Marc Antonio Ramondi ; but, I think, there is feme foundation for fuch 
 an opinion. And the manner of engraving, which he ufually adopted, feems 
 to me to have been founded on a beautiful print by that mafter, after Raphael, 
 reprefenting the temped dcfcribed by Virgil, in the opening of the iEneid, 
 where Neptune is rifing from thefea, and /peaking to the winds. The frame 
 or border confifts of feveral compartments, in which are defigned the con- 
 tinuation of the ftory of jEneas. How far he fell fliort in tiie imitation, 
 granting it to have been fuch, his prints, compared with the beautiful ori- 
 ginal, will too evidently declare. I know no reafon why his works are 
 valuable, but as they are, in feveral inftances the only copies we have from 
 the defigns of fome of the greateft mafters. I own, to me they feem to want 
 every requifite, that a fine engraving ought to poflcis, namely, drawing, cha- 
 rafter, effeft, and mechanical execution. 
 
 There is a confiderable number of prints, attributed to Beatrici, which 
 certainly, in my opinion, do not belong to him. They are by an artift every 
 way fuperior to him ; an artift, who does honour to the fchool of Marc Anto- 
 nio, and whofe manner he imitated, Thefe prints are varioufly marked ; 
 
 fometimes 
 
B E A [ 73 ] B E A 
 
 fometimes with a plain dye ; then it has figures upon it, and often, inftead of 
 the figures, the letter B. However, on examining carefully the feparate 
 engravings thus marked, they appear evidently to belong to the fame mafter. 
 And thofe, in particular, with the B. have been falfely attributed to Beatrici. 
 I fhall defer what I have further to fay upon this matter for the prefenr, and 
 fpeak more fully upon it under the name of Bartolomeo Beham. A curiou; 
 «ypher, attributed to Beatrici, is copied on the plate at the end of the volume. 
 His ufual marks were N. B. joined together, or feparate, or N. B. L. F. and, 
 when he wrote his name at length, in the foUov.ing manner : Nicolaus Bea- 
 tricius Lotheringus fecit. 
 
 I fhall notice the following prints, which are certainly by tliis engraver: 
 
 Th.Q converfion of St. Paul, a large print, length-ways, from M. Angelo 
 Buonaroti. 
 
 The prophet Jeremiah, a large upright plate, dated 1 547, after a pidlure by 
 the fame mafter, in the chapel of the Vatican. 
 
 The annunciation, a large plate, length-ways, from tiie fame mafter. 
 
 An emblematical JubjeEl, reprefenting boys carrying a dead ox, whilft 
 others are feething flefli in a caldron. Towards the left, is a female fatyr 
 with two children ; one of which is at her breaft : a middling fized plate, 
 length-ways. The fame fubjedt was alfo engraved by Marc da Ravenna. 
 
 Th.t facrifice of Iphigenia, a middling fized plate, length-ways, from Perino 
 del Vaga. 
 
 St. Elizabeth, queen of Hungary, relieving the diflrejfed, a large upright 
 plate, from Jerom Mufciano. 
 
 A river god, dated 1560. 
 
 There is a beautiful middling fized upright print, reprefenting the fall of 
 Phaeton; and at the bottom appear his three fifters, and a river god. From 
 Michael Angelo ; but v/ho the engraver originally was is uncertain, it not 
 having any name or mark, by which it might be diftinguiflied. This plate 
 fell into the hands of Beatrici, and he retouched it, adding his own name, 
 Beatrix Lotaring. reftitut. I apprehend, Beatrici was a printfeller, as well 
 as an engraver ; for we frequently find by the infcriptions upon his plates, 
 that he publiftied them himfelf. , 
 
 He engraved a great variety of other plates from diff'erent mafters. 
 
 ROBERT BEAUDOUX. 
 
 Flouri filed, 1628. 
 
 A native of Bruflels ; but an artift of no great eminence. He worked 
 chiefly, if not entirely, with the graver; and his ftyle refembles that of De 
 Ghyen. Among others, by this engraver, are feme of thofe large plates, 
 length- ways, which were publiftied in a book entitled, Academie de Uefpee de 
 Cirard Thibault d'Anvers, dated 1628. 
 
 BEAUMONT. 
 
 Flouriflied, 
 A modern French engraver, by whom we have feveral prints, from dif- 
 voL. I. L ferent 
 
B E A [ 74 ] B E C 
 
 ferent malVers : among the reft, eight middling fized plates, length-ways, 
 from Wouvermans -, and two upright plates, from the fame mailer. 
 
 NICHOLAS DAUPHIN DE BEAUVAIS. 
 
 Flourifhed, 172.2. 
 
 A French engraver of fome eminence. It is uncertain under what mafter 
 he lludied ; but, I think, fomething of the ftyle of Girard Edelink is often 
 found in his beft works, though his manner is much varied. Among his 
 moft efteemed prints m.ay be placed the following : 
 
 The Virgin with the infant Jefus upon a pedeftal, and feveral faints 
 below, from a pifture of Corregio in the Drefden gallery, a large upright 
 plate. 
 
 St Jerom, after Vandyke, from a pifture in the fame galler}^, a middling 
 fized plate, length-ways. 
 
 Mary Magdalen in the defert, a middling fized upright plate, from Ben- 
 nedatto Lutti, for the Crozat colleftion. 
 
 The triumph of Bacchus and Ariadne, from Nicholas Poufin, a middling 
 fized plate, length-ways. 
 
 Loveflealing Jupiter's thunder, from Le Sueur, a middling fized circular 
 plate. 
 
 He alfo engraved from Le Brun, and other mafters. 
 
 D O M E N I C O B E C C A F U M I. See Micarino. 
 
 I S A A C B E C K E T. 
 Born, 1653. Died, 
 
 An engraver in mezzotinto of fome eminence. He was born in Kent, 
 A. D. 1653 ; and was firft an apprentice to a callico printer; but becoming 
 acquainted with Lutterel, an engraver in mezzotinto, he was defirous of 
 learning that art. Some time after, being obliged to leave his bufinefs,, in 
 confequence of an intrigue, he had recourfe to one Loyd, a printfeller, who 
 was acquainted with the fecret of fcraping mezzotinto, but unable to prac- 
 tife it himfelf; and from him Becket obtained it. They entered into articles 
 together, and Becket engaged to work for Loyd ; but falling into trouble 
 again, he was aflifted by Lutterel ; and from that time an intimacy com- 
 menced between them. Becket, not long after, married a woman of fome 
 fortune, and entered into bufinefs upon his own account, being ftill aflifted 
 by Lutterel, who drew better, and was more expeditious. 
 
 Becket's mezzotintos poifefs fome degree of merit. They are often clear 
 and well fcraped ; but it has been remarked, that his middle tints are not 
 fufficicntly diftinguifhed, which makes his fhadows appear flat and heavy. 
 One of his beft prints, in my opinion, is engraved on a middling fized upright 
 plate, reprefenting Adrain Beverland drawing from a ftatue. In the back- 
 ground are monuments, pyramids, and feveral other relics of antiquity. 
 
 Add the following, 
 
 Lady JVilliams, whole length, a large upright plate. 
 
 John duke of Lauderdale, a middling fized upright plate, oval. 
 
 His royal highnefs, Cecrge prince of Denmark, &c. 
 
 COR- 
 
BEG [ 75 1 B E H 
 
 CORNELIUS BEG A, or BEGEYN. 
 
 Born, 1610. Died, 1664. ^, ' 
 
 This artlft, a native of Haerlem, was difciple to Adrain Oftade ; and under 
 that mafter he made luch improvement, as to be efteemed his beft fcholar. 
 Happy had it been for him, if his afiiduity had been equal to his natural 
 abilities. But running into a licentious way of living, his father difowned. 
 him i and he, in return, defpifmg his family name, which was Begeyn, afllimed 
 that of Bega. 
 
 He died of the plague, a. d. 1664, aged 44 years. His death was 
 occafioned by his excefTive attachment to a favorite female, whom, though 
 fhe had caught that dreadful diforder, he could not be prevailed upon to 
 quit ; and from her he received the infeftion, and outlived her only a few 
 days. 
 
 He etched feveral drolleries, and a fet of thirty-four prints, reprcfenting 
 alc-houfe fcenes, &c. 
 
 LAURENTIUS BEGER. 
 
 Flourifhed, 1700. 
 
 Laurentus Beger, fays profeflbr Chrift, was nephew to the famous 
 antiquary of the ftme name. According to this author, he engraved at 
 Berlin, about the year 1700, twelve anatomical plates, taken from the defigns 
 in Vefalius ; and it is likely, adds he, that the greater part of the plates of 
 antiquities, publiflied by his uncle, under the title of Thefaurus Branden- 
 burgicuSj were engraved by this artift. 
 
 HANS or JOHN SEBALD BE HAM. 
 
 Flourifhed, 1540. 
 
 The works of this eminent artift, being chiefly very fmall, he is ranked in 
 that clafs of engravers, diftinguilhed by the name oi little mafiers. By the 
 Abbe Marolles, Le Comte, and odier authors, he is falfely called Hifbens. 
 How fuch an unaccountable miftake fliould happen I know not ; for he has 
 more than once written part of his name at length thus, Sebald or Sebaldus 
 Beham; and his monogram is compofed of an H. an S. and a B. all joined 
 together. Becaufe he has omitted the word Hans or John, where his other 
 names are written, profeflbr Chrift fuppofes, that it did not belong to him. 
 But, I think with Sandrart, that it is not reafonable to imagine he would have 
 added the H. to his cypher, without fufficient reafon. It is neceflTary to 
 caution my readers, not to confound this mafter with a more early engraver, 
 who ufed a monogram much like his, but fubftituted a P. inftead of the B. 
 Beham ftyles himfelf of Nuremberg; and moft likely he was a native of that 
 city. To what mafter he owed his inftruftions in the art of engraving, 
 is very uncertain. It might be Heniy Aldegrever; at leaft, it is certain, 
 that the works of that artift, and his tutor Albert Durer, were the fources, 
 from which Beham drew his greateft improvement. Like them he engraved 
 on wood, as well as on copper, and alfo etched fome few plates; but thefe 
 laft are by far the moft indifferent, as diey are the fmalleft part of his works. 
 
 L 2 If 
 
B E H [ 76 ] B E H 
 
 If Beham's ftyle of engraving be not original, it is at leaft, an excellent and 
 a fpirited imitation of that which was adopted by the beft preceding ir.afters 
 of the country in which he refided. His piftures (for he was a painter) as 
 well as his engravings, were held in fuch high eftimation, that the poets of 
 that age celebrated him in their poems, calling him in Latin Bohemus. 
 
 He was certainly a man of much genius, and poffefled great fertility of 
 invention. But the Gothic tafte, which fo generally prevailed in Germany 
 at this time, is much too prevalent in his works. His draperies are ftiff, and 
 loaded with a multiplicity of fliort, inelegant folds. His drawing of the 
 naked figure, which he is fond of introduciTig, though mannered, is often very 
 corred, and fometimes malterly. His heads, and the other extremities of 
 his figures, are carefully determined, and often pofTefs much merit. The 
 mechanical part of the engraving, on his copper-plates, is executed with the 
 graver only, in fo clear and delicate a manner, that his great facility and 
 judgment in handling that inftrument is abundantly evident. Thofe prints, 
 which he has cut in wood, are flight, but very fpirited and free. Of diefe 
 laft I fl-iall only mention 
 
 A fet of prints for a fmall oftavo book, entitled, Bihlicie Hifioria artifi- 
 ciofiffinie depicta. Francfort, 1537, with his mark. 
 
 On copper, his works are fo numerous, and the fubjefts fo different, that 
 even a general lift would far exceed the limits of this book. I fhall there- 
 fore only notice the following : 
 
 Hiftory of the creation and fall of man, very fmall upright plates, with his 
 
 mark. 
 
 The labours of Hercules, twelve veiy fmall plates, length-ways, with his 
 mark, dated from 154^5 to 1548. 
 
 The virtues and vices, fmall upright plates. 
 
 Several veiy fmall plates, length-ways, reprefenting ruftics fighting. Sec. 
 
 The marriage at Cana in Galilee, a fmall plate, length-ways ; where, on 
 a tablet, is his cypher, and part of his name, sebolt beham. 
 
 Several fmall upright plates, reprefenting melancholy, faith, fortune, &c. 
 dated from 1539 to 1549- 
 
 Patience, a fmall upright plate, on which is written, Sebaldus Beham ficior 
 Noricus Faciebat, with his cypher. 
 
 BARTOLOMEO BEHAM. 
 
 Flouriflied, 1 540. 
 
 This artift is generally allowed to have been the brother of John Sebald 
 Beham, mentioned in the preceding article. But his refidence was chiefly at 
 Rome, where perhaps he died. 
 
 Sandrart and other authors inform us, that he was the difciple of Marc 
 Antonio Raimondi. If it be true, that he ftudied under Marc Antonio (and 
 I fee no reafon to doubt it) we may naturally fuppofe, that, in his drawing 
 and en^ravin-^, he contrafted fomething of the manner of that eminent mafter. 
 This will evidently appear, if thofe prints really belong to Beham, 
 which are marked B. B. and they have always been attributed to him 
 witliout any difpute. From a ftrong refemblance between tliofe prints, and 
 
 fomc 
 
B E H [ 77 ] B E H 
 
 fome others too excellent to be omitted, marked with a die (which in fome 
 few cafes is plain, but more generally diftinguiflied by the mimbers upon it, 
 or the letter B. when the numbers are wanting) I have been led to confider 
 the latter, as produftions of the fame hand v/ith the former. I am aware, 
 that the generality of authors are againft me ; following MaroUes, they 
 have attributed thefe prints, marked with the B. upon the die, to Bcatrici. 
 And fome, for want of better information, have placed thofe marked with the 
 die, without the B. to an engraver, named Dado-, which word in Italian 
 fignities a die. However, the exiftence of fuch an artift as Dado is very 
 doubtful ; but granting that he did exift, and tliat the prints attributed to him 
 are really the produftions of his graver, it will follow, that thofe prints, having 
 the B. upon the die, muft belong to him alfo ; for the ftyle of the drawing 
 and engraving is fo precifely alike in both, that it is next to an impoffibility, 
 that they Ihould be the works of different artifts. My reafon for fuppofing 
 that they did not belong to Beatrici, I have already mentioned, in the account 
 of that artift, they being greatly fupcrior, in every refpeft, to his engravino-s. 
 The B. may refer to both the names of Beham ; and if it be objefted, that 
 the die can have no reference to either of his names, I have only to anfwer, 
 that the fame may be faid of the tablet ufed by Marc Antonio, with which he 
 frequently marked his engravings, without his monogram, or any other means 
 of diftinftion. In imitation of Marc Antonio, his mafter j Beham may have 
 adopted the dies, and ufed them occafionally widiout any letter, as he did his 
 tablet. 
 
 If we confider all thefe plates as engraved by Beham, he will appear to have 
 been a very excellent artift, and one of the fuperior fcholars of Marc Antonio, 
 whofe ftyle of engraving he imitated witJi great fuccefs. His drawing is 
 correft and mafterly ; his heads are charafteriftic, and the other extremities of 
 his figures well marked. 
 
 I ftiall, however, diftinguifh the feveral plates, mentioning only a few under 
 each mark. 
 
 And First, thofe marked B. B. F. The four Evangelifts, middling fized 
 upright plates. Hieronimus Cock excud. 1551. Fine impreflions of thefe 
 plates are rarely feen. 
 
 Secondly, thofe marked with the letter B. upon the die: Apollo caufing 
 thejatyr Martias to be flead, a middling fized plate, length-ways, from 
 Raphael. 
 
 Chrijl giving his charge to Peter , a fmall plate, length- ways, from the lame. 
 
 A naval combat, a large plate, length- ways. 
 
 A land/cape, with many animals lying round a tree ; at the top of which 
 appears a phoenix, fetting fire to her neft; with eight Italian verfes under- 
 neath; a fmall plate, length-ways. 
 
 Four middling lized friezes, length-ways, ornamented with feftoons of 
 flowers, and boys playing, raph. vrb. in. Ant. Laferii formis. 
 
 Thirdly, thofe with the die, without the letter : 
 
 jipollo and the Python, a middling Hzed upright plate. 
 
 Apollo and Daphne, the fame. 
 
 I do not in the leaft hefitate in my own opinion, to attribute to this en- 
 graver 
 
B E H [ 78 ] BEL 
 
 graver, whoever he might be, all thofe prints for the Cupid and Plyche of 
 Apuleius, which are ulually faid to be by Marc Antonio, but without any 
 folid foundation. It is alfo, according to M. Heineken, exceedingly doubt- 
 ful, whether they were defigned by Raphael or not. He himfelf, however, 
 feems to think they were not ; but has not given his reafons, they being 
 referved for a future volume of his valuable work. 
 
 FRANCOIS JOACHIM BEICH or BEISCH. 
 
 Born, 1665. Died, 1748...^ 
 
 An excellent painter of landfcapes and battles, who was born at Ravenf- 
 burg in Swabia, and died at Munich, a. d. 1748, aged 83 years. He etched 
 fome kw landfcapes from his own compofitions. 
 
 MATHIAS BEITLER. 
 
 Flourifhed, 16 16. 
 This artifl: appears to have refided at Augfburg ; and it is poflible he may 
 have been a native of that place. He is cited by profeflbr Chrift for feveral 
 linall engravings of foliage, publifhed at that city, a. d. 1616, which he men- 
 tions with fome degree of approbation. See his cypher on the plate at the 
 end of the volume. 
 
 B E K. 
 
 Flourilhed, 
 An engraver little known in England, by whom we have, among other 
 things, the portrait of Peter Malmberg, almoner to Charles XII. king of 
 Sweden. 
 
 T. BE LB RULE. 
 
 Flouriflied, 
 " I have feen," fays Papillon, " by this artifl; fome ornamental flowers, 
 «* engraved very delicately on wood ; and I have a book, containing i\n: figures 
 *' of the Sibyls, engraved on copper, by John Rabel, in which is a fmall wood 
 " cut, exceedingly well executed, by T. Bclbrule. This book is dedicated 
 « to Louifa de Lorrain, wife to Henry the Third, king of France. Oppofite 
 " to the portrait of this Queen are fome Latin verfes, compofed by John 
 " Belbrulii Lemovicenfts Jdvocatus, the brother of the prefent artift, in honor 
 « of J. Rabel." 
 
 STEFANO DE LA BELLA. 
 
 Born, 16 10. Died, 1664. v/ 
 This excellent artift was born at Florence, a. d. 1610. His father was a 
 goldfmidi ; and he himfelf began to work at his father's bufinefs. But 
 whilft lie was learning to drawj in order to peifed himfelf in that profelTion, 
 
 fome 
 
BEL [ 79 3 BEL 
 
 fome of the prints of Callot fell by accident into his hands ; with wliich he 
 was fo delighted, that he prevailed upon his father to permit him to apply 
 himfelf to engraving ; and he became the difciple of Canta Gallina, who was 
 alfo the inftrufter of Callot. De la Bella, at firft imitated the manner of 
 Callot. His abilities foon began to manifeft themJelves ; and as, by degrees, 
 he acquired a facility in the handling of the point, he quitted the ftyle in 
 which he only fhone as an imitator, and adopted one entirely his own, which 
 in freedom and fpirit is faid even to have furpafled that of his fellow difciple. 
 
 He went to Paris, a. d. 1642, where lie formed an acquaintance with 
 Ifrael Silveftre, tlien newly returned from Rome; and he was much employed 
 by Henriete, the uncle of Silveftre, Some time after. Cardinal Richelieu 
 engaged him to go to Arras, and make drawings of the fiege and taking 
 of that town by the royal army ; wiiich drawings he engraved at his return. 
 He alfo went to Plolland, where, it is reported, he faw fome of the prints of 
 Rembrant Gerretfz, and attempted to imitate them j but finding he did not 
 fucceed to his expeftations, he dropped that defign, and continued to purfue 
 his own manner, as moft fuitable to his genius. 
 
 After abiding fome confiderable rime at Paris, his family affairs obliged him 
 to return to Florence ; where he obtained a penfion from the great duke, and 
 was appointed to inftruft the prince Cofmus, his fon, in the art of defign. 
 Being fubjed: to violent pains in the head ; his life was rendered very uncom- 
 fortable by this cruel difordcr, which at laft put an end to it, a. d. 1664, 
 when he was only 54 years of age. 
 
 The free and mafterly etchings of this excellent artift are well known ; and 
 the high eftimation they are generally held in, by the beft judges of dieir merit, 
 renders it unneceflary for me to fay much in praife of them ; and it would be 
 ftill more foreign from my purpofe, to enter into that fruitlefs difpute, which 
 has exercifed the pens of fome able foreign writers, namely, whether the works 
 of Callot or De la Bella poflefs the greater merit. For my own part, I fee no 
 reafon to compare tliem together ; ei'pecially if it be true, as I conceive it is, 
 that the excellence of De la Bella confilts in the freedom of his point, and the 
 lightnefs and elegance of his figures ; and of Callot, in the clearnefs and 
 perfpicuity of his defigns, the arrangement of his groups, and the firmnefs of 
 his outline. 
 
 De la Bella drew very corredlly, and with great tafte. His works manifeft 
 much genius, and vaft fertility of invention. The fire and animation, which 
 appears in them, compenfates for their (lightnefs j and we may reafonably 
 expect to find them flight, when we are told, that he engraved 1400 plates. 
 The limits of this work wU admit but of very fev/ ; and firft the following, in 
 which he has imitated the ftyle of Callot : 
 
 Six viezvs of Livourne, middling fized plates, length-ways. 
 
 Several fets o{ Jhipping, &c. the fame. 
 
 Add to thefe, 
 
 A holy family y the Virgin is reprefented feated under a tree, and Jofeph is 
 reading in a book. 
 
 Several madonas, &c. 
 
 The repojoir, a large plate^ length-ways : it is very difEcult to find a good 
 impreffion of tliis print. 
 
 1 The 
 
BEL [ 80 ] BEL 
 
 The view of PoJit-Netif at Paris, a large plate, length-ways. T!ie firft 
 impreirioiis of this plate were taken before the weathercock was added to the 
 fteeple of St. Germain I'Auxerrois. 
 
 St. Pro/per, a middling fized plate, length-ways, faid to be a very fcarce 
 print. 
 
 A fet of five fmall ovals, in which he has reprefented Death carrying away 
 jper/orts of various ages. 
 
 Death mounted on the Jkeleton of a horje, riding furioufly into a battle, a 
 fmall plate length-ways. 
 
 Parnajfus, a middling fized upright plate, a fcarce print. 
 
 The rock, anotiier fcarce print, die fame fize as the foregoing. 
 
 A book offludies, for drawing. 
 
 Several lets of animals. 
 
 A fet of beggar-jnen, women, &c. 
 
 A variety of fets of hunting, ffApping, land/capes, ornaments, &c. 
 
 JAMES BELLANGE. 
 Flouriflied, 
 
 A French artifl:, who flouriflied towards the latter part of the lafl: century. 
 He learned the principles of drawing from Claude Henriet, a painter of very 
 moderate abilities. I find no account of the parentage of our artitl : but it 
 appears that he was a native of Chalons, and eftablifhed at Nancy. He feema 
 to have acquired fome honorary title, as his plates are often infcribed Bellange, 
 eques. 
 
 Bafan fays of him, that " he was a bad painter, and worfe engraver. In 
 " his etchings, which are from his own compofition," adds the fame author, 
 " we find much fire^ more caprice than judgment, little correftion, and a 
 « very bad tafte in the engraving." If thefe obfervations be true in fome 
 few inftances, I think I may confidently aflert, that diey are too harfli upon 
 the whole. I have now before me a fmall upright plate by this ardft, etched 
 from a dcfign of his own. It reprefents the Virgin with the infant Jefus. 
 The ftyle of engraving, however fingular, is by no means deftitute of merit ; 
 his drawing appears to me to be incorreft, rather from affedation, than 
 want of knowledge ; the whole figure of the child is well executed ; there 
 is, indeed, an awkwardnefs in the turn of the figure of the Virgin ; and the 
 charaftcr of her head is childifli, and deflitute of that dignity, which is requifite 
 for this holy perfonage. His etchings, in general, are flight, but free, and 
 often mafl:erly. The naked parts of his figures he finiflied with fmall dots, 
 made by the graver, to harmonize the roughnefs of the flrokes left by the 
 aquafortis. I fliall only mention the following by this artifl:; becaufe his 
 works are by no means uncommon : 
 
 A holy family, with St. John and St. Catherine, a large upright plate. 
 
 The refurre5lion of Lazarus, a middling fized upright plate. 
 
 A dead Chrift, fupported on the knees of the Virgin, a fmall upright plate. 
 
 Cbrifi carrying the crofs, a large plate, lengdi-ways, &c. 
 
 J. A. 
 
BEL [ 8r ] BEN 
 
 • J. A. B E L L A N G E R, 
 
 Flouriflied, 
 
 If I underftand Bafan, this gentleman was a modern connoilTeur, who 
 refided at Paris. He defigned and etched for his own amufement. The 
 fame author fpecifies two prints by him, namely, the miracle of the loaves and 
 Jijhes., and thtjchool of Athens, both fmall plates, length-ways; and informs 
 us, that he did feveral others from his own compofition, in which, adds he, 
 we difcover great t-afte, knowledge, and correftion. 
 
 D U B E L L A Y. 
 
 Flourifhed, 
 
 . An engraver on wood, who flouriflied about the middleof the laft century. 
 I Have never feen any of his performances ; Pap'llon fpeaks of him in the 
 following manner : " I make mention of Du Bellay, engraver on wood, 
 not for the beauty of his works, but becaufe he had the Honour of inftrufting, 
 in this art, the famous Peter le Sueur, the elder. He alfo taught, at the 
 fame time, John Papillon my grandfather.' 
 
 JAMES BELLI. 
 
 ...;;■;.(. !i Flouriflied, 1641. 
 
 This artift was a native of Chartres, but he appears to have refided chiefly 
 in Italy. From the ftyle of his etchings, for they are little more than etch- 
 ings, I fuppofe he was a painter. They are flightly executed, but with fpirit, 
 and often in a mafterly ftyle. His drawing, however, is not corredl, nor are 
 the extremities well marked. We have feveral prints by him, from Annibale 
 Ca'hracci and othtr matters J and the following perhaps from his' own com- 
 pofitions.: ' ■ - 
 
 Jupiter and Juno, a middling fized plate, nearly fquare. 
 
 Hercules and Omphale, the fame. 
 
 Venus and Adonis, the fame. 
 
 Diana and Endymion^ the fame. Thefe laft are dated 1641- 
 
 B E N A I. 
 
 Flourifticd, 
 This is a name, which I have feen infcribed upon fome fmall copies of the 
 labours of Hercules, from John Sebald Beham. I infert it, however, with 
 caution ; becaufe on one of thefe prints, namely where Hercules is reprefented 
 ftrangling the lion, 1 found the letters L. R. upon a ftone at the bottom, 
 which are faid to be the initials ufed by a very ancient engraver, named 
 Lubert Rufi. But according to all appearance, thefe prints are by no 
 means fufRciently old to be attributed to that artift. 
 
 J. F, B E N A R D. 
 
 Flouriftied, 1672. 
 
 His chief employment feems to have been in the architedal and ornamen- 
 VOL. I. M tal 
 
BEN [ 82 ] BEN 
 
 tal line. He engraved many of the plates of ornaments for Berain, which 
 were publilhed at Paris in a large folio volume, towards the end of the laft 
 century. 
 
 R. B E N A R D. 
 
 Flouriihed, 1756. 
 A name I have feen affixed to fome flight French prints, of little merit, 
 by a very modern artift, who engraved in the ftyle of P. Aveline, and 
 they are dated 1756. 
 
 JOHN BAPTIST BENASCHI; 
 
 Born, 1636. Died, 1690. 
 
 This artift was a native of Piedmont, where he was born a. d. 1636. 
 He was a difciple of Pietro del Po. The works of Lanfranchi fo greatly 
 delighted him, that he applied himfelf afliduouny to imitate them j and 
 fucceeded fo well in his attempt, that his pidures have been mif- 
 taken for the perfomnances of that mafter. He is generally fpoken of as a 
 man of great genius ; and the freedom and facility, which appear in his pic- 
 tures, are highly commended. He died at Rome, a. d. 1690, aged 54. 
 For his amufement he etthed, 
 
 A holy family, a middling fized, upright plate, from Dominicus Cerini, who 
 was his intimate friend. 
 
 F. BENASECH. 
 
 Flouriflied, ^^ 
 A modern engraver as it ftiould appear ; and, according to Bafan, an Eng* 
 iifliman, by whom we have fome land/capes, after Vernet and other painters. . 
 
 BENEDETTO, See Castigmone. 
 
 B E N O I S T. 
 
 Flourifhed, 1760. , 
 
 A modern engraver, by birth a Frenchman ; but eftablilhed in Lon- 
 don, where he died a very few years fince. He chiefly confined him- 
 felf to fmall plates, which he executed in a neat ftyle, though with little tafte. 
 We have fome battles by him, from defigns of his own ; and a few poriraiff, 
 and book plates^ of very little eftimation. 
 
 J. BENSHEIMER. 
 
 Flouriftied, 1680. 
 An engraver, whofe employment appears to have been chiefly in the por- 
 trait line. A fet of portraits of the EleSfors of Saxony, are by this artift. 
 His ufual mark is I. B. the initials of his name. 
 
 G I U L I O 
 
BEN [ 83 1 B E R 
 
 G I U L I O BE N S I. 
 
 Born, Died, 1668. 
 
 A painter and artift of great eminence, born at Geneva. In the Abece- 
 dario he is fpoken of with great commendation. According to Bafan, he 
 etched feveral plates from his own compofitions. He died, a. d. 1668. 
 
 JOHN BERAIN or BERRAIN. 
 
 Flourifhed, 1670. 
 
 This artift was a native of France, and a defigner, as well as an engraver. 
 Conjointly with Chauveau and Le Moine, he drew and engraved the plates 
 for a large work in folio, entitled Ornamens du Peinture et de Sculpture, dans 
 le Gallerie d'Apollon du Louvre, et dans le grand Apartement du Roy aux Tuil- 
 ieries : in Englifh, " the Ornaments of Painting and Sculpture, which are in 
 tlie Gallery' of Apollo at the Louvre, and the great Apartment of the King 
 at the Tuiileries." The ftyle, in which thefe plates are engraved, is very 
 neat J but ftiff, and without much tafte ; and the figures, which occafionally 
 occur, are by no means corredb. 
 
 B E R A R D I. 
 
 Flourifhed, 
 
 A modern Italian artift, whofe chief employment feems to have been 
 engraving portraits. I ftiall only mention three, which are from Piazetta ; 
 namely, the portraits of that painter^ of J. B. Jlbuzzi, and of G. B. Cignazelli. 
 
 JOHN BERBE. 
 
 Flouriftied, 
 
 An obfcure engraver, but of great merit. His works, which probably were 
 very few, have efcaped the notice of the generality of authors. Of 
 what country he was a native, or where he refided, I cannot fay. His 
 ftyle of engraving is neat, and fomething bordering upon that of Paul Pon- 
 tius. I have feen by him, 
 
 A holy family, a middling fized upright plate, arched at top, from Francifco 
 Franca. 
 
 A Virgin and Child, a fmall upright plate, arched at top. In this print, 
 which has no name of the painter, a bird is reprefented, coming from a cage 
 to the infant Chrift. It was publiftied by T. Galle. 
 
 It is with caution, that I diftinguifh the works of this artift from thofe of 
 John Baptift Barbe, fpoken of in a former page. The name on the above- 
 mentioned prints is evidently Berbe ; and the ftyle of engraving, though in 
 fome refpefts fimilar to that of Barbe, yet, on the whole, appears to me to 
 manifeft a fufEcient difference to juftify this diftinftion. 
 
 NICHOLAS BERCHEM, or BERGHEM. 
 Born, 1624. Died, 1683. ., 
 
 This excellent artift, a native of Haerlem, was born, a. d. 1624. 
 
 Ma He 
 
B E R. [ 84 ] B E R 
 
 He received inftruflions in the art of painting from feveral very 
 eminent mafters ; and it was no fmall addition to thieir fame, that Ber- 
 ohem was their fcholar.. The charming pidtures of cattle and figures, by 
 Uiis admirable mailer, are piftly held in the higheft eftimadon. He ha,s 
 been fmo-utarly happy, in having many of them finely engraved by Jtjhn 
 ViflTcher, an" artill: of the firft rank ; of whom an account will be given here- 
 after. Bercham died, a. d, 1683, aged 59. 
 
 We liave fevcral etchings by the hand of this mafter, which are much more 
 finilhed and determined, than one generally expeds to find from the point of 
 the painter. They are executed hi a fine, bold, maflerly ftyle ;. and the 
 anim.als, which form the chief part of diem, are finely drawn. From th? 
 beautiful etchings of this great artift, John Viffcher feems to have formed 
 that admirable ftyle, in wliich he engraved the copies from his pictures men- 
 tioned above. 1 fliall notice the following by Berchem : 
 
 A boy Jeated on an afs, Jpeaking to another bey, who holds a pair of bag- 
 pipes ; a middling fized plate, length-v/ays. 
 
 'a hoy playing en a flute, and a girl /pinning, with cows and flieep in the 
 fore-ground, dated 1652 ; a middling fized, upright plate, with four others, 
 which complete the fet. 
 
 A woman wnflAng her feet in. a hrooky and a man behind her leaning on a 
 flick ; with various animals, and a ruin, in the back-ground ; a fiTiall plate, 
 length-ways. 
 
 'T-njo cows lying down, and a third ft anding up, with a fine landfcape back- 
 ground, a fmall plate, length-ways. 
 
 A fet of four fmall plates, lengdi-ways, of animals ; in one of which is 
 reprefented an ajs ftanding, and ether animals lying down. 
 
 A variety of other finall prints of co-ws, oxen, peep, goats, and other 
 animals, equally beautiful. 
 
 The author of the Abecedario has made a ftrange miftake, with refpeft 
 to this artift, mifled by his mark or cypher, which is compofcd of a B. with 
 a C. upon the ftroke at the top; he calls him Cornelius Berchem. Florent 
 le Comte has gone ftill farther, and made two artifts of tliis name ; one, Ni- 
 cholas, the celebrated cattle painter; the other, Cornelius, who, fays he, 
 painted landfcapes ; and fome plates are done from his piftures, marked 
 with his name ; but they are, however, etched by John Viflcher; The latter 
 afiertion is as grofs an ovcrfight, as the former. See his mark on the plate 
 at the end of tl-te volume. The C. ftands for Claus, the common abbre- 
 viation of Nicholas, as we fliall fee hereafter in feveral other inftances. 
 
 PETER BERCHET. 
 
 Born, 1659. Died, 1720. 
 W" A nadve of France, who ftudied, as a painter, under La Fofle. In the year 
 168 1 he came into England, and worked under Rambour, a French painter 
 of architefture ; and afterwards was employed by feveral of the Englifli 
 nobility. The ceiling of the Chapel of Trinity College, Oxford, was painted 
 by him ; and the ftair-cafe, at the houfe of the Duke of Schomberg in Lon- 
 don, &c. His paintings are fpoken of with fome degree of praife. He alfo 
 
 amufed 
 
 ^-<- 
 
B E R [ S5 "] B E R 
 
 amufed himfelf v/ith the point. I have feen by him a fpirited etching, froiir 
 a compofition of his ov/n, reprefenting a figure of St, Cecilia in the clouds\ 
 playing upon the violin,, and furrounded by angels. This plate was a. ticket 
 of admittance to a concert at St. Bride's Church, Fleet-Street, on Monday, 
 November 23, 1696. 
 
 We have alfo etched by him, from his own defigns, fome children flaying, 
 &c. but none of them are of any great conf^quence. 
 
 His laft performance, a Bacchanalian pifture, to which he is faid to have 
 affixed his name, the day before he died, in the year 17 21, he being thca 
 61 years of age. 
 
 NICOLAS VANDER BERG or BERGK. 
 
 Flourifhed, 1764. 
 According to Bafan, this artift refided at Antwerp, and etched feveral 
 plates from Rubens j among others, the portrait of Jujlus Lipfius, a fmalL 
 upright plate ; a portrait of a religious per/on, half length, before a crucifix, 
 the fame fize, &c. He ufually marks his plates N. V. D. Berg. 
 
 P. VAN DER BERGE. 
 
 Flouriflied, 
 
 Apparently a Dutch artift, and probably a painter, fie appears, at leaft» 
 to have etched the greater part of his plates from his own defigns. The moll 
 confiderable work, that I have fecn by him is, a folio volume of prints, 
 entitled Theatrum Hijpatiix, or views of the towns, palaces, &c. of Spain ; 
 publiflied at Amfterdam without date ; but, according to all appearance, thefe 
 plates were executed towards the end of the laft centuiy. They are flightly 
 etched, in a clear, determined ftyle, but very ftifF; yet fufficiently finifhed' 
 to convey a good idea of the places they reprefent, and of which they appear 
 to be juft copies. The figures which are introduced to enliven the views, 
 are very incorredlly drawn, and as indifferently engraved. 
 
 He alfo engraved fome portraits ; but thefe are in a ftiff, laboured ftyle, 
 without much tafte : among the reft, 
 
 A Jew Rabbi, a middling fized upright plate, with a Hebrew infcription,. 
 marked " P. V. D. Bergead vivum del. et fee." 
 
 I have alfo feen by him. 
 
 The triutnph of Galatea, from Antony Coypel, a middling fized plate,^, 
 length-ways, which has much of that dry, taftelefs ftyle, in which P. Gunft- 
 engraved. 
 
 B E R G E R S. 
 
 Flouriftied, 
 A modern engraver, by whom we hav€ the portrait of the prince and prsn- 
 cejs of Prujfiay &c. 
 
 B E R G H E M. 
 
B r^ R [ 86 ] B E R 
 
 B E R G H E M. See Berchem, 
 
 JOHN DE BERGMAN. 
 Flouriflied, 1490. 
 
 He was, fays Papillon, a native of Olpe -, he engraved one hundred and 
 eighteen prints on wood, for a book, entitled, Stultifera Navis, or the Ship 
 of Fools ; the firft edition of which is fuppofed to have been printed, 1490 ; 
 the fecond is dated 1494. I wifli my author had pioduced his authority for 
 this article ; and efpecially, becaufe he afterwards fays, Stultifera Navis by 
 Sebaftian Brant, after James Locher, with one hundred prints, publifhed 
 1490, is a very fcarce book. Thefe prints are ufu.iUy attributed to S. Brant, 
 or Brand ; but without foundation j for, fays M. Hcineken, Sebaftian Brand 
 was a dodtor, not an engraver ; and Locher was a poet, not a painter. 
 This miftake arofe from Florent le Comte, who mifunderftood Marolles. 
 where he cites in his catalogue the book of S. Brand. 
 
 JOHN GEORGE BERGMULLER. 
 
 Flourifhed, 
 
 A native of Germany, and according to M. Heineken, a painter as well 
 as an engraver} but I have never feen any of his works. 
 
 BERG QJ5 I S T. 
 
 Flourifhed, 
 
 A modern artift, but of no great eminence, who appears to have refided 
 at Stockholm, where at leaft fome of his portraits were publifhed. I ihall 
 only notice by him, the portrait oi Andre Geringius, Paftor de Betnaj another, 
 of Eric Geringius, at Stockholm. 
 
 HIERONYMUS BERLLARMATO. 
 
 Flourifhed, 1536. 
 
 This artifl, faid to have been a native of Italy, is cited by Papillon, who 
 Informs us, that he had feen a geographical chart of Mercator, engraved on 
 wood, which, continues he, is entitled, Chorographia Tufciie, and dedicated to 
 Signior Valerio Orfino, at Rome, a. d. 1536. Its fize is three feet and an 
 half in length, and two feet five inches in breadth, French meafure, and is cut 
 on four blocks. At the bottom is the dedication, with fome Latin verfes, and 
 the name of the engraver fubfcribed, Hieron. Berllarmato. It is, adds he, 
 well engraved j but the names of the towns and places occafion fome con- 
 fufion, becaufe the letters are not exaftly cut. 
 
 SOLOMON BERNARD. 
 
 Flourifhed, 1550 to 1580. 
 
 This ingenious artift is commonly called Le Petit, or Little Bernard; but 
 
 for 
 
B E R [ Sy ] B E R 
 
 for what reafon, I cannot difcover, unlefs it be becaufe his engravings 
 are ufually very fmall. He appears to have been a native of France ; 
 and his chief refidence was at Lyons, where he worked confiderably 
 for the bookfellers, not only at that place, but at Tournay and 
 Roville. The engravings I have feen by him are all on wood, defigned 
 with fpirit, and executed in a very clear, neat ft)'le. His works prove him to 
 have been a man of much genius, and fertility of invention. His moft 
 efteemed performance is the fet of prints for the Bible, which were publillied 
 at Lyons, at different times. 
 
 The mark D. B. is generally attributed to this mafter ; but profefTor 
 Chrift obferves, that he fees no reafon why the D. fhould be fuppofed to be- 
 long to him, becaufe his baptifmal name was certainly Solomon. 
 
 SAMUEL BERNARD. 
 Born, 1615. Died, 1687. 
 
 A native of France, born at Paris, 161 5. He was a painter in miniature; 
 and fometimes engraved for his amufement. We have but few prints by 
 him ; and thofe have no great merit to recommend them. His drawing is 
 incorreft, efpecially in the extremities of his figures. His draperies are ftiff 
 and heavy; and a conftant want of harmony hurts the general effeft of his 
 performances. They are executed neatly enough, with refpeft to the me- 
 chanical part of the engraving, being etched and retouched with the graver, 
 and foftened with dots upon the lights. 
 
 Bernard died 1687, aged 72. 
 
 Among his beft prints, the following are ufually mentioned. 
 
 Attila frighted by a vifton, on which he abandons the fiege of Rome : a 
 middling fized plate, length-ways, from Raphael. 
 
 Afiyanax dijcovered by Ulyjfes in the tomb of Fleftor, a large plate, length- 
 ways, from Sebaftian Bourdon. 
 
 The portrait of Louis du Gamier, a fmall upright plate. 
 
 A. BERNARD. 
 
 Flourifhed, 
 
 A native, I prefume, of France ; at leaft, great part of his works appear to 
 have been done there. He was an engraver in mezzotinto ; but his perfor- 
 mances have very little to recommend them in any refpeft. 
 
 Bafan mentions the following : 
 
 A nativity, from Rembrandt, a middling fized, upright plate ; and a land- 
 Jcafe, from John Forreft. He alfo fcraped feveral portraits : among the reft, 
 that of 'Trifian de la Baume, Archeveque d'Auch. 
 
 D. BERNARD. 
 
 Flourifhed, 1720, 
 
 A name fubfcribed to feveral Bible plates, engraved from the defigns of 
 Picart, in folio, which were publifhed at Amfterdam, 1720. All thefe 
 plates are fo very indifferent, in every refpeft, that they are by no means worth 
 the trouble of defcribing. 
 
 I JOHN 
 
B E R [ 88 ] B E R 
 
 JOHN MARTIN BERNIGEROTH. 
 
 Flourifhed, 1746. 
 
 A modern artift, who appears to have refided chiefly at Leipfic, in Saxony ; 
 and perhaps he was a native of tliar place. His principal employment ap- 
 pears to have been the engraving of portraits, which he performed in a clear, 
 neat ftyle, bearing fome fmall refemblance to that of Houbracken; but he 
 never nearly equalled that excellent artift. 
 
 Some oi the poriraits in a quarto publication, entitled, Portraits Hijlori' 
 qties des Hommes illufires de Deiinemark, Azttd 1642, are by him : alfo the 
 portrait of 'Tycho Brahe, dated 1743. 
 
 John Benoit Bernigeroth, brother to the above-mentioned artift, was 
 an engraver; and both of them fons of Martin Berniceroth, who is 
 cited by M. Heineken as an engraver alfo. 
 
 GIOVANNI LORENZO BERNINI. 
 
 Born, 1598. Died, 1680. 
 
 The fon and fcholar of Pietro Bernini, the famous fculptor. He is cited 
 by M. Heineken as an engraver ; but I do not recoiled to have feen any of 
 his works. 
 
 JOHN BERNYNCKEL. 
 
 Flouriflied, 
 
 An artift little known ; but whofe works poflcfs fome merit. From his man- 
 ner of engraving, I ftiould fuppofe he was a difciple of the Sadelers ; for he has 
 imitated their ftyle, and not without fuccefs ; though he never equalled them 
 in that great requifite of the art, correftnefs of outline. Among other prints, 
 engraved by him, is a fmall upright oval plate, reprefenting the adoration of 
 the Jljepherds, from Hans or Jolin Van Achen ; to which he figns his name, 
 Joan. Bernynckel. 
 
 LUCAS B E R T E L L I. 
 Flouriflied, 
 
 An ancient engraver of no great eminence, who appears from the ftyle of 
 his works to have flouriftied towards the end of the fixteenth century, and 
 was moft probably an Italian. He worked entirely with the graver, in a 
 manner much rcfembling that of Cornelius Cort ; but from whom he learned 
 the art of engraving is by no means certain. Nor are his works of fufficient 
 confequencc to leave us mucli to regret upon that head. I have feen by 
 him fome fmall upright plates, reprefenting Je-jeralJubjeSls of bunting, to 
 which he figns Lucie Bertellif. 
 
 A fet of plates, in which is ftiown the follies of love. 
 
 He alfo engraved from the piiflures of Michael Angela Buonerota, Titiar.o, 
 Corregio, &c. 
 
 Of the fame family perhaps with this engraver were Horatio and Fer- 
 randoBertelli, both princfclkrs, if not engravers i and tliey alfo appear 
 
 to 
 
B E R [ 89 ] B E R 
 
 to have been cotemporary with him. The former however certainly fiouriflied 
 about 1588 ; and to the other is attributed the entry of the, prince of Savoy 
 into Turin. * 
 
 CHRISTOFANO BERT ELL I. 
 
 Flourifhed, 
 
 This artift appears to me to have been of the fame family with Lucas Ber- 
 tellij mentioned in the preceding article ; andj as far as I can judge from the 
 ftyle of the prints engraved by him, lived at or near the fame time. He 
 worked entirely with the graver, but in aftiff, mannered ftyle, without much 
 merit ; and his drawing is very incorreft. I fliall only mention, 
 
 A large upright plate, arched at top, reprefenting the Virgin and Child, 
 with St. Sebaftian, St. Helena, and St. Auguftine. Jofeph is depifted 
 fleeping. It isfigned, " per me ChriftofanoBertelli." 
 
 A large upright plate, where the Virgin and Child are reprefented appear- 
 ing to St- Francis and St. Sebaftian, from Correggio. 
 
 An6ther plate, of the fame fize, in which is reprefented the Virgin and 
 Child, with St. George, &c. from the fame painter, marked as above. 
 
 DoNATO Bertelli is alfo cited by Le Comte, as the engraver of a fct of 
 portraits of the Popes and Cardinals -, but thefe prints I never law. 
 
 J. BERTERHAM. 
 
 Fiouriflied, 1696. 
 An obfcure engraver, who adopted the ftyle of Francois de Poilly ; but he 
 has by no means fucceeded in his imitation. His drawing is exceedingly 
 defeftive ; and the mechanical part of the engraving is executed in a ftifF, 
 laboured manner, without effeft or harmony. He appears to have refided at 
 Bruftels ; but whether he was a native of that place or not, I cannot take 
 upon me to fay. I ftaall only notice a fmall upright plate, reprefenting 6'/. 
 Roch and other figures, witliout any painter's name, and figned, "J. Berter- 
 ham fculp. Brux. 16^6." 
 
 CHARLES BERTRAM. 
 
 Fiouriflied, 1758. 
 Hepubliflied in theyear 1758 a work, entitled, Britannicarum Gentium 
 Hifloriie Jntiqua Scriptores tres, to which he prefixed Vifroiitifpiece etched 
 by himfelf, from a compofition of his own. It has no merit, either .witji 
 refpeft to the defign or the engraving, to recommend it. He has fubfcribed 
 it, " C. B. inv. et fc. 1758." He alio etched a large map for the fame book. 
 
 P. BERTRAND. 
 
 Fiouriflied, 
 A modern engraver of portraits, but of no great eminence. • Amono- 
 others, we have by him the portrait of Pope Clement the Tenth, &c. 
 
 ' VOL. r. N L. M. 
 
B E S [ 90 ] BET 
 
 L. M. B E S N A R T. 
 Flourifhed, 
 
 An engraver on wood, cited by Papillon, who mentions with great dif^ 
 approbation fome fmall prints by him, for a mafs-book. 
 
 AMBROGIO BESOZZI, or BEZUTIUS. 
 Born, 1648. Died, 1706. 
 
 A painter of great eminence, born at Milan 1648. He worked fome time 
 under GiofefFo Danedi, called Montalti, and afterwards went to Rome, where 
 he ftudied from the antiques and the pictures of the greateft matters ; 
 and, at laft perfedled himfelf in the fchool of Ciro Ferri. His great excel- 
 lency confifted in painting architeflurc, friezes, imitations of bafs-relieves, 
 and other decorations. He died at Milan, a. d. 1706, aged 58 years. He 
 etched fome few plates, and among them the following : 
 
 The apotheofis of a princefs, the buft of which was engraved by Bona- 
 cina, a middling fized upright plate, from Cefare Fiori. 
 
 JOHNBETTES. 
 Born, Died, 1570. 
 
 An artift mentioned by the Hon. Mr. Walpole, as a painter, as well as an 
 engraver. He was brother to Thomas Bettes the painter. Fox in his 
 Ecclefiaftical Hiftory tells us, that John Bettes performed zfedigree and fome 
 vineats [vignettes] for Hall's Chronicle, and fpeaks of him, in 1576, as then 
 dead. 
 
 PIETRO BETTINI, or BETINI. 
 
 Flouriflied, 1681. 
 
 An Italian artift, and, if I miftake not, a painter j but of no great emi- 
 nence. By him we have fome few etchings, which are very (light and incorreft. 
 I fhall only mention the following : Chrifi appearing to Peter after his re- 
 furrenion, from Dominicus Campellus, a fmall upright plate, arched acutely 
 at the top, marked, " Pietrifs Betinus del. et fculp. 1681." The martyrdom of 
 ■St. Sebajlian, from the pifture of Dominichino, which is in St. Peter's church 
 at the Vatican, a large upright plate, arched at the top. 
 
 CAJETANUS BETTOLl. 
 Flourifhed, 
 
 A name of a modem artift, which I found fubfcribed to a flight fpirited 
 etching of the death of St. Jofeph, after Franccfchini. From the fl:yle and 
 freedom of this etching, I Ihould fuppofc Bettoli was a painter. 
 
 I F. V A N 
 
B E U [ 91 ] E I A 
 
 F. VAN BEUSEKOM. 
 
 Flourifhed, 
 
 The name of an obfcure engraver, affixed to the portrait of Ant. le Brur., 
 from a pifture painted by. A. V. HuUe. 
 
 JAMES BEUTLER. 
 Flouriflied, 1593. 
 An engraver, who, according to profeflbr Chrift, was a native of Ravenf- 
 biirp". He is ranked in the clafs of artifts, diftingiiifhed by the name of 
 little mafters, becaufe the plates which he engraved were chiefly very fmall. 
 His mark is I. B. the initials of his name. Great care mufl: be taken not to 
 confound him with James Binck, John Burgmair, and feveral other German 
 artifts, who flourifhed nearly at the fame time, and ufed the fame mark. The 
 engravings by this mafter were publifhed about the year 1593. 
 
 J. BEXTERHAM. 
 
 Flourifhed, 
 
 An engraver of no great eminence, who appears by his works to have flou- 
 rifhed about the latter end of the laft century, or the beginning of the pre- 
 fent. He feems to have been chiefly confined to portraits ; and, I believe, 
 worked for the bookfellers only. His plates are executed with the graver, 
 without any^afTiftance from the point j however they are not worth fpecifying 
 particularly. If he was not a native of BrufTels, it appears from his works, 
 that he refided there ; for he ufually figns his name, J. Be.xterham fee. Brux. 
 
 M. B E Y L B R O U C K. 
 
 Flourifhed, 17 13. 
 I have not been able to procure any account of this artift ; but, I believe, 
 he refided in England. I have feen a middling fized upright print by him, 
 reprefenting the death of Dido, from Sebaftian Bourdon, which is dedicated to 
 the duke of Devonfhireby James Grame, the publifher. It is dated 17 13. 
 The engraving is executed in aneat,fliffflyle, without efFeft, and the figures 
 are very indifferently drawn. From the firong refemblance it bears to the 
 manner of engraving, adopted by Scotin, it feems not improbable, but that 
 the latter might have received inflruftion from the former. 
 
 CLAUDE BEZARD. 
 
 Flourifhed, 
 An engraver on wood, cited by Papillon, who mentions a large print as 
 executed by him, but has not fpecified the fubjeft. 
 
 P, B I A N D. 
 
 Flourifhed, 
 
 From die flyle, in which the etchings figned by this name are executed, 
 
 N 2 
 
B I A [ 92 I B I A 
 
 they appear to be the works of a painter. They are flight and incor- 
 rect; but, at the fame time, very fpirited, and prettily compofcd. I fhall 
 only noticc/cveral Bacchrjialianfgures^ reprefented upon a vafe, a fmall plate, 
 kngth-ways. I have inferted this name here, becaufe it is fo perfeftly writter\ 
 upon the etching above mentioned, which I found, with two or three others 
 by the fame mailer, without any name, among a large mifcellaneous collec- 
 tion of old prints at the Britifli Muleum ; but I really believe the engraver 
 Is tlie flxme widi Peter Biart, who alfo wrote his name Biard (of whom the 
 reader will find an account under Biart) the N. being written by miftalce 
 for the R. However, I own there is feme fmall difference between the ftyle 
 of the etchings marked as above, and thofe marked Biard : the latter feem 
 to approach ratlier nearer to the manner of Tempeftai but this I leave to 
 the judgment of my readers. 
 
 SEBASTIAN BIANCHI. 
 
 . Flouriflied, 
 
 An obfcure engraver, whofe works have nothing to recommend them, 
 more than their antiquity ; they feem to have been performed in the fix- 
 teenth century. I fliall only mention a fmall upright plate, reprefenting the 
 emblems of our Saviour's Jufferings, with angels and feraphs, &c. It is 
 executed entirely with the graver, in a coarfe, bad ftyle. The drawing and 
 effeft are equally reprehenfible. It is figned, Sebaftiauo Bianchi Fee. 
 
 FAOLO BIANCHI. 
 
 Flouriflied, 1670. 
 An engraver of portraits, whofe cliief employment feems to have been for 
 the bookfellers. He worked principally with the graver, in a ftiff, taftelef* 
 ftyle, fufficiently neat, but without much effeft. I fliall only notice the fol- 
 lowing : " Flavio Chigi Nep. Alex. 7 Card. 1633 ; in Priorato Hifl:. Leopold. 
 voL 2. Luigi de Benevides Carillio, 1678 ;" the fame, vol 3, &c. He fome- 
 times put his initials only to his plates, as P. B. F. and at other times, the 
 name at full length : the letter F. ftands (or fecit. 
 
 PETER BIART, or BIARD. 
 
 Flouriflied, 1627. 
 A fculptor of Paris, who is mentioned by Le Comte as the engraver of 
 twelve plates ; but the fubjefts of thefe plates are not fpecified by him. 
 Befldes fome iinall etchings, I have feen a middling fized plate, length-ways, 
 rt-prefenting an emblematical fubjeft; into which the artifl: has introduced 
 many figures. It is executed in a bold, fpirited ftyle, exceedingly like that 
 adopted by Ant. Tcmpefta ; and it is fubfcribcd, " Petrus Biard fecit, 1627."^ 
 Peter Biart left a fon who was alio a fculptor, and flouriflied in the reign of 
 Louis XIII. See Peter Biand mentioned in a former article, whofe name 
 I fufpedt fliould have been written Biard.. 
 
 GEORGE 
 
B I C I 93 1 B I L 
 
 GEORGE BICKHAM. 
 
 Flourifhed, 1709 to 1767. ^ 
 
 A native of England, whofe chief employment was engraving of writing, 
 and he is fpoken of in this line with great commendation. However, we 
 have feveral portraits, and fome few otlierfubjefts by him ; but thefe do no 
 credit to his graver. He retired to Richmond towards the latter part of his 
 life; and in the year 1767, fold part of his plates and ftock in trade by 
 auftion. I fhall only mention the following portraits : 
 
 George Shelly-, a writing matter, drawn by the engraver from the life, and 
 dated 1709. Sir Ifaac Newton, &cc. 
 
 George Bickham junior, the fon of the above, was alfo an engraver ; but 
 he never excelled his father. To him, among a variety of other things, 
 are attributed his own portrait and that of his father y both large prints, 
 and very indifferently executed in every rcfpedt. 
 
 B I E. See Bye. 
 
 D E B I E V R E. 
 
 Flourifhed, 1760. 
 
 A modern engraver of portraits, by whom, among others, is that of 
 Carolina Matilda, queen of Denmark. 
 
 FRANCOIS BIGNON. 
 
 Flourifhed, 1690. 
 
 A native of France. He was a painter ; but, I believe, of no great 
 eminence. He appears to be better known, at leaft in England, as an en- 
 graver. His chief employment was in the portrait line. The greater part 
 of his works he executed with the graver only ; but fometimes he called in 
 the afliftance of the point. Several of his portraits are ornamented with 
 borders, containing little hiftorical figures, &c. His flyle of engraving is 
 fufliciently neat, but ftifF, cold and unharmonized j yet by no means deftitute 
 of merit. We have by him. 
 
 The portraits of t\\t plenipotentiaries, prefiding at the peace of Munllcr, on 
 thirty-five quarto plates. 
 
 The portraits of the illufirious perjonages of France, from the piftures of 
 S. Vouet, painted in the gallery of the Palace Royal. Thefe were engraved 
 conjointly with Zachery Heince, and are dated 1690: large upriglit plates. 
 
 NICOLA BILLY. 
 
 Flourifhed, 1762. 
 A modern engraver of portraits, and a native, I believe, of Italy. His 
 works are, however, by no means excellent. He appears to me to have 
 chiefly executed his plates with the graver, in a ftifF ftyle> without much 
 tafte, 
 
 JAMES 
 
BIN [ 94 ] BIN 
 
 JAMES BINCK. 
 
 Flourifhed, 1528. 
 This artift was a native of Cologne in Germany; but the time of 
 liis birth is not known. He is ranked in tlie clafs o{ little majlerst fo called, 
 becaufe their performances were generally very fmall. The ftrange con- 
 fufion of marks, among the artifts of this period, makes it not only very 
 difficult, but often impoffible to attribute to each his due; and perhaps in 
 no names more than thofe, which have the letter B. for their initial. 
 
 I (hall therefore give my opinion diffidently upon this head, making every 
 diftini^ion I can, and leave the reader to judge for himfelf. 
 
 It has been faid, that Binck refided at Rome, and affifted Marc Antonio 
 Raimondi. It is certain, that he was in Italyj and engraved feveral plates, 
 from the defigns of Raphael ; therefore, it is alfo highly probable, that he 
 perfected himfelf in engraving, in the fchool of that great mafter. But if 
 all thofe prints belong to him, which have generally been attributed to him, 
 I ihall not hefitate to fay, that he received his firft inftrudtions from Albert 
 Durer, or his pupils. If from any one of the latter, I fliould fuppofe it to 
 be Aldegrever, whofe ftyle he feems the neareft to have imitated. His manner 
 of engraving is not always the fame ; though his produftions are generally 
 very neat, and poflefs much merit. The nearer they approach to the imi- 
 tation of the Italian artift, the better we find them, not only in freedom of 
 execution, but alfo in the corre6tnefs of the drawing. His ufual mark is I. B. 
 but another mark, namely, a cypher, compofed of an H. a C. and a B. joined 
 together, (which cypher is copied on the plate at the end of the volume) 
 is attributed to him alfo ; and I think with great juftice, becaufe that mark 
 appears on a print, which he certainly engraved from a compofition of his 
 own, and the ftvle of the engraving as well as the dates agree exadtly. He 
 muft not, however, be confounded with another artift, who engraved on wood 
 nearly at the fame time, and alfo ufed the laft mark ; nor with another more 
 ancient engraver on copper and on wood, who marked his plates with an I. 
 and a B. to which he added a bird. I ftiall only notice a few of this artift's 
 engravings, diftinguiffiing them by the marks. First, thofe with the I. B. 
 
 An allegorical fubjeft, a fmall upright print, in which is reprefented /o«r 
 moomen, forging a flaming heart upon an anvil, from the emblems, fays Bafan, 
 of Bilibard Pyrckeimel. The letters of his name are intermixed with the 
 date in this manner, " 1 5 I. B. 29." This is much in the ftyle of Aldegrever. 
 
 A very fmall upright plate, on which is reprefented tivo women and a man 
 marketing together, where the I. B. is on a tablet without any date. 
 
 Several fmall upright prints, reprefcnting the cardinal virtues, &c. with- 
 out date, greatly in the ftyle of John SebaldBeham. 
 
 A frieze, where children are reprejented filling a tub with grapes, a fmall 
 plate, length-ways, with the mark, and date above it, 1520, 
 
 Secondly, thofe marked with the H. C. and B. joined together, which 
 ftre alfo attributed to him. 
 
 A fmall upright portrait, infcribed, Chriftiernus II. Danorum /?«, which is 
 alfo graved in imitation of a wooden cut. It is well executed i and dated 
 1525. 
 
 AfmaU 
 
BIN I 95 1 BIO 
 
 A fmall upright plate, reprefenting a man haiited in the German fajhion, 
 •with a Jcull hanging at his breajl. This has not only been confidercd as' 
 a portrait by Binck, but it has even been faid to be his own portrait; and 
 given as fuch by Sandrart ; yet certainly without the leaft foundation. It 
 is an exaft copy of an engraving of the fame fize, or nearly fo, by Ifrael Van 
 Meek, which was publifhed, in all probability, long before the birth of Binck. 
 
 The murder of the innocents, a fmall upright plate, with the mark, but 
 no date, and in a ftyle of engraving approaching near to the Italian manner. 
 
 K/oldier defending himfelf jrom Death, who has overthrown him, a very 
 fmall upright plate. 
 
 St. Anthony. Only part of the figure is reprefented, a fmall upright plate. 
 Here the mark is varied ; and it is I. C. B. without the crofs bar of the H. 
 
 To thefe I beg leave to add the following print : A figure oi Saturn, ftand- 
 ing in an arch, devouring one of his children, a fmall upright plate. This dif- 
 fers greatly, in the ftyle of engraving, from any of the foregoing; and is 
 much more bold, fpirited and corredt. It is executed entirely with the 
 graver, as all his works were, in a free ftyle, founded apparently on that of 
 Marc de Ravenna, On a tablet is this infcription, " Jacobus Binck Colo- 
 nicnlis fecit^ iSJO*" 
 
 B I N E T. 
 
 Flouriftied, 
 A modern engraver, in France, of no great eminence, by wham we have 
 fome views, &c. from Vernet and other mafters. 
 
 WALTER BINNEMAN. 
 Flouriftied. 
 
 Avery obfcure and indifferent engraver of portraits. He was moft pro- 
 bably an Engliftiman. I am led to think fo, becaufe I have never feen his 
 name affixed to any but Englifh heads. He flouriftied apparently in the 
 laft century ; but his works, which are very few, are fcarcely worth notice- 
 ing. I fhall only mention the following : 
 
 The portrait of Chaml/erlaine, an arithmetician, with fome vile verfes in 
 Englifti underneath it, an odlavo plate. A.not\\e.r portrait, without the name 
 of the perfon reprefented, a fmall upright plate, with four verfes underneath 
 it, " View here his Jhadow,'' &c. fubfcribed, Walter Binneman Jculp . 
 
 PETER BIORD. 
 
 Flouriftied, 
 A name I found affixed to a flight etching, in the ftyle of a painter, free, 
 but incorreft, and the extremities poorly drawn. The fubjeft, I believe,, 
 is Cupd and PJyche ; a woman is reprefented feated in a chariot, holding a 
 Cupid upon her lap ; two other Cupids are alfo reprefented with them. It 
 is a fmall upright plate, marked Pet. Biord fee, and the letters are reverfed 
 upon the impreffion, 
 
 PAUL 
 
B I R [ 96 ] BIS 
 
 PAUL BIRCK. 
 
 FlourilTied, * 
 
 I have feen four fmall upright plates, exchifive of a title, by this artift, 
 on which are reprefcnted the four ele-inents in circles, furrounded with fuch 
 ornaments, as appear to be patterns for goldfmiths and jewellers to work 
 from ; and thefe ornaments are relieved by a dark ground, in imitation of 
 enamel. The figures, if not quite corredlly drawn, arc however executed in a 
 very meritorious ftyle. The manner of the engraving, which greatly refembles 
 that of De Brie, is performed entirely with the graver, and is rather ftifF, 
 and without effecft. But, confidering them as ornamental patterns, the effeft 
 was not of much confequence. On the title, which makes a fifth plate, is 
 tlie following infcription, inclofed by an ornamental border : ^latuor Mundi 
 Elementa, Elegantibas figuris Jen Imaginibus Artificioja expreJla. Paulus 
 BiRcic. F. On fome of the plates he fubftitutes the letters P. B. F. inftead 
 uf his name, the F. Handing (ox fecit. 
 
 B I R C K A R T. 
 
 Flouriflied, 
 If this artifl: was not a native of Prague in Bohemia, it appears by the 
 fio-natures upon his plates, at leaft, that he refided there. By him, among 
 many other things, we have fome very large plates of theatrical archite£fure, 
 with figures, executed entirely with the graver, in a very ftifF, taftelefs 
 flyle. The name is affixed, Birckartjculp. Prag. but no date. However, 
 from the manner of the engraving, I fliould fuppofe, that he flouriflied 
 towards the latter part of the laft cenrury. Bafan writes his name Birckaert, 
 and attributes to him a print reprefenting the martyrdom of forty Portuguejc 
 jefuitSj after Bourguinon, &c. 
 
 PAULBIRCKENHULT. 
 
 Flouriflied, 
 
 We have by this engraver, among other things, a fet of fmall upright 
 plates, reprefenting ornamental trophies, with figures, &c. chiefly executed 
 with the graver, in a neat, ftifF ftyle. The title to thefe plates is, Omnis 
 generis Injirumenta Bellica ; to which he puts his name, " Paulus Birckenhult 
 fculp. et excud." But, on the plates themfelves, he figns the initials only, 
 P. B. F. theF. ftanding, according to the ufual cuftom, for fecit. Judging 
 from the manner of the engraving; I iuppofe he fiourifhed about the middle 
 of the laft centuryj and' was perhaps a printfelle'r, as well as an engraver j at 
 leaft, we fee he publifhed thefe plates himfelf. 
 
 BARTOLOMEO EISCAINO. 
 Born, 1632. Died, 1657. 
 Tills young^artift, whofe early death is much to be lamented, was the fon 
 of Giovanni Andrea Bifcaino, a landfcape painter of fome eminence. He 
 vy«s born at Genoa, and was inftrudtcd in the firft principles of painting and 
 
 defign 
 
BIS [ 97 ] BIS 
 
 defign by his father j but aftcTO-ards peifecbcd himftlf under Vakrio 
 Caftelli. The early indications, which he gave of a fuperior genius, were 
 fach, that die greateft expedations were formed of his future excellence. 
 But he died, a. d. 1657, aged only 25 years. He has left behind him 
 fome few etchings, which are executed in a ilJght bold ftyle, fomething re- 
 fcmbling that of Caftiglione; but ftill more finifhed and more determined. 
 His figures are elegant, and finely compofed, and drawn in a very mafterly 
 manner. He has given both beauty and character to the heads ; and the 
 other extremities are generally correft, and marked with great fpirit. I fhall 
 notice the following : 
 
 Mqfes in the ark of bulrujhes, a fmall plate, length-v/ays, 
 
 A nativity with angels, a fmall upright plate. 
 
 The wife mens offering, the fame fize. 
 
 The circumcifion of Chrif, the fame. 
 
 A Bacchanalian, the fame. 
 
 Several beautiful ;;w</o«rt^j a.nd other devout /idjeffs, Sec. 
 
 JOHN DE BISCHOP, or BISKOP. 
 Born, 1646. Died, 1686. 
 
 An excellent artift born at the Hague, a. d. 1646. He is fpoken of with 
 great commendation as a painter ; and his drawings from the great matters are 
 held in the higheft dlimation by the curious. In thefe he has fucceeded fo 
 happily, as to preferve with the greateft exaftnefs the ftyle of the painter, 
 whofe pi(5bure he copied. But as an engraver he is moil generally known j 
 and his works are numerous. They are chiefly etchings, harmonized with 
 the graver i and though flight, yet free, fpirited and pleafing. He gives a 
 richnefs to the colour, and a roundnefs to the figures, far beyond what is 
 ufually done with the point, fo little aflifted by the graver. His figures, 
 in general, are well drawn ; but in a mannered, rather than a corredt ftyle. 
 The extremities, indeed, are not always well marked, or his heads equally 
 expreflive or beautiful. It is faid of him, that he owed his excellency to his 
 own genius alone, having never ftudied under any mafter, by whofe inftruc- 
 tion he might have been benefited. He worked chiefly at Amfterdam, where 
 he died, a. d. 1686, aged 40 years. I fliall notice the following prints by 
 this artift : 
 
 Chrif and the Sa>naritan woman, a large upright plate, from Annibale Car- 
 racci. 
 
 Jofeph difiributing corn to the Egyptians, from Bartholomew Breenberge, 
 a large plate, length-ways, with many figures. 
 
 The Martyrdom of St. Laurence, its companion, the fame, from the fame. 
 
 A large book o{ defigns, from the greateft mafters. 
 
 A book o^flatues, &c. 
 
 It is to be obferved, that the mark ufed by this mafter is a cypher, com- 
 pofed of a J. and an E. joined together in the manner rcprefented on the 
 plate at the end of the volume. He affedted to Latinife his name, fubftituting 
 Epifcopius for Bifchop, or, as we call it in Englilh, Bifjop; and for this reafon 
 has joined the E. with the J, inftead of the B, 
 
 VOL. I. O BONA- 
 
BIS [ 98 ] B L A 
 
 BONAVENTURA BISI. 
 
 Died, 1662. 
 
 We muft not wonder, if we find an artift even in the gloomy retirement of* 
 a monaftery ; nay, confidering the leifure time, which people devoted to a mo- 
 nadic life muft often have, it is rather furprifing that we do not meet with 
 artifts among them more frequently. For the arts, confidered abftraftedly 
 as an amufement only, have often been found to poffefs charms, fufficient 
 to repay the labour, which is neceflary for the attainment of them. But an 
 exalted genius feems as if it could not brook the confinement of a folitary 
 cell ; for at the time, when nearly all the learning of Europe was fhut up in 
 the boundaries of the monaftic walls, one would have expefted much greater 
 and m.ore frequent exertions of literary genius, from thence, than has ap- 
 peared. It is the fame with the artift, as with the poet or the orator, if he 
 does not feel the fubjeft, which he treats upon, within his own breaft, he can- 
 not poffibly reach the feelings of another. Bifi was a man of great abilities, 
 and, according to fome authors, a monk of the order of St. Francis. He was 
 the difciple of Lucio Maffari ; and his chief excellence lay in copying, in 
 miniature, the pictures of Corregio, Guido, Titian, and other mafters, which 
 he finilhedwith aftonifhing beauty and elegance. He died, 1662; but his 
 age is not known. For his amufement he etched fome few plates, from Par- 
 megiano, Guido, &c. I ftiall only notice the following, which was probably 
 from his own defign. A holy family, with Elizabeth and St. John, a fmall 
 upright plate, dated 1631, and marked F. B. B. F. This is the ufual me- 
 thod, in which he marked all his plates. Some read thefe letters, " Francefco 
 Bonaventura Bifi fecit;" whilft others, inftead of the word Francefco, fub- 
 ftitute that of Prater, which is Latin for Brother, the common appellation, by 
 which the monks and other ecclefiafl^cs addrefs one another j and this laft 
 is the moft generally received interpretation. 
 
 B I U R M A N. 
 
 FlouriQied, 
 A modem engraver oi ■portraits, and chiefly, I believe, for the bookfellers. 
 
 J. BLACKMORE. 
 
 Flourilhed, 177 1. 
 A modern Englifh engraver in mezzotinto, by whom we have feveral 
 portraits, after Sir Jofhua Reynolds and other mafters ; among the reft is that 
 of Samuel Foote the player, dated 177 1. This plate is exceedingly well 
 fcrapcd, and a very fine likenefs of that facetious pcrfonage 
 
 JOHNBLAGRAVE. 
 Born, Died, 161 1. 
 
 An excellent mathematician. He was the fecond fon of John Blagrave^ 
 of Bulmarlh- Court, in the County of Bcrkfliire. The former pa^-t of his 
 
 educatioQ 
 
 . 
 
"<C 
 
 B L A t 99 ] B L A 
 
 Cclucation he received at Reading,' from whence he removed to St. John's 
 College, Oxford. When he quitted the Univerfity, where he did not long 
 l^fide, he retired to Southcote-Lodge, and devoted his time to ftudy, his 
 genius chiefly leading him to the fcience of mathematics. He alfo reduced 
 his ftudies to pradice, and gave to the public the fruit of his labours. He 
 was a man of a benevolent difpofition ; and his judicious charities are ftill re- 
 membered at Reading with gratitude. One efpecially is too fingular to be 
 omitted in this place. Annually on Good Friday, he appointed the church- 
 wardens of the feveral parifhes in that town, to choofe three maidens of fair 
 charafler, each of which had lived three years in her place, and to 
 bring them to the town hall, where, before the mayor and aldermen, they caft 
 dice ; and fhe, who is fo fortunate as to throw the higheft number, is prefented 
 with a purfe containing ten pounds, and attended by the other two maidens 
 who loft the caft. The year following, the maidens, who loft the caft the year 
 before, come again, with a third added to them, and throw again. But if 
 any one is fo unfortunate, as to loofe three throws^ fhe cannot caft a fourth 
 time, but is excluded from the benefit of the charity, Mr. Aflimole, who 
 gives a full account of this cuftom, adds: " It is lucky money; for I never 
 heard, but that the maid that had the ten pounds fuddenly got a o-ood huf- 
 *' band." Mr. Blagrave died at his houfe near Reading, Auguft 9, 161 1, 
 and v/as interred, near his mother, in the church of St. Laurence in that town. 
 His principal works are the following : A Treatife on the Making and Ufing tht 
 Familar Staff. The Afirolah'mm Urankam gencrale. The Art of 'Dialings and 
 the Mathematical JeivcL This laft is his greateft and moft efteemed per- 
 formance. It was printed in 1585, at London, with this note in the frontif- 
 piece : " By John Blagrave of Reading, gentleman, and well- wilier to the 
 *' mathematics, who hath cut all the prints or pictures of the whole with his 
 " own hands." They are wooden cuts and neatly executed. Where he has 
 .not put his name at length, it is thus abreviated, " I. Blag, sculp." 
 
 C. J. B L A K E. 
 
 Flouriftied, 1775. 
 A young lady of diftinftion, who for her amufement etched the portrait of 
 h.p'c uncle. Sir Franw Blake Delaval^ in the year 1775. 
 
 BLAKE WELL. 
 
 Flourifhed, 
 
 He was>l believe, a printfeller ; atlcaft, his name is affixed to feveral mez- 
 zotintos, as the publiflier. He alfo is faid to have engraved in mezzotinto 
 himfelf; and among others, the portrait of Henrietta Maria, the queen of 
 Charles the Firft, is attributed to him. 
 
 JAMES BLANCHART, or BLANCHARD. 
 
 Born, 1600. Died, 1638. 
 
 A painter of fome eminence, born at Paris, a. d. 1600. After being 
 
 O 2 inftrudted 
 
B L A [ loo ] B L E 
 
 jnftrufted in the firft principles of painthtg in his own country, he went to- 
 Italy, where he acquired fuch a habit of colouring, that, at his return, he 
 was honoured with the appellation of the French Titian. According to Flo- 
 rent le ComtCj he etched feveral plates from his own compofitions. 
 
 B L A N C I. 
 
 Flourifhed, 
 A name fubfcribed to feveral portraits ; among the reft, to that ofFlaviut 
 Chigi, in Gualdo's Hift. Leopold, part. 2nd. Fie worked, I believe, chiefly 
 for the bookfellers. 
 
 CHRISTOPHER BLANCUS. 
 
 Flourifhed, i6co. 
 I know not what country gave birth to this engraver, if he be not a Ger- 
 man. It appears from his works, that he refided fome time at Rome. He 
 worked with the graver only, and imitated, though but indifferently, the 
 ftyle of Cherubino Alberti ; yet, in fome plates of his from Spranger, he 
 feems to have followed that of John MuUer j with no better fuccefs. I 
 Ihall only notice by him a holy family, accompanied by angels, half figures, 
 from Spranger, dated 1595. The portrait of Michael Angelo Buonarota^ 
 marked, " Chriftophorus Blancus faciebat, 161 2." 
 
 JOHN PAUL BLANCUS. 
 
 Flourilhed, 1628. 
 This artift was probably a relation of Chriftopher Blancus, mentioned in 
 the former article ; but he did not follow his manner of engraving. He feems 
 chiefly, if not entirely, to have applied himfelf to etching, which he executed 
 very (lightly, in a heavy indifferent flylc. The mechanical part is neither 
 clear nor neat ; and the drawing of his figures is by no means to be com- 
 mended. I have feen by him, among other pieces, an emblematical print, 
 from C. Stores, a middling lized plate, length-ways, marked Jo. Paul Blan- 
 cus incid. znd. Chrifl praying in the gardetj, a middling fized upright plate, 
 dated 1628, without any painter's name. 
 
 B L F, A V I T. 
 
 Flourifhed, 
 
 An obfcure artift, whofe employment feems to have chiefly been engraving 
 of portraits. Among others by him, is that of Rene des Cartes, the philofo- 
 pher. 
 
 PETER VAN BLEEK, or BLEECK. 
 Born, Died, 1764.1-^' 
 
 Van Bleek was a painter, but, I fuppofe, of no great eminence ; for I 
 find no account of him. He was probably of Dutch extradlion j but he 
 
 refided 
 
B L E [ loi J B L E " 
 
 refided at London. His father's name was apparently the fame as his own ; for 
 he generally fubjoins the word junior to his fignature, which can be of no ufe, 
 but for the fl\ke of diftin6lion. His engravings are all in mezzotinto ; and, 
 though he never rofe to any fuperior excellency in the art, there are fome of 
 them, which are clearly fcraped, and pofiefs great merit. There was R. 
 Van Bleek, a painter j for we find his portrait from a pitlure of his own, 
 engraved by Peter Van Bleeck, and dated 1735. I ^^all notice by this artift, 
 the portraits of Griffin and Jchnfon, in the charaifters of Tribulation and 
 Ananias, a middling fized upright plate. //The portrait o? Mrs. Cil'ber, in 
 the charadter of Cordelia ; and the portrait of Mrs. Clive, in the character 
 of Phillida, a middling fized upright plate. It is remarkable, that he figns 
 this plate, " P. Van Bleeck, junior, pinx. et fecit ;" and adds the date 1735, 
 becaufe we have the fame compofition, engraved in mezzotinto by Faber, 
 without any variation in the figures or back ground, and of the fiime fize, 
 reverfed, and dated 1734. The portrait o^ Retnbrandt Gerretjz, a fmall up- 
 right plate, from a painting by that mailer. 
 
 J. G. BLECKER, or B L E K E R. 
 Flouriflied, 1638. 
 He was a painter ; but in what degree of eftimation his pictures were held, 
 I know not. We have fome etchings by him, as well from his own compo- 
 fitions, as from thofe of other mafters : among the reft, a crucifixion^ with the 
 three Maries and St. John, at the foot of the crofs, and two angels in the 
 air, weeping ; a middling fized upright plate, after Cornelius Poelem.bourg. 
 The Lyftrians attempting to facrifice to Paul and Barnabus, a middling fized 
 plate, length-ways, from the fame, dated 1638. 
 
 CORNELIUS BLECKER, or BLEKER. 
 
 Flourilhed, 1638. 
 
 This engraver (who, I Ihould fuppofe from the ftyle of his etchings, was 
 alio a painter) was apparently of the fame family, and perhaps a near relation 
 of J.G. Blecker, mentioned in the preceding article; and we find they both 
 flourilhed at the fame time j but the works of this artift are by no means 
 equal to thofe of the former. They are flight, incorre<5t etchings, chiefly 
 landjcapes^ into which he has introduced hiitorical fubjefts : as, the meeting 
 of Abraham's fervant with Rebecca, &c. He has worked upon the etching 
 to harmonize it (efpecially upon the heads of his figures) with the point of the 
 graver, fcratching upon the copper, in a ft)'le fomething like that which Wor- 
 lidge afterwards adopted ; but he has by no means fucceeded. His land- 
 fcapes are generally fmall plates, length-ways. One of the beft prints I have 
 feen of this mafter is a view of an inn yard, with a waggon, and a horfe ftancjL- 
 ing by it eating ; a fmall plate, length-ways. ..^y^ 
 
 j;riiyd 
 SAMUEL BLESSENDORF. dA 
 
 Flourilhed, • ' 
 
 A Swedilh artift of fome eminence. He flourilhed, according to Bafaii, 
 
 in 
 
B L E [ 102 ] B L O 
 
 in the laft century. His chief employment feems to have been in the por- 
 trait line. His plates are generally Imall, and very neatly finiflied. By him 
 we have the portrait of .Charles XIL of Sweden, a fmall upright plate. Many 
 other portraits of the illuftrious perfonages of Sweden, Denmark, &c. 
 
 CoN'STANTiNE Blessendorf, brotlicr to the above artift, alfoan engraver 
 of portraits. 
 
 F. VAN BLEYSWICK. 
 
 Flourifhed, 1746. 
 This artift, lilce thofe immediately preceding, was an engraver of portraits. 
 His plates, in general, are fmall, and neatly finifhed, but without much tafte. 
 His principal work, I believe, was part of the plates for the coUeftion 
 entitled. Portraits Hijioriques des Hommes illujlrees de Dannemark^ dated 
 1746, 4to. 
 
 B L O E M. See Bloom. 
 
 A. B L O E M. 
 
 Flourifhed, 1674. 
 
 An engraver of no great eminence, a native, I believe, of Germany. Among 
 other things, he engraved the portraits, views, plans, battles, &c. for a book 
 entitled, Hijloria di Leopoldo Cefare, in folio, publifhed at Vienna, a. d. 
 1674. They are all etched, and retouched with the graver, in a flight, heavy 
 ftyle. 
 
 ABRAHAM BLOEMART. 
 Born, 1567. Died, 1647. 
 
 Sandrart informs us, that this excellent artift was born at Goricum, a. d. 
 1567 ; whilft Houbraken and others have'placed his birth in the year 1564. 
 The firft author, however, is moft generally followed. His excellency as a 
 painter is too well known to need a repetition here, even if it were not foreign 
 to the plan of this work to mention him under that character. Some flight, 
 mafterly etchings are attributed to him, which are executed in a manner imit- 
 ating drawings with a pen, from his own compofitions. He alfo publifhed 
 ,fome fpirited claro-fcuros, the outlines of which, contrary to the ufual cuftom, 
 were not cut on blocks of wood, but etched upon copper. Of this kind are two 
 large prints by him, reprefenting Mofes and Aaron, both fitting figures. His 
 nimt is not always fublcribed at full length, either at the bottom of the prints 
 executed by his own hand, or of thofe where he only made the dcfign, and the 
 engraving was performed by other artifts. It is often thus, Ab. Bl. in. or thus, 
 A. Bl. or thus, J. Bloem. And to a fmall upright etching of a fingle figure, 
 reprefenting Juno, which belongs to a let, it is put thus, A. Bloem. fe, the A. 
 beingjoined together with the B. in a cypher. 
 
 Abraham Blocmart refided chiefly at Utrecht, where he probably died 
 A. D» 1647, aged 80 years. He left four fons, who v/ere all of them artifts ; 
 
 but 
 
B L O '[ 103 ] B L O 
 
 but the moft famous was Cornelius the youngefl, of whom we fhall fpeak in 
 a fucceeding article. 
 
 FREDERIC BLOEMART. 
 
 Flourifhed, 1620. 
 
 Was the fon of Abraham Bloemart, mentioned above. He worked chiefly, 
 if not entirely, from the defigns of his father, and imitated his flyle in his 
 etchings and claro-fcuros. He appears to have made, conjointly with his father, 
 a large drawing book, confifting of figures, animals, landfcapes, &c. He alfo 
 engraved fome plates entirely with the graver, in a bold, free ftyle. His neater 
 performances in this laft ftyle, though they be not equal to thofe of Cornelius 
 Bloemart his younger brother, do him no fmall honour, as an artift. To his 
 engravings he frequently fubfcribed the initials of his name, with thofe of 
 his father's, in the following manner: A. Bloem inv. F. B. films fecit ; 
 and frequently the initials F. B. in Roman letters alone. I Ihall mention,^ 
 befides the claro-fcuros above fpoken of, the following, all from his father's 
 defigns : 
 
 2-t\trA{tt.% oilandjca'pes-, chiefly fmall plates, length-ways. 
 
 The four elements, reprefented by fingle figures, fmall upright plates. 
 
 St. John preaching to the people, a fmall upright plate. 
 
 St. Marcellinus preaching, a large upright plate. 
 
 St. Francis, praying, with a crucifix before him, and a landfcape hack-ground^ 
 a middling fized, upright plate. 
 
 A fet of fmall landfcapes, length- ways, cottage fcenes, out-houfes, &c. 
 dated 1620. 
 
 Henry and Adrian Bloimart were both fons of Abraham Bloemart, 
 and painters. They are alfo mentioned as engravers ; but as their works are 
 not fpecified, I can make no reference to them j for I freely confefs, 1 never 
 faw any prints to which either of thefe names was affixed. 
 
 CORNELIUS BLOEMART. 
 
 Born, 1603. Died, 
 
 This- great artift, according to De Piles, was the youngeft fon of Abraham 
 Bloemart. The moft generally received opinion is, that he was born, a. d. 
 1603; though fome fay, 1606. However, all agree, that Utrecht, where 
 his father chiefly refided, was the place of his birth. The firft principles of 
 drawing and painting he learned from his father, but his natural inclination 
 for the art of engraving was fo powerful, that he applied himfelf wholly to the 
 purfuit of it. He firft ftudied under Crifpin de Pafs, an engraver much more 
 famous^for the neatnefs, than the good tafteof his works. Not fatisfied with 
 ■what he learned from this artift, he went to Rome, in order to perfcdl himfelf 
 from the works of the greateft mafters. And in that city (where the far 
 greater part of his engravings were made) he died at a very advanced age. 
 
 The manner of engraving, adopted by this excellent artift, appears to me 
 to be not only quite original, but the fource, from which we may trace that- 
 ftyle^ in which the greateft and beft French mafters excelled : thofe I mean. 
 
B L a [ 104 1 B L O 
 
 who worked ivith the graver only. He covc-red the lights upon his diftanccs, 
 and tlie other parts of his plates, wliich required tinting, with great care. The 
 lio-hts, whether on the dillant hills, trees, buildings, or figures, in the en- 
 gravings prior to his time, had been left quite clear, and by lb many white 
 fpots Ic.ittcred in various parts of t!ie fame defign, the harmony was 
 dcLlroyed, die fubjeft confufed, and the principal figures prevented from 
 relievin-^ with any ftriking eflefb. By this judicious improvement, Bloe- 
 mart gave to his prints a more clear and finiflied appearance, than all the 
 laboured neatnefs even of Jerom Wierix had been able to produce. 
 
 He drew corredlly ; but from his ftyle of engraving, which was executed 
 entirely with the graver, the extremities of his figures are heavy ; and his 
 heads are not always equally beautiful or expreffive. With refpeft to the 
 meclianical part of the vv'orks, few indeed have excelled him, either in clear- 
 nefs or freedom of execution. His great fault, however, is want of varieni\ 
 The naked p;-:rts of his figures, the draperies, and the back-ground, are equally 
 neat, and engraved precifely in the fame manner. Hence the efFefl is flat, 
 and the fleih, for want of fufficient diftindlion, appears cold and filvery. 
 His works are juftly held in high efcimation. They are veiy numerous, and 
 many of them- difficult to be procured. I fliall only notice the following j 
 the firft imprefilons of fome of which are very rare. 
 
 The chaftity of Jofeph, a fmall upright plate, from Blanchart. 
 
 The adoration of the Jl-iepherds, a large plate, length-ways, from Raphael. 
 
 ''^\\ft fame fiihj eel, a middling fized plate, from Pietro de Cortona. 
 
 The holy family o'i t\\tjpe£lacles, fo called, becaufe Jofeph holds a pair of 
 fpeftacles in liis hand, a middling fized upright plate, from Annibale Carracci. 
 
 Another holy family, from Parmegiano, a middling fized, upright plate. 
 
 The Virgin zndi Child ; the child is fleepingj a middling fized circular 
 plate, from Guido. 
 
 St. Luke painting the Virgin and Child, a middling fized upright plate, from 
 RaphaeL 
 
 St. Peter raifing 'Tabitha from the dead, a middling fized print, lengdi- 
 ways, an admirable print, from Guercino. Gerfaint and others, have mif- 
 takingly called this print the death of the Virgin. 
 
 St. Marguerita, leaning on a pedeftal, and fetting her foot upon the 
 tlragon, a fmall upright plate, after Annibale Caracci. 
 
 Thii four fathers o///:?^ f/['«rr^, from Abraham Bloemart,a large uprightpjate. 
 
 Chrifi appearing to St. Ignatius, the fame fize, from the fame painter. 
 
 Meleager prefenting the boar's head to Atalanta, a fmall upright plate, from 
 Rubens. 
 
 Sever3.\printsfora mijfal, after Giro Ferri and other mafters. 
 
 A fet of fmall prints length-ways, of ruflics, &c. from Abraham Bloemart. 
 
 A fet of beads, from the fame. 
 
 A variety of other fubjefts, from different painters ; many of them equally 
 eftimable. 
 
 JOHN FRANCIS VAN BLOEMEN. 
 Born, 1656. Died, 1740. 
 A painter of landfcapes, whofe works are held in the higheft eftimation. 
 3 He 
 
B L O [ 105 J B L O 
 
 He is called by the Italians Horizontt, or Ortzonti, from the delicate 
 manner in which he painted his diftances. He was born at Antwerp, 1650 ; 
 but as he refided chiefly in Italy, he is generally confidered as an Italian 
 artift ; and in that country he died, a. d. 1740, aged 84. By him we have 
 five fmall etchings, which he probably made for his amufement. They are 
 ferJpeSllve vlsws^ apparently near Rome. Four of them are middling fized 
 upright plates ; and there is one fmaller plate, length-ways. Bafan has con- 
 founded this artift with Peter Van Blocmcn, his brother, who was a 
 painter, and, according to M. Heineken, etched fome plates alfo. I 
 have never, to the beft of my rccolledion, feen any of them. 
 
 BLOKHUYSEN. 
 
 Flourifhed, 
 
 A name affixed to feme portraits -, among the reft, to that of Pro/per AU 
 fmus. 
 
 A. D E B L O I S, 
 
 Flourifhed, 1720. 
 An engraver of no great eminence, who flourifhed towards the latter part 
 of the laft century. His employment was chiefly, I believe, in the portrait 
 line. There are, however, other fubjefts engraved by him ; among the reft, 
 part of the plates for a work entitled. Figures: de la Bible., in folio, from the 
 defigns of Picart and otliers, publifhed at Amfterdam, 1720. The portrait of 
 Ar.toniusa Leeuwenhoek,-^rt?iyieA. tohis works, publiftied in quarto, a. d. 1695, 
 engraved by De Blois, is fu.licicntly neat; but very ftiff^ and taftelefs. 
 There was a De Blois, who was an engraver in mezzotinto j among other 
 prints by him is the portrait of Nell Givymu 
 
 MICHAEL LE BLOND. 
 Born, Died, 1650. *^ 
 
 A Dutch engraver, who refided at Amfterdam. He isoneof thofe artifts, 
 who are diftinguiflied by the name of little mafters, from the fmallnefs of 
 their works. His chief em.ployment appears to have been ornamental figures 
 and foliage, &:c. for goldfmiths, jewellers, and chafers. He worked entirely 
 with the graver, in a very neat ftyle j which, as Bafan juftly obferves, greatly- 
 refembles that of Theodore de Bry. Michael le Blond died at Amfterdam, 
 A. D. 1650. His cypher, which is compofed of an M. with a fmaller e. 
 under it, fee copied on the plate at the end of the volume. I ftiall only notice 
 a few prints by this artift : namely, 
 
 St. Jerom, feated at a dcflc writing, in a fmall circle hardly as large as a 
 fiiilling, with an ornamental border, and his name at length, dated 16 10. 
 
 Some darning figures, in a fmall oval, furrounded by an ornamental border, 
 marked " M. Blondus, 16 12." 
 
 VOL. I. P Some 
 
fi L O [ 106 ] B L O 
 
 Some very fmall circles, wherein death is reprejented vjtth people of various 
 ranks. 
 
 Stifamia and the elder s^ a very finall upright oval plate. 
 
 JAMES CHRISTOPHER LE BLOND, or BLON". 
 Born, Died, 1740. 
 
 This artift was born in Flanders; and, according to Bafan, he went tc? 
 Italy, where he ftudied under Carlo Maratti; but his genius being admirably 
 well adapted for mechanics, and his head continually full of fchemes of various 
 lortSj he cannot be fuppofed to have employed as much time, as was requi- 
 fite to acquire any great perfcftion, in tlie arts. He, liowever, difcovered a- 
 •method of printing mezzotinto plates in colours, fo as, in fome faint degree,, 
 to imitate the piiftures, of which they were copies. In this manner heexe- 
 ciited, in- England, feveral large plates, from pi>5tures of the greateft mafters ; 
 and difpofed of the prints by lottery : but thofe who obtained the prizeS;, 
 appear not to have held them in any very great eftimation. He made known 
 tlie manner, in which he performed thele plates, in a publication entitled,. 
 Cclcritto, or the harmony of colouring in painting, reduced to mechanical 
 praiflice, under cafy precepts and infallible rules. And the book was 
 printed in French and Englifh. Finding this fpecics of engraving did not 
 fufficiently anfwer his purpofe, he fet on foot a project for copying the car- 
 toons of Raphael in tapeftry, and made drawings from the pidiures for that 
 purpofe. Houfes were built, and looms erefted, at the Mulberry Ground at 
 Chelfea 5 but the expences being too great, or the contributions not equal to- 
 the firfl expeftations, the fcheme was fuddenly defeated, and Le Blond dif- 
 appcared, to the no fmall diffatisfatStion of thofe, who were engaged with him.- 
 From hence he went to Paris, where, Bafan informs us, he was in the year 
 17-57 J ^^^ '''^ ^^^^ ^^'^y '''^ died, 1740, in an hofpital. The prints, which he 
 produced, certainly poflefs fome merit, exclu five of their novelty; but, in 
 general, the colours are flat and dirty ; the efteft is neither ftriking, nor judi- 
 cioufly managed ; and the drawing is frequently very incorreft, efpecially 
 in the extremities of his figures. 
 
 Among his portraits, which are the only prints of his that I ihall fpecify, 
 are the following; George II. king of England^ Louis XV. king of France } 
 Cardinal Flcuryy Antony Vandyck, &c. 
 
 JAMES BLONDEAU. 
 Flourifhed, 1670. 
 
 1 believe this engraver was a Frenchman, and perhaps learned the art of 
 engraving from Cornelius Bloemart, whofe flyle he feems chiefly to have 
 followed. It is certain, however, that he lived at that time, and engraved 
 fome of the plates from the pictures of Pietro da Cortona, in the palace 
 of Pitti, at Florence. The refl: were execxrted by Bloemart, Spierre, Clouet, 
 and others. Blondeau worked entirely with the graver, in a ftyle, as before 
 obfcrved, much like that of Bloemart ; but he by no means equalled that 
 artift, either in the freedom of the mechanical part of the engraving, or 
 
 the 
 
B L O [ 107 ] ' B L O 
 
 the correftnefs of the outline. His prints, in general, are cold and fdvery, 
 without much efFedt ; and the extremities of his figures are heavy, and fre- 
 quently incorreft. I fhall only mention by him, 
 
 The martyrdom of St. Laurence, from Vittio da Cortona, a middling fized 
 upright plate. 
 
 The crucijixiaft cf Cbriji, a middling fized upright plate, from CiroFcrri, 
 
 JEAN FRANCOIS BLONDEL. 
 
 Flourifhedj 1740. 
 
 An artifi: of great eminence, a native of France. He publiflied feveral 
 
 large folio volumes of Architefture ; fome of the plates for which he etched 
 
 .himfelf. Alfo the defcription of the entertainments given by the city of 
 
 .-Paris, A. D. 1740, at the marriage of Madam Louife Elizabetn of France, 
 
 with Don Philip, infant and high admiral of Spain. The plans and eleva- 
 
 ,tions of the fire-v:orks, temporary buildings, &c. are chiefly liis own engrav- 
 
 ings. 
 
 ABRAHAM ^LOTELING, or BLOOTELING. 
 
 Fiourifhed, 167^.^ 
 
 This artlft, a native of Amfterdam, defigned as well as engraved. Whofe 
 vfcholar he was I cannot difcover ; from the ftyle of his etchings, which 
 have great merit, he appears to have frequented the fchoolof the Vilfchers. 
 He came into England about the year 1672, or 1673, at thetimethe French 
 invaded Holland J but he did not refide here long. He not only etched, 
 but alfo fcraped, feveral mezzotintos.. -V'hich were much efteemed. Vertue 
 informs us, that whilft he was in England, he received thirty guineas for an 
 etching of the duke of Norfolk. From hence he returned to Amfterdam, 
 where, in all probability he died. 
 
 In the year 1685, he publiflied at Amfterdam the gen7s of Leonardo Au- 
 guftino, and etched the plates himfelf. Ifhall notice alfo. 
 
 Some fmall plates, length-ways, of hunting, Szc. *' Blottling fecit," etched 
 . in a free, fpirited ftyle. 
 
 A fet of lions, from Rubens, fmall plates, lertgth-ways. 
 
 A fet of land/capes, fmall plates, length-ways, from J. Van Ruyfdael, 
 dated 1670. 
 
 The portrait of the marquis de Mirabel, a fmall upright plate, from Van- 
 ■dyck. 
 
 The ponrzh of admiral Kortenacr, a large upright plate, from Bartholo- 
 mew Van der Helft. 
 
 The portrait of 13. Hieronymus Fan Beve7-ningh, dated 1680, without the 
 name of the painter. It was probably drawn by Bloteling himfelf. 
 
 The portrait of ^;7«rf Rupert, after Lely, dated 1673. 
 
 The portrait of Anthony earl of Shaft efhury, who is reprefented fitting, is 
 faid by the Hon. Mr. Walpole to be one of the fcarceft prints of this 
 artift. 
 
 Among his mezzotintos, I fliall mention the following portraits only. 
 
 A clear, well-fcraped head of the earl of Derby ; and Abraham Symonds^ 
 ifrom Lely, fmall upright places. 
 
 P 2 See 
 
B L Y [ io8 ] B O C 
 
 See his cypher, compofed of an A. and a B. joined together (which he 
 frequently ufed, when he did not put his name at length) on tlie plate at the 
 end of the volume. 
 
 ROBERT BLYTH 
 
 Born, Died, 1783. •-' 
 
 This engraver, whofe merit was never very confpicuous, died young, 
 A. D. lyS,^, in London. His moft capital performances are feveral flight 
 etchings, from the beautiful drawings, with pen and ink, of John Mortimer, 
 an artift, whofe works are held in the higheft eftimation. Among Blyth's 
 beft prints may be reckoned, thejuldier's courtpip, a middling fi2ed plate, 
 length-ways, and its companion, belonging to a fet of four prints, entitled, 
 the life and death of afoldier, and fome circular groups of heads. In thefe 
 lafl: he was affilled by Mr. Bartolozzi. JCaius Marias, reflecting on the ruins 
 of Carthage\4 zndJNebachadnezzar, recovering his reafon, its companion : 
 both middling fized upright plates. 4) //<5«;fr reciting his verfes to the Grecians^ 
 a large plate, length-ways, &c. 
 
 FRANCIS ^'AN BOCHOLT 
 
 Flouriflied, 
 
 A very ancient engraver on copper, and probably a native of Germairy, 
 Matthias ^ad of Kinkelback, an author of the fixteenth centuiy, in his 
 book intitled, The Excellency cf the German Nation, fpeaks of this artift, 
 and informs us, that he was a fliepherd of the country called Mons, in the 
 Netherlands; and that he was the firft inventor of engraving on copper. 
 " His figures," fays he, " however, though they are hard, appear to be 
 " taken rather from nature than imagination." The opinion, that he was the 
 inventor of engraving on copper is, with the greateftjuftice, generally exploded, 
 though indeed fuch an artift is allowed to have exifted, and with great ap- 
 pearance of truth. The prints which are marked with the letters F. V. B. are 
 attributed tohim. I cannot agree with the above mentioned author, that his 
 figures have the appearance of being taken from nature : they are, in general, 
 ftiff, laboured copies, from the works of Ifrael Van Mecheln, and Martin 
 Schoon. If, confidering the antiquity of the prints attributed to Bocholt, 
 the probability fhould be urged of their being the originals, rather than the 
 copies, a careful examination of them, and the works of the above-men- 
 tioned artifts, will foon clear up the matter, I belreve, beyond a doubt. The 
 ftyle, in which Ifrael Van Mecheln engraved, dift'ered confiderably from that 
 adopted by Martin Schoon, in fo much, that, without the leaft diftinguilh- 
 ing mark, their works may eafily be feparatcd from each other. Yet the 
 ftyle of both thefe artifts is laborioufly imitated by Bocholt, as continually 
 as he copied from either of them. It feems to me, therefore, highly impro- 
 bable, that the works of Bocholt ftiould be the originals, (Ince this difference 
 is fo uniformly found in them, whenever they correfpond with thofe of Ifrael 
 Van Mecheln, or Martin Schoon. 
 
 But though he generally copied fromthc above-mentioned artifts, yet there 
 
 are 
 
B O C [ 109 ] B O C 
 
 are feveral engravings by him, apparently from .his own defigns. I fliall 
 mention, First, the following from J. V. Mecheln, in which he has im.i- 
 tated the ftyle of that mafter. 
 
 The Judgment cf Solomon, a. middling fized upright plate. 
 
 The annunciation of the Virgin, the fame. 
 
 The Virgin and Child, in an arch, a fmall upright plate. 
 
 Secondly, thofe from Martin Schoon. 
 
 St. Anthony, carried into the air by daemons, a middling fized upright plate, 
 J. V. Mecheln alfo engraved this fubjedt ; but this plate is copied from 
 that of Martin Schoon; and his ftyle of engraving is exaftly imitated. 
 
 4^/. 7^/7/^J reading, a fmall upright plate. 
 
 St. Michael and the dragon, the fame. 
 
 Thirdly, thofe that appear to be from his own defigns. 
 
 A fj-iar behaving rudely to a young girl, %vho is defending her/elf "juith her 
 <^ift^ff-> a fmall plate length-ways. 
 
 S arnpf on Jlr angling the lion, a fmall upright plate. 
 
 ^wo men quarrelling in a nine-pin ground, a fmall upright plate. 
 
 All thefe have the mark F. V. B. He alfo engraved a variety of other 
 fubjefls, as well copies from the above mafters, as from his own defigns. I 
 fhall only mention one more, namely, St. George and the dragon, with the 
 mark, a fmall upright plate, under which is written, in a very old hand, Fran- 
 cis Van Bocholt, 
 
 CHARLES VAN BOCKELi 
 Flouriihed, 
 A name mentioned by M. Heineken, as an engraver; but he has not fpe- 
 cifiedany of his prints. C. V. B. the initials of his name, according to the 
 fame author, are frequently fubfcribed to his engravings. I have never fcen 
 any of his works. 
 
 G. B O C K M A N. 
 
 Flouriflied, 1743. 
 A mezzotinto fcraper; but of no great merit. He was, however, a painter 
 alfo; and to a half fheet print oi St. Dunflan, in which the faint is repre- 
 fented holding his crofierinone hand, and the-tongs with which, (according, 
 to the lying legends of fuperttition,) he fecured the devil by the nofe, in the 
 other; he figns his name, to which he adds,/)/'«;c. et fecit. It is dated I74'^,. 
 There are alfo feveral portraits of the late duke of Cumberland, and the por- 
 trait oi Thomas Chubb the deift, &c. His mark, when he does not fign his 
 name at length, is a cypher compofed of a G. and a B. which is copied on 
 the plate at the end of the volume. 
 
 JOHN BOCKSBERGER. 
 
 Flourifhed, 
 
 The name of a modern engraver, according to profefTor Chrill, whofe ini- 
 tials 
 
B O C [ 110 ] BOD 
 
 tials were an H. with a B. joined together in a cypher. He has unfortunately, 
 according to his ufual cuftom, omitted to fpecify the works of this artift. I 
 have never ken any prints by him. 
 
 NICOLAS BOC Q^U E T. 
 Flourifhed, 1601. 
 
 This engraver was, I believe, a native of France. As an artift, however, 
 he cannot be Ipokcn of with any great commendation. I have feen by him, 
 yJdam and Eve, a middling fized upright plate, from Raphael. It is etched, 
 and finifhed with the graver, in a poor, thin ftyle ; and the drawing is incor- 
 rect, and totally deftitute of diat fimplicity, which is the great charafleriftic 
 of the painter. 
 
 St. Bruno, kneeling before a crucifix, a large upright plate, from Bon de 
 Boullogne. ' 
 
 PETER BODART 
 
 Flourifhed, 1723. 
 A modern engraver, who refided fome years fince at Leyden, and pro- 
 bably was a native of that place. His works, however, are little known 
 in England, I have feen by him a fmall folio volume, entitled, Les Prin- 
 cifaux fondementes duDeJfetn, which was publifhed at Leyden, 1723. This 
 is a drawing book ; and it confifts of a prodigious number of plates, fuch as 
 heads, liands, feet, whole figures, and groups of figures, &c. from the defigns of 
 G. Hoet. They are chiefly etched, and in a very poor, incorreft fl:)'le. When 
 he does not write his name at full length, he fubftitutes the initials^ P. B. or 
 P. B. F. the F. as ufual, fl:anding for fecit. 
 
 J. F. B O D D E C K E R. 
 
 Flouriflied, 
 I know not when, or where, this artift (for fo I fuppofe he called himfelf) 
 flouriflied. 1 have only feen by himfomc few mezzotintos, very badly executed, 
 in every refpedt. Among the reft, a fmall upright plate, reprefcnting a bey 
 and a girl, half figures, with flowers, from J. de Baen. 
 
 JOHN GEORGE BODENEHRS. 
 
 Flouriflied, . 
 A modern engraver of the German fchool. The greater part of his fa- 
 mily were artifts. He was chiefly ,employed in the engraving of portraits 
 for the bookfellers. Befides the above-mentioned artift, M. Heineken 
 enumerates the following, withmit fpecifying their works : George 
 •Conrad Bodenehrs, Maurice Bodenehrs, Gabriel Bodenehrs, John 
 George Bodenehrs the younger, John Gottfried Bodenehrs, and 
 Gabriel Bodenehrs the younger j all of them engravers. 
 
 , MARK 
 
BOD [ "I ] BOB 
 
 MARK BODERECHT. 
 
 Flourifhedj 1739. 
 A native, I believCj of Germany, and an engraver in mezzotinto, by whom, 
 among other things, we have the portrait of 'Joan. Th6. Raufier, dated 1739. 
 
 CHARLES FRANCOIS B O E C E. 
 
 Flourifhed, 
 A modern artifl, mentioned by Bafan, without any reference to his 
 country; or the place of his refidence. By him we have feveral engravings. 
 Among the reft, a wcfnan holding a pot with coals, and a boy blo-wing. I'he 
 only light in the painting comes from the fire : from a picture of Rubens, in 
 the Drefden gallery. He alfo engraved feveral of the plates, from the pic- 
 tures of different mafters, in the cabinet of the count De Brulil, &c. 
 
 HUBERT B O E H M. 
 
 Fiourifhed, 
 A name mentioned by M, Chrift, without any reference to his works, or 
 the time in which he lived, excepting tha-t he was a modern artift. I have 
 never feen any of his engravings. According to the above-mentioned 
 author, he ufed by way of marlc, a cypher compofed of an H. and a B. joined 
 together, as exprefled oti the plate at the end of the volume. 
 
 GIOVACCHINO BOEKLAER, or BUECKLAER. 
 
 Fiourifhed, 
 This name is cited in the index of engravers, at the end of the Abece- 
 dario ; and the artift, to whom it is attributed, is faid to have been a native 
 of Antwerp, and a fcholar of Peter Artfens, from whom he learned the art 
 ef engraving. I have never {ctn any of his works. Perhaps the name 
 being falfely written, makes the only difference between this engraver and 
 an artift called John Bocklein, mentioned by profeflTor Chrift, who 
 ufually marked his engravings in this manner, I. B. fe. 
 
 CORNELIUS BOEL. 
 
 Flouriftied, 161 1. 
 
 This artift was probably of Antwerp, and of the fame family with Peter 
 Boel the painter, who is fpokcn of in the next article. From the ftyle of 
 his engraving, which is cliiefiy with tlie graver, I fhould fuppofe he had 
 been inftrufted in the fchool of the Sadelers. He worked in a clear, neat 
 ftyle ; and his prints are by no means deilitute of merit. We have, engraved, 
 by him, a fet of fmall oval plates for the Fables of Otho Vaniusy v/ith Latin, 
 Englifti, and Italian verfes, under them, which v/ere publiftied at Antwerp, 
 A. D. 160S. I have alfo feen by him a middling fized plate, length-ways, 
 reprefenting the laji judgment y\v\{\ch. is figned, " CorneliusBoel fecit," without 
 the name of the painter. It is probably from a compofition of his own. 
 
 I believe 
 
B O E- [ 112 ] B O E 
 
 I believe this artift was in England ; for the fronti/piece to the large folio 
 Bible, publifhed by the royal authority, a. d. i6ii, which is ornamented 
 with fii^ures and other decorations, and very neatly engraved, has his nanne 
 infcribed, C J5o^//«'«V /K Richwont, 1611. He alfo engraved a portrait of 
 Henry prince of IVales, in a fmall oval, furrounded by an ornamental border. 
 But his crreacwork was the battles of Charles the Fifthy and Francis the Firfiy 
 ei"ht large plates, length-ways, from Antony Tempefta. 
 
 PETER BOEL, 
 Born, 1625. Died, 1680. 
 An excellent painter of fruit, flowers, and animals, born at Antwerp, 
 A. D. 1625. A difciple of Snyders, whofe widow he married. He went 
 into Italy, where his uncle Cornelius de Wael refided; and,; in his return 
 through France, was there greatly employed. He died, a. d. 1680, aged 
 55 years. There are fome few (light, but fpirited etchings, by this artift, 
 from his own compofitions, reprefenting various animals, Sec. 
 
 CORYN or QUIRI^ BOEL. 
 
 Flourifhed, 1660. 
 This engraver was a native of Antwerp, and of the fame family with the 
 preceding artift. His works are chiefly etchings, which are executed in a 
 very coarfe, heavy, inconedl ftyle. The greater part of them are, I believe, 
 contained in the colleftion of prints, from the pictures of the greateft mafters, 
 known by the name of Tenier's Gallery. They do not require; to be par- 
 ticularized, as the book itfelf is very common. I have feen among other 
 things by this engraver, a middhng fized plate, length- ways, reprefenting fome 
 Butch feaf ants flaying at nine-pins, from Teniers.- This artift has, in gene- 
 ral^ been carelelsly confounded with Cornelius Boel, mentioned above, but 
 he never nearly equalled him in point of merit. 
 
 L. D E BOER. 
 
 Flourifhedj 
 An obfcure engraver of portraits, by whom, among otha-s, is that of ^k/«. 
 khard, to which he fig-ns his name L. de Boer. 
 
 C. F. B O E T I U S. 
 
 Flouriflied, 175J. 
 
 A modern German artift, who engraved feveral of the plates from the col- 
 
 le<a:ion of piftures at Drefden, The work is in two volumes, large folio, 
 
 entitled, " Recueil d'Eftampes, d'apres les plus celebres Tableaux de La 
 
 Galleriede dresce." The firft volume was publiftied 1753, and the fecond 
 
 »757- 
 
 MICHAEL 
 
BOG [ 1^3 ] B O I 
 
 MICHAEL BOGNER. 
 
 Flourifhed, 1487. 
 
 The n.-inne of a very old German artift, probably a goldfrnith. The print, 
 to which this name is affixed, I found in the colledion of Dr. Monro. It is 
 a fmall plate reprefenting a coat of arms. The bearing is a v/heel, and 
 the creft a wheel upon an helmet. The name SlHcbael Wo^tltV is wrirten 
 upon a fcroll. It is executed entirely with the graver; and the ornamental 
 part is white upon a black ground. On the fpace, which divides the orna- 
 ments, is the date intermixed with the letters in the following manner : 
 
 3. 2D. 1487. 31- 2- ^- This curious ancient engraving is three inches 
 high, by one inch one fourth wide. 
 
 J. L. B O J A N. 
 
 Flourilhed, 1670. 
 
 An ornamental engraver, who feems to have been chiefly employed by J. 
 Berain, in the large works of ornaments, which he publifhed. His prints, 
 ■which are etched, and finiflied with the graver, have, however, nothing very 
 ftriking to recommend them. 
 
 H. BOILING. 
 
 Flourilhed, 
 
 An engraver in mezzotinto, mentioned by profeflbr ChrlfV, who informs, 
 us, that fome prints reprefenting pea/ants, &c. were executed by him ; and, 
 that he often put the initials of his name only, H. B. I have never feen any 
 thing by this engraver. 
 
 MARTIN DES BOIS. 
 Flourilhed, 1691. 
 
 This artift was, I prefume, a native of France. By him we have feveral 
 frond/pieces, for books, after Louis Dorigny ; and other prints from the 
 paintings of Italtan matters, which were publifhed byC. Paten, a. d. 1691. 
 Thefe, however do him little credit. 
 
 ELIAS DU BOIS. 
 
 Flourifhed, 16 14. 
 The name of an artift, cited by Florentle Comte, who informs us, that he 
 engraved the portrait oi Motifieur de Sully -, which print is dated 16 14. 
 
 PETERDEBOIS. 
 
 Flourifhed, ' 
 He is mentioned by Florent le Comte as an engraver of funeral proc.f- 
 fions, monuments, &c. but none of his works are fpecified. 
 
 VOL I. Q^ R O BE R T 
 
B O I [ 114 ] B O I 
 
 ROBERT BOISSART. 
 
 Flouriflied, 
 
 A name mentioned by Florent le Comte, as an engraver of portraltSj and 
 rcfident in England ; but I am not acquainted with his works. 
 
 L. B O I S S E V I N. 
 
 Flourifhed, 1623. 
 
 His chief employment was, I believe, that of a publifKer and a printfcller. 
 However, it is thought, that he engraved alfo himfelf ; and to him are attri- 
 buted the following portraits : Franc. Bari/erini, cardinal ; dated 1623. 
 Charles the Firjl, and Oliver Crotn'ivell. 
 
 S, D E LA BOISSIERE. 
 
 Flourifhed, 1682. 
 This engraver, who, I fuppofe, was a native of France, is mentioned by 
 Bafan, without any reference to the time or place of his birth. He tells us, 
 that S. BoilTiere (for fo he writes his name) engraved " the death of a prince y 
 furrounded by his court," a large plate, lengthways. I fufpedl him to be the 
 fame with that artift, who engraved feveral of the plates for a large work in 
 folio, entitled, Les Edifices Antiques de Rome, par Antoine Degodetz, 
 Architefte, a Paris, 1682. To theJe plates he figns his name, De la Boif- 
 fiere. They are neatly executed, but in a ftiff", laboured flyle ; and may be 
 co4ifidered as the produdions of patience ra;ther than of genius. 
 
 B O I S S I E U X. 
 
 Flourifhed, 
 
 By this artiil we have a confiderable number of landfcapes, views, &"c. 
 Judging from the free, mafterly (tyle, in which they are etched, I fhould 
 fuppofe he was alandfcape painter, and a man of great abilities^ They are 
 very flight, in general ; but, at the fame time, fpirited- Some of them are 
 apparently from his own defigns j others are from various maflers. I fhall 
 only mention a fet of ten landfcapes, fmall plates length-ways, with this title : 
 State de iix Payjages, grave a leau forte, par BoifTieux. If I miftake not, 
 this artift was a native of France. The Hon. Mr. Walpole mentions the 
 name of Boilleau, as affixed to a plate for Aaron HiH's Iliftory of the Otto- 
 man Empii"e j this was probably a different engraver, though perhaps of 
 the fame family. 
 
 L. B O I T A R D. 
 
 Flourifhed, 1760. 
 
 This engraver was a native of France. He frequently worked from hfe 
 
 own compofitions. His employment was chiefly for the bookfcllers. He 
 
 engraved in a neat though flight ftyle, without tafte; and his drawing is, in 
 
 general, very defective. Small figures he executed bcft ; but even thcfe are 
 
 often 
 
B O I [ 115 ] B O I 
 
 6ften faulty. Among his moft eftimable prints, may be reckoned thofe which he 
 engraved, for Spence's Polymetis ; and a large plate reprefentingthe Rotunda at 
 /?rtKt'/«^Zi, after Paolo Panini. He alfo engraved feveral portraits; among the rell, 
 that of 7. Brown, the foldier, who diftingiiillied himfelf at the battle of Dettin- 
 gen, Elizabeth Canning, &c. Boitard, who refided chiefly in England, married 
 an Englifhwoman. He died at London fome years fince, leaving a fon who 
 followed his father's profefTion, and a daughter. 
 
 RENE B O I V I N, or B O Y V I N, 
 
 Rourifhed, 
 
 This artift was a native of France, born at Anjou ; but the year of his 
 birth does not appear. The ftyle of his engravings, however, in m.y opinion^ 
 fufficlently teftifies, that he flouriflied towards the end of the fixteenth centuiy. 
 His plates, in general, are executed with the graver only, in a manner much 
 refembling that of Cornelius Cort ; but we have alfo fome etchings by him. 
 His works, though not held in the higheft eftimation, are by no means devoid 
 of merit, efpecially in the mechanical part of them. Pie handled the graver 
 with much facility ; and if, in good talle, and corre£lnefs of drawing, he had 
 equalled the command he had of that inftrument, he certainly might have 
 been ranked among the firfl; mafters. In thefe great eflentials he is de- 
 feftive, efpecially in his drawing, which is very incorreft. The extremities 
 of his figures, in particular, are poorly expreffed. He fometimes figned 
 his plates with his baptifmal name only, as Renatns fecit -, but more gene- 
 rally with a cypher, compofed of an R. and a B. in the manner expreffed 
 upon the plate, at the end of the volume. He engraved a great variety of 
 prints. I can only mention a few of them. 
 
 An emblematical plate, reprelenting the triumph of -virtue, with the defefts 
 of vice, a large print, length-ways, from Rous. Florent, marked Renatus 
 fecit. 
 
 Sufanna and the elders, a middling fized plate, length-ways, without any 
 ;p a'mter's name, marked with his cypher. 
 
 The plates for a work, entitled Livre de la Conquefle de la 'Toi/on d'cr, per 
 le Prince Jafon de 'Tejfalie ; or The Book of the Conquefl of the Golden 
 Fleece, by the Prince Jafon of ThefTaly. Thefe hiftorical compofitions, wliich 
 are enclofed in ornamental borders, were defigned by Leonard Thiri ; and 
 they are marked with the cypher of Boivin, whofe name in the dedication 
 is fpelt Boyvin, 
 
 A fpirited etching of a cottage yard, in which is introduced the departure 
 of Hagar and IJhmael from the houfe of Jlbrahant, a middling fizcd platCj 
 ,length-ways, marked with his cypher. 
 
 Another etching, in which is reprefented four banditti men robbing the 
 cart of a pea/ant, a fmall plate, length-ways, marked with the cypher. 
 
 M A R I E L. A. B O I Z O T. 
 
 Flourifhed, 1762. 
 
 A modern engraver, a native of France, and pupil to Flipart. He refided 
 
 0^2 at 
 
B O L [ ii6 ] B O L 
 
 at Paris, and engraved a variety of domeJiic/ubjeSfs from Greuze and other 
 mafterSj alfo fome portraits. 
 
 HANS or JOHN BOL. 
 
 Born, 1534. Died, 1593. 
 
 He was a native of Mechlin, where he was born, a. d. 1534. His genius 
 leading him to the arts, he was at firft inftrufted in painting by a mafter of 
 no great repute, whom he foon left, and going to Heidelberg, employed him- 
 felf in copying feveral pictures of the eminent artifis. His fubjefts are 
 chiefly landfcapes with animals; but he alfo fometimes painted hiftory, with 
 no fmall fuccefs. We have by him a fet of landfcapes, viezvs in Holland, 
 nightly etched, but in a ftyle that indicates the hand of the mafter, they are 
 middling fized plates, lengrh-ways, marked " H. Bol ;" the H. and the B. 
 are joined together in the ftyle of a cypher, and they were publiftied by 
 J erom Cock. A large plate, length-ways, in which is reprefented an aquatic 
 djvsrjicn in Holland : a man appears in a boat, catching at a goofe, which 
 is faftened to a ftring over the river, and a prodigious number of fpeftators 
 are dcpifted upon the banks on each fide. 
 
 Some circular prints, reprefenting hijiorical JuhjeR s . I ftiall only mentioa 
 two, namely, the meeting of Jacob and EJau ; and the fir fi interview between 
 the Jervant of Abraham and Rebecca : both very flight, but fpirited etchings; 
 and marked with his name as above. 
 
 I iiave feen alfo a flight, Ipirited etching, greatly in the ftyle of thofe by 
 this artift. It is a fmall fea view, with fliips. Over it is written den briel; 
 and at the right hand corner, C. Bol fecit, who was probably another artift 
 of the fame family. 
 
 FERDINAND BOL. 
 Born, 161 1. Died, 1681. 
 
 A celebrated painter both of hiftory and portraits. He was born at Dort, 
 A.u. 161 1, and educated at Amfterdam. In the fchool of the celebrated 
 Hcmbrant Gerretz, he received his inftiaiflions as a painter, and imitated the 
 ftyle of his mafter with no little fuccefs, not only in his piftures, but in his 
 engravings Boi's etchings are bold and free. The lights and ftiadows in 
 them are broad and powerful, which renders the efFe6t very ftriking ; but 
 they want that lightnefs of touch, and admirable tafte, which thofe of Rem- 
 brant pofiefs in fo great a degree. Bol died at Dort, the place of his birth, 
 A. D. 168 1, aged 70. 
 
 Among his etchings, the following from his own compofitions, are ge- 
 nerally much efteemed : 
 
 Abraham' sfacrifice, a middling fizcd upright plate. 
 
 St. Jcrom feated in a cavern, holding a crucifix, a fmall upright plate, 
 arched at the top. 
 
 A philojopker, a half figure, holding a book, a fmall upright plate. 
 
 1 NICCOLO 
 
B O L [ 117 ] B O L 
 
 NICCOLO BOLDRINI. 
 
 Flourifhed, 1566. 
 An engraver on wood, who worked chiefly from Titian, and by fomc 
 thought to have been the fcholar of that great mafter. The time of his 
 birth and death are equally unknown. I have feen by him a large upright 
 print, cut in wood, which reprefents Venus naked, feated on a bank, holding 
 Cupid, a fquirrel appears behind upon the branch of a tree. The figures, 
 back-ground, &c. are executed in a bold, free ftyle, chiefly with a fuigie 
 ftroke ; but there is fome hatching in the deep fliadows. It is marked 
 Titiafius inv. Nicolaus BaUrinus Fincentinus inciaebat, 1566. 
 
 I L BOLOGNA. See Primaticcio. 
 
 IL BOLOGNESE. See Grimaldi. 
 
 GIOVANNI BATISTA BOLOGNINI. 
 Born, 161 1. Died, i68a. 
 
 This artift, a native of Bologna, was born, a. d. r6{ t. He was inftruifled 
 in the principles of painting by Guido ; and fucceeded fo well, in his ftudies, 
 that he became the favourite fcholar of that excellent mafl:er. He imitated 
 the ftyle of Guido ; and his works are held in general efteem. He died, 
 A. D. 1688, aged 77. We have feveral etchings by him from the compo- 
 fitions of Guido. They are flight, and often fpirited, but by no means equal 
 to thofe, which were produced by Guido's own hand. Among his moft 
 efteemed etchings may be reckoned the following : 
 
 The murder 0/ the innocents, a middling fized upright plate. 
 
 St. Peter receiving the keys, nearly the fame fize as the preceding. 
 
 A crucifixion, with St. John and the two Maries, ftanding at the foot of 
 the crofs, nearly the fame fize as the former. 
 
 Bacchus and Ariadne, a large print length-ways, engraved on three plates. 
 Thefe are all from Guido. 
 
 BOETIUS ADAM A BOLSWERT, or BOLSUERD. 
 
 Flourifhed, 1620. 
 
 This artift, an engraver and printfeller, eftablifbed at Antwerp, was the 
 defcendant of a family, who refided at the city of Bolfwert in Friefeland, 
 from whence he derived his name. He commonly figns the prints engraved 
 by him, with the firfl: of his baptifmal names, Boetius ; but fometimes he 
 has fubftituted the fecond, and omitted the firft. Hence it is, that the ge- 
 nerality of authors, on the fubjedl of engraving, have run into a ftrange 
 miftake, and made two artifts of the fame m.an ; one named Boetius, the 
 other Jdam : the latter fuppofed to have been the father of the former. 
 According to Bafan, Boetius Adam a Bolfwert, " who," fays he, " is mif- 
 " takenly mentioned as an engraver, becaufe we find upon feveral plates, 
 *' B. Adams, or B. A. Bolfwert; or certain other marks, nearly refem.bling 
 
 " them 
 
B O L [ iiS ] B O L 
 
 " them, which Boetius fometimes uTed. All of which in Flemifla fignify 
 " Boetius the Ion of Adam." It is highly probable, that the father's name 
 might be Adam ; but that thefe fignatures are to be interpreted according to 
 Bafan's idea, is not fo certain. Both names doubtlefs did belong to him; 
 s.nd accordingly, to a fet of twenty land/capes, engraved by him from Abra- 
 ham Bloemarc, he figns them at length thus, Boetius jidam Boljuerd Jculp. 
 By what mafter he was inftruifted in the art of engraving, does not appear. 
 He worked with the graver onlyj the free, open ftyle of the Bloemarts 
 he imitated with great luccefs ; and perhaps perfcfted himfelf in their fchool. 
 When he worked from Rubens, he altered that ftyle; and his plates are 
 neater, fuller of colour, and more highly finiflied. I fhall mention 
 
 First, ibme of thofe plates, wherein he has imitated the ftyle of the Bloe- 
 marts. 
 
 A fet of twenty land/capes, from Abraham Bloemart, mentioned above ; 
 flight, fmall plates, length-ways. I have ki^n them marked, Amfterdam, 
 with the date 1664, which time perhaps they were republifhed by a new 
 proprietor. 
 
 The plates for a quarto book, entitled, the Foreft of tie Hermits and Her- 
 mitejjes of Egypt and Palefline, from the fame painter, publillied at Antwerp, 
 
 A. D. 1619. 
 
 The nativity of Chrifi, a large upright plate, from the fame painter, a 
 very beautiful plate, dated 1618. 
 
 Secondly, the following from Rubens in a more finifhed ftyle : 
 
 The reJureSlion of Lazarus, a large upright plate. 
 
 'Y\\tlajljupper., the fame, its companion. Bafan, fpeaking of this print, 
 fays, that it proves by its beauty, and the knowledge with which it is engraved, 
 that Bo-tius could fometimes equal his brother Sch-eltius. It is certainly a 
 very beautiful engraving ; but I cannot help thinking, the compliment a 
 little overftrained ; efpecially if we look at the admirable crucifixion ixoxTX 
 ■.Vandyck by Scheltius Bolfwert, at the fame time. 
 
 SCHELTIUS A BOLSWF.RT, or BOLSUERD. 
 
 Flourifhed, 1626. 
 This admirable artift was the brother of Boetius Adam a Bolfwert, men- 
 tioned in the preceding article. We have no other aocount of his family 
 than what is there given; nor unfortunately any of himfelf, of the leaft con- 
 iequence. The time of his birth and of his death, and the name of the maf- 
 ter he ftudied under, are equally obfcure. And though it is not likely, that 
 the knowledge of thefe circumftances could add to the fame he has fo juftly 
 acquired, yet we naturally wifli to know fomething of the man, whofe genius 
 we admire ; and of courfe every little anecdote concerning him becomes 
 interefting. Bollwert worked entirely with the graver, and, I believe, never 
 called in the afTiftance of the point. His general character as an artift is 
 well drawn by Bafan, in the following words : " We have a large number of 
 " prints, which are held in great efteem, by this artift, from various maf- 
 " ters ; but efpecially from Rubens, whofe piftures he has copied with ail 
 " poffible knowledge, taile and great effeft. The freedom, with which 
 
 ♦' this 
 
B O L C 119 ] B O L 
 
 " this excellent artift handled the graver, the piclurefque roughnefs of etch- 
 " ing, which he could imitate without any other airifting inftrument, and the 
 " ability he poflefled of diflinguifhing the different mafles of colours, have 
 " always been admired by the connoifieurs, and give him a place in the 
 " number of thofe celebrated engravers, whofe prints ought to be confidcred 
 " as models by all hiftorical engravers, who are defirous of rendering their 
 " works as ufeful as they are agreeable, and of acquiring a reputation, as 
 " lading as it is jufcly merited." He drew excellently, and without any 
 manner of his own ; for his prints are the exaft tranfcripts of the pictures 
 he engraved from. His beft works, though not always equally neat or 
 finilhed, are always beautiful, and manifeft the hand of the miafter. Some- 
 times we find his engravings are in a bold, free, open ftyle : as, the braxen 
 ferpenty the marriage of the Virgin, &c. from Rubens. At other times thev 
 are very neat, and fweetly finifhed : as, the crovyning 'u^ith thorns, and the 
 crucifixion, &c. from Vandyck. Indeed, I have generally obferved^ that his 
 boldeft engravings are from Rubens, and his neateft from Vandyck and Jor- 
 dans. 
 
 How greatly Bolfwert varied his manner of engraving appears from fome 
 prints, which, like the greater part of thofe of his brother Boetius, bear great 
 refemblance to the free engravings of the Bloem.arts, and to thofe of 
 Frederic Bloemart efpecially ; and form a part of the plates for a laree 
 folio volume, entitled, Academie de L'ejpee, by Girard Thibault of Antwerp, 
 where it was publifhed, a. d. 1628 ; and to thefe he figns his name, " Shel- 
 " tius," and fometimes " Schclderic Bolfwert," adding the word Bruxelle. 
 His name is ufually affixed to his plates in this manner, " S. A. Bolfwert ;" 
 but on the plate at the end of the volume may be {ei:n a mark, attributed to 
 him, which he is faid to have ufed, when he was not willing to fign his name. 
 
 It is vei-y necelTary to caution the coUeftors of this mafter's works (thofe 
 efpecially, who are not very converfant with them) that m.any of them 
 have been copied in a very careful manner, fo as eafily to deceive the unfldl- 
 ful. Some of thefe copies, as the marriage of the Virgin, from Rubens, &c. 
 are by Lauwers. But thofe, which are moft likely to miflead, are by 
 Ragot, a Frencli engraver, employed by Mariette the printfeller, who fre- 
 quently meeting with the reveries or counterproofs, from the prints of Bolf- 
 wert, gave them to the engraver; and he imitated them with the utmoftpre- 
 cifion. By this means the impreflions from the plate copied come upon 
 the paper the fame way with tlie original. It is true, his name is ufually 
 affixed at the bottom; but it is often cut off, and then the copy is not eafily 
 diftinguifhed from the original. Among other prints thus imitated by Ra- 
 got from Bolfwert, is Chrift crucified hetisjeen the t'vjo thieves ; where the 
 foldier is reprefented piercing his fide, from Rubens. 
 
 Among the variety of eftimable engravings by this great artift, I can only 
 mention the few following r 
 
 The brazen Jcrpcnt, a large plate, length-ways, from Rubens. Thofe im- 
 preffions are the moft eftimable, which have only the word Jntuerpi^ at the 
 right hand corner, without the name of Giles Hendrix, which was afterwards 
 inferted above it, and part of the fmall circle over the arms is left white. 
 
 Abraham offering his Jon Ifaac, a large plate nearly fquare, from Theodore 
 Rombout, 
 
 The 
 
B O L [ I20 ] B O L 
 
 The education cf the Virgin by Saint Anne, a middling fized uprighr plate, 
 from Rubens. Thofe imprefTions, without the name of Hendrix, are the moft 
 cfleemed. 
 
 The marriage of the Virgin, a middling fized upright plate, from the fame 
 painter. Thofe imprelTions are beft, in which the word " Antuerpiic" is not 
 added to the name of Hendrix. 
 
 The nativity ofChriJ}, a middling fized upright plate, from the fame, firft 
 publifned by Martin Vanden Endcn. 
 
 The adoration of the ivife men, a middling fized upright plate, from the 
 fame. The good impreffions of this plate alfo, have the name of 
 Vanden Enden. 
 
 Tne fcaft of Herod, in which is reprefented the daughter of Herodias, 
 prefenting the head of John the Baptift to her mother, a large plate, length- 
 ways, from the fame. 
 
 The miraculous draught of fifhes, a large print, length-ways, on three 
 plates, from the fame. 
 
 Chrifl crowned with thorns, a large upright plate, from Vandyck. An 
 admirable print. With the name of Vanden Enden. 
 
 A crucifixion, where a figure appears prefenting the fpongeto Chrift. 5t. 
 John and the Virgin are Handing at the foot of the crofs, and Mary Mag- 
 dalen is reclining towards it, a large upright plate, from Vandyck; and 
 it is, in my opinion, one of the moft beautiful prints engraved by Bolfwert. 
 In the firft impreffions, which are very fcarce, the left hand of St. John is 
 not feen. In the fecond, the hand appears upon the Ihoulder of the Virgin, 
 the name of Vandyck is tranfpofed from the left to the right hand corner 
 of the plate ; and the dedication, which confifts of two lines, is erafed from 
 x^no^ bottom of the plate, probably to make thefe impreflions pafs for the firft 
 After this, to deceive the purchafers, the hand was again erafed, and 
 the dedication reinferted ; but the imitation of the letters is fo poorly exe- 
 cuted, that the cheat is eafily difcovered. The firft impreffions are diftin- 
 guiflied without much difficulty, as well by their fuperiority in clearnefs and 
 colour, as by the difi^erence alluded to; efpecially from the laft; for the 
 ftrokcs, which were re -engraved over the place, where the hand had been, 
 r.re very poorly executed. And both in the fecond and third impreffions, 
 the fhort ftrokcs upon the ground, near the great toe of the figure, who holds 
 the fponge, arc croilcd with a fecond ftroke, but in the firft they are with- 
 out any croffing. 
 
 A crucifixion, where St. Dominicus and St. Catherine of Sienna are repre- 
 fented. At the foot of the crofs is a large ftone, on which is feated a fmall 
 cherub, with a lamp before him. On the ftone is an infcription beginning 
 thus : Ne Patrisfui mamhus ; a large upriglit plate from the fame matter. 
 
 A crucifixion, whej-e the foldier is piercing the fide of Chrift, St. John 
 and the Virgin are ftanding by the crofs, a large upright plate from Rubens. 
 A crucifixion, with the Virgin and St. John at the foot of the crofs, from 
 James Jordaens, a large upright plate. 
 
 A dead Chrift on the lap of the Virgin, with St. John and two Angels, a 
 middling fized plate, length-ways. 
 
 A dead 
 
B O L [ 121 ] BON 
 
 A dead Chriji on the lap of the Virgiiij a large upright plate, from A, 
 Deipenbeck. 
 
 The Trinity, a large upright plate, where Chrift is rcprefented dead, a 
 fore-flaortened figure Aipported by the Deity, from Rubens. 
 
 The ajjumpion of the Virgin, a large upright plate, arched at top, from 
 the fame mafter. 
 
 The deJiruffioH cf idolatry, a large print, length-ways, on two plates, from 
 the fame mafter. 
 
 The triumph of the church, tlie fame from the fame. 
 
 The infant Jupiter fuckled by the goat Amalthea, a middling fized plate, 
 length-ways, from Jordaens. 
 
 The infant Jupiter crying, and /homing a dijh to a woman, who is milking the 
 goat i and a Jatyr is playing on a tambour, a middling fized plate, lengdi- 
 ways, from the fame. 
 
 T\\cgod Pan playing upon his flute, the fame from the fame. 
 
 Mercury and Argus, a large plate length-ways, from the fame. 
 
 The drunken king, the fame from the fame. 
 
 A drunken Silenus, fupported by a fatyr, and another figure, a middling- 
 fized upright plate from Rubens. The imprefllons, with the name of 
 " Bolefwert" ^nly, without the addrefs, are .the beft. 
 
 A chafe of lions, a large plate, length-ways, from the fame. 
 
 Five large landfcapes, length-ways, from the fame. 
 
 Twenty fmall /^j/^ftf/fj, length-ways, from the fame. 
 
 GIOVANNI BATISTA BON ACINI. 
 Flourillied, 
 This artift, who was a native of Milan, never arrived at any fuperior 
 degree of excellence. He worked entirely with the graver, in a ftiif, laboured 
 ftyle. He appears by his engravings to have flourillied towards the begin- 
 ing of the laft century, and may have been inftrudled in the fchool of Cor- 
 nelius Bloemart. I fhall only notice by him a middling-fized upright plate, 
 rcprefenting the Virgin -zvith the infant Jefus, and St. Martin kneeling before 
 him, from Pietro dc Cortona ; and a holy family, with St. John, St. Catherine, 
 &c. a middling fized upright plate, from Andrea del Sarto. We have alfo 
 feveral portraits by him ; but they are by no means commendable. 
 
 GIULIO BONASONJ. 
 
 Flourifhed, 1540. 
 
 He was a native of Bologna, and for that caufe is fometimes called Bolcg- 
 nefe. He was a painter as well as an engraver, and the fcholar of Marc 
 Antonio Raimondi, He worked from the pictures of Raphael, Giulio 
 Romano, and other great matters ; and occafionally from his own dcfio-ns. 
 Excepting one or two fubjefts, in which he called in the afTidance of°thc 
 point (which, however, he never well underftood the ufe of) his plates arc 
 <-xecuted entirely with the graver, in a manner though much varied from that 
 of his tutor, yet evidently founded upon it. It is neither fo firm, nor fo 
 
 VOL. I. R clear 
 
BON C "2 ! B O N 
 
 clear and mafterly. His drawing is ofcen heav^-, and the extremities of his 
 figures frequently neglefted. The folds of his draperies are feldom well 
 exprcffed, and the back-grounds to his prints, efpecially his landfcapes, are 
 extremely flat and ftiff. However, with all thefe faults (which are not always 
 equally confpicuous) his bcfl: prints poficls an uncommon fliare of merit ; 
 and, thouo-h not equal to tliofe of his mailer, are defcrvedly held in no fmall 
 degree of cftimation by the greateft colleftors. One thing in particular is 
 remarkable in them, namely, the attempt which he has made, of prefcrving 
 the maflfes and a breadth of light and Ihadow, as well upon the groups of 
 figures as upon the figures feparately. 
 
 I fhall notice the following by him, from his own compofitions : 
 
 The lov^es of the gods, a fet of twenty-one fmall upright plates. 
 
 A warrior yjurrounded by Jeveral naked women, a middling fized plate, 
 length-ways. 
 
 Jpollo in his chariot with the hours, Time walking on crutches before, and 
 at the bottom v^ man and a woman waking from fie ep, a middling fized plate, 
 length-ways, mariced "Julio Bonafone inventore." 
 
 Venus attended by the Graces, a fmall upright plate. 
 
 The Judgment of Paris, into which he has introduced a great variety of 
 figures. All the back ground and much of the draperies and fome fmall 
 part of the figures, &c. are etched ; but the work with the graver only is by 
 no means well harmonized with the etching, a large plate length-ways. 
 
 Clelia and her companions, efcaping from the camp of Porfenna, a middling 
 fized plate, length-ways, marked iv. bonaso imitando pinsit celavit. 
 
 I fhall add the following only from other mafters : 
 
 The animals departing from the ark, a middling fized plate, from Raphael, 
 dated 1544. 
 
 The infant Jupiter fuckled by the goat Amalthea, the fame from the fame. 
 
 St, Cecilia, from the pifture by Raphael, which difi^ers from the print of 
 Marc Antonio in feveral particulars, a fmall upright plate. 
 
 A dead Chrijl upon the lap of the Virgin, a fmall upright plate, from 
 Michael Angclo. Beatrici alfo engraved a print from the fame picture, 
 dated 1546. 
 
 The laft judgment, a large upright plate, arched at the top, from the fame 
 mafter, with this infcription, Julius Bonafonius Bonon. e propria Michadis 
 j^ngeli piofurci, qu£ eji in Vaticano, nigro Capillo excepit, in aefque incidit. 
 
 The entry of the wooden horfe into 7'roy, infcribed BOL inventor, 1545. 
 
 Mcfes flriking the rock, a middling fized plate, length-ways, from Par- 
 migiano. 
 
 Some portraits, particularly thofe of Raphael znd MichaeUngelo. When 
 he did not infcribe his name at length, he often fubftituted the initials, as 
 " I. B." fometimes thus, " I. Bo." or thus, " Julio B. F." 
 
 BONAVENTURA. Sec Bisi. 
 
 DOMENICO MARIA BONAVERA; 
 Flouriihed, 1700. 
 This engraver, who appears to have been a native of Bologna, flourlfhed 
 
 accordins: 
 
 I 
 
BON C 123 ] BON 
 
 according to Bafan, at the beginning of the prefent century. All the prints, 
 which indeed are but few, that I have feen by him, are flight, incorreft etch- 
 ings, by no means very eftimable. A marl<. faid to have been adopted by 
 him, may be feen upon the plate at the end of the volume. I fliall only 
 notice, the iapti/m of our Saviour, from Alh^no, mentioned by Bafan; and 
 the martyrdom of a female faint , a large upright plate, from Domenico Maria 
 Canuti. 
 
 N A TALIS BONIFACE. 
 
 Flouriflied, 1590. 
 An engraver of great merit, who flouriflied in Italy towards theconclufion 
 of the fixteenth century. His works are chiefly etchings, which he per- 
 formed in a flight, free ftyle ; and where fmall figures were required, he 
 executed them with great fpirit. His chief work was the plates for the 
 large folio volume compofed by D. Fontana, architect to Pope Sixtus V. 
 concerning the removal of the Vatican obeliflcs. To thefe plates he figns 
 his name, " Natalis Bonifacius Sibeniccnfis fecit." This book was pub- 
 liflied at Rome, 1590, and contains the portrait of Fontani, furrounded by 
 an ornamental border, which, I believe, was performed by Boniface; but 
 the portrait itfelf, which is executed entirely with the graver, I fufpeft was 
 the work of another artift. 
 
 FLORIANUS DE BONIS. 
 
 Flouriflied, 
 
 The name of an obfcure engraver of little merit, affixed to a middling 
 fized plate, from Guercino, reprefenting (? dead Chrift, fupported by St. John, 
 ivith the Virgin fta7tdi7ig by him. It is all executed with the graver, in a black 
 heavy ftyle. 
 
 ROBERT BONNART. 
 
 Flouriflied, i63o. 
 
 This engraver, with Nicholas Bonnart his brother, who were both of 
 them natives of France, engraved, among other things, feveral of the plates 
 'from the defigns of Vander Meulen, for the large edition of his works. They 
 chiefly confift of views, land/capes \v\t\\ figures, &c. and are executed in a 
 ver)' heavy, coarfe ftyle. John Bonnart, perhaps another brother, en- 
 graved with them a variety of figures a-la-mode, with grotefque portraits of 
 the aftors in the Italian comedy, &c. which have very little to recommend 
 them. Nicholas and John Bonnart fometimes figned their plates with the 
 initials only of their names: as, " N. B. fecit," and " I. B. F. or fecit." 
 
 John Bonnart the younger, who was probably fon of John Bonnart 
 
 • mentioned above, appears to have been a painter. There is a plate by him 
 
 .in Perault's Cabinet .des Beaux Artes, publiflied at Paris, 1690. It is a 
 
 ceiling ornamented with figures, which he has etched in a free, mafterly 
 
 ftyle, and retouched with the graver. He figi;is h.is name " Joan. Bonnart 
 
 f' junior del. et fculp." 
 
 R 2 E. B O N- 
 
BON [ 124 1 BON 
 
 E. BONNCIONNE. 
 
 Flouriflied, 
 A name I found afRxed to a very fmall plate, length-ways, fronti F. Bod, 
 reprefenrino- Diana, feated in a chariot drawn by dragons, and a Cupid behind 
 her. It is "a llight, dark etching, incorredly drawn, and poffefTes little merit 
 to recommend it. 
 
 B O N N E A U. 
 
 Flourifhed, 1741. 
 A very indifferent engraver, probably a Frenchman, who refided in Lon- 
 don, and engraved for the bookfellers. Among other things by him, are the 
 heads of the American Bucaniers, prefixed to their hiftory, which w as pub- 
 liflied at London, a. d. 1741, 
 
 FRANCOIS BONNEMER. 
 
 Flourifhed, 
 
 A native of France, who flourifhed in the lafl: century, and engraved 
 feveral prints from Le Brun and other mailers j among the refl, the Deity 
 appearing to Mojes in the burning bujh. 
 
 L. BONNET. 
 
 Flourifhed, 
 A modern French engraver, who refided fome time in Rufiia, by whom 
 we have feveral prints, executed in. a very particular manner, fo as to repre- 
 knt drawifigs in crayons ; in performing which, two, and fometimes more, 
 plates are necelTary for the fame print. This mode of engraving, however, 
 notwithflanding its novelty, was not long encouraged- He engraved from 
 Boucher and other mafters. 
 
 FR. BONNONIENSIS. 
 
 Flourifhed, 
 ' I have fcen this name affixed to Ibme flight, fpirited etchings, in a boltf, 
 maflerly ftyle, from Paolo Veronefe. In the Abecedario, the prints marked 
 B. S. fecit are attributed to this artifl ; but apparently without the leaft 
 foundation. 
 
 J. B O N S E R. 
 
 Flouriflied, 1642. 
 An obfcure engraver, who, if he was not a native of Leyden, at leaft 
 refided there. He worked chiefly for the bookfellers. I have feen fomc 
 few frontifpicces by him, with figures and ornaments, 5cc. he worked en- 
 tirely with the graver, in a very ftiff, bad ftyle. His prints are by no means 
 worth particularifing. One of them is dated 1642. 
 
 BOOMS, 
 
BOO C 125 ] B O R 
 
 BOOMS, or BOON. See Vinckenbooms. 
 
 DANIEL BOON. 
 
 Born, Died, 1698. 
 
 A native of Holland, and a painter in the grotefque ftyle. He refided fome 
 time in England ; and Mr. Walpole informs us, that he etched feveral things, 
 but has not fpecified what they are. There is a portrait of Fred. Guillieme 
 of Pruffia, marked Boon, who was apparently another artift, though perhaps 
 of the fame family. 
 
 HENRY VANDER BORCHT. 
 
 Born, 1583. Died, 1660. 
 
 He was, according to the moft generally received opinion, born at Bruf- 
 fels, A. D. 1583, and the youngeft fon of a painter of the fame name, who 
 afterwards refided at Frankendal. The earl of Arundel, finding diis young 
 artift at Frankfort, where he fought an afylum from the wars, wliich difturbed 
 his native country, fent him into Italy to Mr. Petty, who was then collefting 
 for his lordfhip ; and that nobleman retained him in his fervice as 
 long as he lived. After the death of his patron, Vander Boixht was employed 
 by the prince of Wales (afterwards Charles the Second) and lived in efteem 
 at London feveral years,, till he returned to Antwerp, where he died, a. d. 
 1660, aged 77. He chiefly excelled in painting fruit and flowers. We 
 have fome (evf etchings by him ; among the reft, the Virgin and child, a 
 fmall upright print, from Parmigiano ; which plate was engraved at London, 
 and dated 1637. A dead Cbrifi,fupported by Jofeph of Ariniathea, a fmall 
 upnghr plate, from the fame mafter. Apollo and Cupid, a fmall upright oval, 
 from ferin del Vago. The mark, attributed to him by profeflbr Chrift, 
 may be feen upon the plate at the end of the volume. 
 
 PETER VANDER BORCHT. 
 
 Flourilhed, 1622. 
 
 It is highly probable, that this artift was of the fame family with the pre- 
 ceding, and perhaps a near relation. He was a painter of landfcapes, and 
 acquired fome reputation in that line. He appears alfo to have applied him- 
 felf very afliduoufly to etching; and we have a great number of prints by 
 his hand. Among the reft, a fet of prints from Ovid's metamorphojes, con- 
 fifting of one hundred and feventy-eight fm.all plates, length-ways. Alfo a 
 fet of prints from the old andnew teJlament,mid^Ym'g fized plates, length-ways. 
 Thefe may be properly called hiftorical landfcapes. Tliey are etched in afl-ough, 
 carelefs ftyle; and the figures, which are chiefly fmall, are very incorreftly 
 drawn. The extremities are heavy, and the heads by no means expreftjvc. 
 His works, in general, manifeft a great fertility of invention, but little judg- 
 ment, either in the choice of the attitude of his figures, or the diftribution of 
 his groups, to form a pleafing or a ftriking efFetl. His ufual mark, when 
 he does not fign his name at length, is P. B. F. The F. ftanding for fccit. 
 
 Great 
 
B O R [ »26 ] B O ^ 
 
 Great care muft be taken not to confound him with feveral other engraycft, 
 who ufed the fame mark. 
 
 JAMES A BORCHT. 
 
 Flourifhed, 1628. 
 
 This artifl:, whofe works are by no means deftitute of merit, engraved 
 feveral of the plates for the large folio volume, entitled^ Academie de L'Ef- 
 pee, by Girard Thibauk, which was publifhed at Antwerp, 1628. They 
 are executed entirely with the graver, in a flyle greatly refembling that 
 of James de Gheyn. 
 
 B O R D E. 
 
 Flourifhed, 1725. 
 
 An obfcure engraver of little merit. He worked entirely with the graver, 
 in a (lyle fufficiently neat, but deftitute of tafte. Among other things, wc 
 have by him, the crown of precious Jtones, which the queen of France wort at 
 her marriage, a. d. 1725, with the medal ftruck upon that occafion. 
 
 MATTHEW BOREKENS. 
 
 Flouriflied, 1644. 
 He refided chiefly at Antwerp, and worked entirely with the graver, in a 
 laboured ftyle, fomething refembling that of Pontius. His drawing is incor- 
 redt ; and his works (the principal part of which are the copies he made from 
 Bolfwert, and other eminent engravers, for Vanden Enden) have no great 
 fliare of merit to recommend them. I fhall only notice, the good Jhepherd, a 
 fmall upright plate, from Diepenbeck. The Vir gin , Jlanding upon a globe, 
 treading upon ajerpent, a middling fized upright plate, from Rubens, dated 
 1 644. We have alfo fome few portraits by him. 
 
 J. F. B O R D I N O. 
 
 Flourifhed, 1604. 
 An engraver who executed the plates to a volume in quarto, entitled. 
 Series et GeJlaPontificum, publifhed 1604. 
 
 ORAZIO or HORAZIO BORGIANI. 
 
 Born, 1630. Died, r68i. 
 
 He was born at Rome, and inftrufted in the art of painting by his brother 
 Giulio Borgiani, called Scalzo ; and he made fuch a progrefs in his ftudies, 
 that his works were held in no fmall eftimation in Spain, where he refidcd fome 
 time. On his return to Italy, the ill treatment and villainy of a cotempo- 
 rary painter broke his heart, and he died, a. d. 1681, aged 51 years. His 
 etchings are in a bold, free manner ; and more finifhed than ufual, when 
 confidered as the works of a painter. His drawing is not corredt ; but the 
 ftyle is mafterly, and the effeft agreeable. His moll finiflied etching, I 
 
 I believe. 
 
B O R [ 127 ] BOS 
 
 believe, is a fmall fquare plate, in which is reprefented a dead Chrift ; the 
 figure va,ftly forelhortened, and behind appear the two Maries and St. John, 
 who is kiffing one of the hands of our Saviour, from a compofition of his 
 own, dated 161 5. Add to this, St. Chrijiopher, a gigantic figure, carryino- 
 the infant Chrift, a fmall plate, nearly the fame fize with the former ; a 
 very fpirited etching, but not fo well finiflied as the preceding. The bible 
 hijiories, which were painted by Raphael, in the Vatican, commonly called 
 Raphael's bible ; fmall plates, length- ways, dated 16 15. Thefe are very 
 flight, and feem to be the hafty produdtions of his point. His mark was an 
 H. and a B. joined together in the manner of a cypher j to which he ufually 
 affixed the date. See it copied on the plate at the end of the volume. 
 
 CHRISTOPHANO BORTENO. 
 
 Flourifhed, 
 Florent le Comte adds " Be Rcmini" to his name, and cites him as chieSy 
 to have excelled in engraving of cavalcades, proceffions, &c. thouo-h he has 
 not fpecified any of his prints. 
 
 CORNELIUS BOS. See Bus. 
 
 J E R O M BOS. See Bosche. 
 
 ANTHONYBOS. 
 
 Flouriflied, 1648. 
 
 Who, according to Baldanucci, engraved the plates for the o-eometrical 
 works of Defargue, publifhed a, d. 1648. 
 
 MARIE RENARD DU BOS. 
 
 Flourifhed, 
 
 A modern French artift, and the fcholar of Dupuis, by whom we have 
 feveral plates from Rofalba, Baffeporte, &c. 
 
 CLAUDE DU BOSC. 
 
 Flourifhed, 1714. 
 
 This artift was a native of France, but came over into England, at the in- 
 ftigation of Nicholas Dorigny, to afTifh him in engraving the cartoons of 
 Raphael; but fome difference happening between them, he quitted Dorigny, 
 and undertook to engrave the cartoons for the printfellers. He alfo engraved 
 the duke of Marlborough's battles, for vihich he received four fcore pounds 
 per plate ; and the work was finiflied in two years. At firfl he had no help, 
 except what he received from Du Guernier; but he fent to Paris for Beau- 
 vais and Baron, wlio afTifted him in the completion of thofe plates, which 
 was done, a. d. 1717. He afterwards commenced printfeller, and pub- 
 lifhed in numbers, by a weekly fubfcription, the tranflation of Picart's 
 
 religious.- 
 
B O . S [128] fe O S 
 
 reUgious ceremonies. In the profecution of this work, he was affifted by 
 Gravelot and Scotin, who came over into England for that piirpofe. Du 
 Bofc was an engraver of no great merit. His ftylc of engraving is coarfe 
 and heavy ; and the drawing of the naked parts of the figure in his plates is 
 exceedingly defedtive. However, he engraved from feveral great matters. 
 Among the reft of his plates is the continence of Scipio, from a picture of 
 Nicholas Poufin, which was in the Houghton collection. Some of the plate« 
 of the Turkijh habits, &c. publiflied at Paris, 17 14, by M. de Ferriol, arc 
 engraved by him. 
 
 ELIAS BOSCH. 
 
 Flourilhed, 
 
 The Jiame of an obfcure engraver, whofe works, however, are by no 
 means deftitutc of merit. He worked with the graver only, in a vtry neac 
 ttyle. I have feen, among other things by him, a fmall upright oval plate, 
 r-cprefenting a holy family y witli angels attending upon the infant Jcfus, from 
 John ab Ach. 
 
 JEROM BOSCH E. 
 
 Born, Died, 1500. 
 
 He was a very ancient painter, a native of Bois le Due in Germany, and 
 probably a diiciple of Martin Schoon. He feems to me to have been the 
 Hrtl artift, who attempted to engrave in the grotefque ftyle ; and from him 
 Peter Brueghel borrowed much of the whimfical drollery, which abounds in 
 his piftures. As a painter, Bofche, wlio is alio called Bos, is more generally 
 kno\vn ; and his works have been held in no fmall eftimation. His engra- 
 vings are in the fame ftifl' ftyle, which fo ftrongly charaiflerifes the works of 
 the early German maftcrs. They prove, however, that he poflefied a great 
 fertility of invention, though perhaps but little judgment. I ftiall only men- 
 tion two plates by him : in one is reprefented St. Chriflopher, carrying the 
 infant Jefus crofs the water, and bending under his load. To the left is a 
 hermit, coming from his cell with a janthorn. The Avhoie compofition is 
 furrounded with fmall grotefque figures of all fliapes, in the moft ridiculous 
 attitudes. This print is thirteen inches and a quarter wide, by feven inches 
 tliree quarters high. The fecond is the laft judgment. Chrift appears in 
 tlie air feated on a rain bow, and on each fide of him are two angels founding 
 trumpets, with this infcription on labels, //zV eft dies quern fecit; Surgite 
 mortui, venite ad judicium. At the bottom are fmall figures of men and 
 devils of all fliapcs intermixed. To both thefe prints he figns his name at 
 length, BOscHE. At other times, he abbreviates it, and writes only bos. 
 and adds to it a knife ; as on a fmall upright plate, reprefcntingy&^« baptifing 
 Chrift. Le Comte and others attribute to this artift the plates, marked with 
 the Gothic A. only; but, I believe without foundation. All the prints, 
 which I have feen with the Gothic A. only, are fmaller and neater, and en- 
 graved in a very diftcrent ftylc from thofe by Bofche. They were doubtlefs 
 ltd into this miftake from the A. and the mark unknown to me at the bottom 
 
 of 
 
BOS [ 129 ] B O i) 
 
 of it, which Bofche frequently added, when he p\it his name at length. See 
 the name and marks copied on the plate, at the end of the volume. 
 
 ANDREA BOSCO^I. 
 Flourifhed, 
 
 ■ He was a native of Florence, and according to MaroUes and Florent le 
 Comte, engraved nineteen platesi but the llibjefts are. not fpecifi.cd by eitiiex 
 of Jhefe authors. 
 
 ROBERT B O S S A R T. 
 
 Flourilhed, 13,95. 
 
 He was, I believe, a nativeof Germany; and, it is highly probable, learned 
 the foil: principles'of the art of engraving in the fchool of Flenry Golt-zisjs ; 
 his ftyle, in many refpe£ts, bears mucli rciemblance Ui that aiiopted by 
 Saenredam, and other difciples of that mailer, Buttiom the want of llifiicient 
 knowledge in drawing, his engravings are ftift lervilc copies of the defigns 
 he imitated, without tafte, and very incorreft, efpccially the heads and the other 
 extremities of his figures- The lights, however, are left broad and clear, p;ir- 
 ticularly upon the draperies ; but they are fo fciUtered^ and confufcd, that they 
 entirely deftroy the harmony of the effeift. AmoiTg othex prints by ihisartilf, 
 is a fet of middling fizedplates, length-ways, in whi_j:li the different nations of 
 Europe are reprefented by emblematical figures, furrounded with fuch things 
 as each countiy was famous for, or fuch as had been invented in it. In the 
 plate which reprefcnts Germany, befides the cannon, the printing pre/s, and 
 other inventions attributed to that nation, is a.'^pper plate, with tvoo gravers 
 and the common mark of Albert Durer engraved upon it ; which compli- 
 ment, I fuppofe, he pays to that great artift^ as the improver of the art of 
 engraving. He certainly could never be i"o ignorant as to fuppofe, that 
 he was the inventor of it. I fhall only add the portrait -of Rart. Spranger^ 
 dated 1595. 
 
 ABRAHAM BOSSE. 
 
 Flouriflied,' 1630. 
 
 A French artift, born at Tours, in the beginning of the laft century. He 
 ^executed great part of his works from his -own defigns. I know not from 
 whom he learned the firft principles of the art of engraving ; but he 
 raanifcftly imitated the coarfer manner of Callot, and with no fmall fuccefs. 
 The figures, with which he ufeally embeiliflied his plates, arc drawn in a fpirited 
 ibyle, and etched with gi-eat freedom. He afterwards retoxiched the etching 
 with the graver, in a bold-, expeditious manner. The effeft, however, of his 
 plates is clear and pleafing, but his lights are ufualty too much fcattered. It 
 is generally remarked, that hefucceeded bell in frrKill fubjefts, where fo great 
 a correclnefs of outline was not required. We have by him a treatife on 
 the art of drawi^ig, the bell edition of which, according to Bafan, is with the 
 additions and corrections of M, Cochin ; the Jehocl of the painter, and of 
 
 VOL. J. S the 
 
BOS [ 130 ] B O T 
 
 the Jadptor , and the workfliop of a copper-plate printer y three middling 
 fized plates, length-ways, from his own defigns ; thtjchool majter and nnj^ 
 fre/s, the fame, from the fame; the ceremonies o£ the contract of marriage 
 between the king of Poland and theprincefs Louifa de Gonzague, the fame; 
 a fet of fmall upright plates from 0^?/V, Metajlafio, &c. the five fenjes, on 
 five fraall plates ; the works of mercy ; the prodigal f on j La Pucelle, ou 
 France delivree, containing on many fmall upright plates,, the bifiory of 
 the Maid of Orleans, from the defigns of Vignon ; a variety of other plates, 
 frontifpieces, &c. from his own defigns, and thofe of L.a Hire, Paul Fari- 
 nati, &c. 
 
 JAMES BOSSIUS. 
 Flourifhed, 1562. 
 A native of Flanders, but apparently he learned the arc of engraving in 
 Italy; perhaps from fome of the fcholars of Marc Antonio. His ftyle is 
 neat and ftiff"; the drawing of his figures not very correft, efpecially in the 
 extremities, which are generally heavy, and not well marked. However, 
 his v/orks are by no means devoid of merit. Among other things by this 
 engraver, is the Jiatue of Py7-rhus king of Moloffus, from the antique marble, 
 a middling fized upright plate, arched at the top. It is fubfcribed " Jacobus 
 BoIliusBelgiaincid. \^6%," 
 
 L E B O S S U. 
 
 Flouriflied, 
 
 This engraver, whofe works are of no great value,, imitated the ftyle of 
 Francis de Poilly, in a very coarfe, and indifferent manner. His drawing is 
 alfo equally defedive. I fhall only mention by him, the refurreElion of Laza- 
 rus, a large plate, length-ways, from Hyacinth Brande, which appears to 
 Ijave been engraved at Rome. 
 
 JOHN BOTH. 
 
 xy' Born, 1610. Died, 1650. 
 A very celebrated landfcape painter, born at Utrecht, a. d. 1610. He 
 was firft the difciple of Abraham Bloemart; but afterwards went to Italy, in 
 order to pcrfed himfelf from the works.of the Italian mafters ; and he refided 
 at Rome feveral years. His excellence as a painter is fo generally known, 
 that any eulogium in this place is unneceflary. He is laid to have been 
 drowned in a canal at Venice, into which he fell by accident, returning home 
 late one night, a. d. 1650, being only forty years of age. We have by his 
 hand a fet often landfcapes, middling fized plates, length-ways, which are 
 etched in a flight, free, mafterly ftyle. The figures and cattle, v/hich are very 
 fpirited and fine, are attributed to his brother Andrew, and not without fome 
 appearance of truth. 
 
 ANDREW 
 
B O T [ J31 ] B O T 
 
 ANDREW BOTH. 
 
 Flouriflied, 1640. 
 He was brother to John Both, the artift mentioned in the preceding article, 
 and was alfo a diiciple of Abraham Bloemart. He went with his brother to 
 Italy. But his genius led him rather to the iiudy of figures than of land- 
 fcape ; and he imitated 'the ftyle of Bamboccio with great fuccefs, fo that 
 joining his talents with thofe of his brother, they produced a great number of 
 pleafing pictures, to their mutual profit. After the unfortunate death of 
 •his brother, he returned to his native country, where he fettled, but did not 
 long furvive him. Andrew Both etched fome few plates in a free, mafterly 
 ftyle, Ibmething refembling that of Oftade ; namely, fix fmall upright plates 
 of Dutch merry makings, &cc. to which he affixes his name " A. Both, inv. et 
 fecit." St. Anthony praying with a Jadl before him, a fmall upright plate ; 
 and St: Francis with a crucifix before him, its companion. The name " A. 
 Both," is reverfed on both thefe prints; the A. and the B. are joined 
 together in a fort of a cypher. See the plate of monograms at the end of the 
 volume. 
 
 SAMUELBOTSCHILD. 
 
 Flourifhed, 
 According to Bafan, this is the name of a modern artift, born at Sanger- 
 haufen in Saxony, who etched feveral fubjefts of his own compofuion. 
 
 SANDRG or ALESSANDRO BOTTICELLI. 
 Born, 1 437. Died, 1 5 1 5 . 
 He was born at Florence, a. d, 1437, and learned the rudiments of 
 painting under Filippo Lippi. He executed feveral pictures for pope Six- 
 tus IV. and others for the city of Florence ; for thefe he received large fums 
 of money, all of which he expended, and died at laft, a. d. i 5 i 5, in great dif- 
 trefs, aged 78. He was not only a painter, but a man of letters. Baldini 
 according to the general report communicated to him the fecret of engraving, 
 then newly difcovered by Finiguerra their townfman. I ftiall fay the lefs of 
 this artift here, becaufe I have fpoken fo largely of him in the preceding 
 eflay, to which the reader is referred. The famous edition of Dante's Poem 
 of Hell, printed at Florence by Nicholo Lorenzo della Magna, a. d. 1481, 
 and to which, according to fome authors, Botticelli undertook to write 
 notes, was evidently intended to have been ornamented with prints, one for 
 each canto ; and thefe prints (as many of them as were finiftied) were de- 
 figned, if not engraved, by Botticelli. It is remarkable, that jjhe two firft 
 plates only were printed upon the leaves of the book, and for want of a blank 
 fpace at the head of the firft canto the plate belonging to it is placed at the 
 bottom of the page. Blank fpaces are left for all the reft ; that as many of 
 them as were finiftied might be pafted on. Mr. Wilbraham poftefles the 
 fineft copy of this book extant, in any private library ; and the number ot 
 prints in it aoiount to nineteen. The two firft, as ufual, are printed on the 
 
 S 2 leaves; 
 
B O U [ »32 ] B O U 
 
 leaves J and the other fcvciueen, which follow regularly, are palled on tJle blank 
 fpaces. And thefe apparently were all that Botticelli ever executed. About 
 the year 1460, it is fiiid, that he engraved a fct of plates, reprefenting the 
 Prophets and Sibyls; I have already fpoken of them in the EfTay. Bafan, 
 on what authority I know not, tells us, that Ik; marked thefe plates witli a 
 tnonogram, compofed of an A. ancl a E. joined together : this mark, how- 
 ever, I never faw. 
 
 MARTIN BO UCHE. 
 
 Flourifhed, 1680, 
 
 This artift fcems to have been chiefly employed for the bookfellcrs ; and 
 portraits, I believe, coaftituted the greater part of his works.. He worl<:ed 
 alnioft entirely with the graver ; and his ftyle is neat but ftifF. His portraits, 
 however, are not deftitute of merit. Among the reft is that oijohn Fen- 
 w/f/t, a jefuit, who was executed at Tyburn, a. d. 1679, a fmall upright 
 plate. He alfo engraved the portraits, of feveral Q)\\\tx jejuits, who fuffered 
 in England at the fame time. They are in general reprefented with, a knife 
 fticking in the breaft, emblematical, I fuppofe of their fufferings. To that of 
 Thomas Harcott he figns, his name " Martin Bouclie fc. Antwerpi^ ;." from 
 whence I conclude he refided at Antwerp ; of which place, it is probable, he^ 
 was a native. When he does no-t fign his name at full length, he fubftitutes 
 the initials, according to profelTor Chrift in this manner, M. B. 
 
 P, P. B O U C H E. 
 
 Flourifhed, 1693. 
 
 He was probably a relation of the artift above mentioned ; and perhaps 
 refided in England. Tliis name, however, is found affixed to fome of 
 the plates of ornaments for iron work, publilhed by J. Tijou in London-, 
 A. D. 1693. 
 
 JOHN BOUCHER. 
 
 Elouriftied, 
 
 A native of France, born at Bourges. He was a painter, and, according 
 to Florent le Comte, etched five plates j but the fubjeds arc not fpecificd. 
 
 FRANCIS BOUCHER. 
 
 Born, 1706. Died, 1770. 
 A modern French painter, whofe works were held in high eftimatlon. He 
 was a man of great fertility of invention ; but in my opinion he was defcftive 
 in correftnefs, and grandeur of defign. We have fome few flight etchings 
 by hi-m, as well from his own compoGtions, as from thofe, of other mafters. 
 
 BOUCHARDON. 
 
 Flouriflied, 
 He was Ion to Bouchardon, the fculptor at Paris ; and engraved, from 
 
 the 
 
B O U [ 133 ] B O U 
 
 the t^rawlngs of his father, a fet of female academy figures y in a flight, feeble 
 ftyle; and figns his name, " Bouchardon junior fculp." 
 
 R. B O U D. 
 
 Flouriihed, 
 
 An engraver of portraits of no great eminence. He worked chieflv, I 
 fuppofe, for the bookfeilers. Among other portraits by him, I have fcea 
 ii\zt o{ Henry Gcltzius the painter. It is all graved in a flifF, unpleafing 
 llyle ; and the drawing is particularly defeflive in the figure of Fame, wh:.ch 
 he has reprefentcd flying over the head of die artill with a laurel crown. 
 
 B O U G E Y. 
 
 Flouriihed, 
 
 A name prefixed to a final! copy of the battle ofConflantine, from Raphael, 
 executed in aftyle greatly rcfcmbling that of Theodore de Brye. 
 
 JOHN BOUL ANGER. 
 
 Flourifhed, 1657. 
 
 This engraver, who flouriflied towards the end of the laft century,, waSy I 
 believe, a native of France. His firft manner of engraving, appears to have 
 been copied, in fome degree, from that of Francis dc Poilly ; but foon after 
 he adopted one of his own,, which, though not original, he however greatly 
 improved : He finlflicd the faces,, hands and all the naked parts of his figures 
 very neatly with dots, inflead of ftrokes,, or ftrokes and dots. The eftcft 
 is fingular enough, and by no means unpleafing -, only, in fome few inftances 
 he has oppofed the coarfe graving of his draperies, and back-ground, fo 
 violently to the neater work of the flefh, that the outline of the latter is 
 thereby rendered hard, and the general appearance of it flat and chalkv. 
 This ftyle of engraving has been carried to its greatefl: perfedlion in tht- 
 prtfent day, partkularly in England. He did not draw the naked parts of 
 his figures corre6l!y, or with fine tafte. His draperies are apt to be heavv, 
 ami the folds not well marked. However, his befl: prints poflcfs much merit, 
 and are defervedly held in great efl:eem. I fhall mention the following : 
 
 A holy family, a middling fized plate, from Fran. Corlcbct. 
 
 Virgin and Child, from Simon Vouet, half figuix-, a fmall upright plare, 
 dated 1657. 
 
 The pompous cavalcade upon the day the French king, Louis XIV. came c^ 
 age J a large print, length-ways, from Chaveau. In thefe three prints the 
 flefh is finifhed with ftrokes in his fineft manner, and in thole which follow 
 with dots only. 
 
 The Virgin with the infant Chriji. The child is holding fome pinks ; 
 hence the print is called the Virgin of the Pinks : a middling fized upright 
 plate, from Raphael. 
 
 The Virgin de Pajfau, a middling fized upright plate, from Salarir). 
 
 Chrifi carrying his crofs, a middling fized upright plate, from Nicokis 
 Mignard.. 
 
 A dead 
 
B O U [ 13+ 1 B O U 
 
 A dead Chriftjupprted by Jojeph of Jrimathea, a large upright plate. 
 
 Alfo a variety of" portraits : among the reft, that of Charles the Second of 
 England. He alfo engraved from Leonardo de Vinci, Guido, Champagne, 
 StcTla, Coypcll, and other great mafters ; and feveral from his own defigns. 
 In figning his name to his plates, he frequently joins the J. to a fmall b. in 
 fuch^a manner, as greatly to refemble an H. Hence thofe, who are not 
 better informed, read it Houlanger ; it has been often fo inferted in printfellers 
 catalogues. 
 
 MATTHEW B O U L A N G E R. 
 
 Flourifhed, 
 An obfcure engraver of portraits, probably a relation of the lad mentioned 
 artift. Among other things, I have feen by him the portrait oi Raymimdus 
 VievJJens, Med. Doc. a fmall oval plate. It is all graved in a ftiff, heavy 
 ftylc, and very poorly drawn. 
 
 BON DE BOULLOGNE. 
 
 Born, 1649. Died, 17 17. 
 A painter of no fmall eminence, born at Paris, a. d. 1649. From his 
 father, Louis de BouUogne he learned the firft principles of painting; but 
 went to Rome, in order to perfcft himfelf from the works of the beft mafters. 
 He abode in Italy ftvc years. He excelled in hiftoiy and portrait. His 
 talents for copying the pidures of the great Italian painters, were fo very ex- 
 traordinary, that he frequently deceived the greateft judges. He died at 
 Paris, A. D. 17 17, aged 68. We have three etchings by him: the firft a 
 fpecies o'i almanack ; the fecond, St. John in the defer t, a large upright plate; 
 the third, St. Bruno feated in a landj'cafe, its companion : all from his own 
 compofitions. 
 
 LOUIS DE BOULLOGNE. 
 Born, 1654. Died, 1734. 
 
 This artift, who was born at Paris, was the younger brother of the preced- 
 ing, and, like him, learned from his father the firft principles of painting; 
 and afterwards went to Rome to complete his ftudies. His works, on his 
 return, were fo much efteemed, that Louis XIV. honoured him with the order 
 df St. Michael ; and after the death of Antony Coypell, appointed him his 
 principal painter. He chiefly excelled in hiftorical and allegorical fubjefts. 
 He died at Paris, 1734, aged 80 years. By him we have a few flight etchings. 
 They are fpirited and free, though by no means correftly drawn, or equal 
 in effed to what might have been expeded from his hand. Among them> 
 are the following: 
 
 Thtfcourging of St. Jndrew, from Paolo Veronefe, a middling fized plate, 
 length-ways 
 
 The martyrdom of St. Peter, a middling fized upright plate, from a com- 
 pofition of his own. 
 
 The martyr dom of St. Paul, its companion, the fame. 
 
 I E. D E 
 
B O U [ 135 ] B O U 
 
 E. DE BOULONOIS. 
 
 Flouriflied, 
 
 He is faid to have been a printfeller and defigner, as well as an engraver. 
 He flourifhed apparendy about ihe middle of the fixteenth century j and his 
 chief, if not entire employnnent was engraving of portraits, which he exe- 
 cuted in a neat, dry llylc, without much tafte, and entirely with the graver. 
 I fliall notice the following portraits only : 
 
 ChriJiiopho7-us Plantinus X^ironeufis, an oftavo plate, apparently for a book. 
 
 Georgius Buchananus, the fame, " Efme de Boulonois fecit." 
 
 Lady Jane Grey, the fame. 
 
 Hans or John Holbein the painter. Anthony More, the painter, &c. 
 
 SEBASTIAN BOURDON. 
 
 Born, 1616. Died, 1671. 
 
 He was born at Montpellier, a. d. 16 16; and the firft rudiments of paint- 
 ing were taught him by his father, who was a painter on glafs. He after- 
 wards ftudied at Paris, under an artift of very little note. At eighteen he 
 went to Italy, to perfedt himfelf in the knowledge of drawing, and other re- 
 quifites of the art. The great efteem his works are generally held in, 
 fufficiently prove, how profitably he applied himfelf to his ftudies. His 
 chief faults, are want erf force in the colouring, and correftnefs in the outline, 
 butthefeare greatly overbalanced by the beauties of his compofition, and the 
 lively fertility of his imagination. His etchings (which are numerous) are 
 executed in a bold, mafterly ftyle ; and much more finiflied, than thole we 
 generally meet with, from the point of the painter. They convey a veiy 
 clear idea of his manner of painting. The lights are broad, the draperies are 
 fet with great tafte, and the folds well marked. Sometimes perhaps they are 
 a little too dark and hard upon the lights. The heads of his figures are very 
 expreffive ; and though his drawing upon the naked parts is often cenfurable 
 for its incorrednefs, yet he knew how to give a pleafing turn to them 
 which renders them conftantly agreeable. The back-grounds to his plates 
 are always finely conceived, and executed in a grand ftyle, which gives acon- 
 fequence frequently to the whole compofition. The etchings by this cele- 
 brated mafter are juftly held in the higheft eftimation, by the generality of 
 colleftors -, yet as they are by no means uncommon, I ftiall content myfelf , 
 v/ith mentioning only a few of them, all from his own compoGtions. 
 
 The. /even aifs of mercy, feven large plates, length-ways. 
 
 The fight into Egypt, and the return from thence, fix fmall plates, length- 
 ways. 
 
 Several other fubjefts of the P'irgin and Child; in. one of which, a fmall 
 plate length-ways, is fcen a wo.nan walhing linen : thence it is diftinguiftied' 
 by the name of the waftier- woman. 
 
 The return of the «ry^, a middling fized plate, length-ways, faid to be very-- 
 
 fcarce. 
 
 Thehaptifm of the Eunuch^ a fmall upright plate. 
 
 Twelve large landf capes, which are very fpir iced and fine prints. 
 
B O U [ 136 ] B O U 
 
 PETER BOURDON. 
 Flouriflicd, 1703. 
 
 I 'have fcen a fninll book of ornaments ivith figures, for goidfmiihs and 
 jezvellcrs, very neatlv executed, and entirely with the graver. The plates arc 
 marked, " Peter Bourdoa iiw. er fecit ;" chis book was publiflietl at Paris, 
 A. D. 170J. 
 
 D U B O U R G. 
 
 Flourifhedj 
 
 He engi-aved u\ Ifolland, according .to Bafan, feveral pretty vipietUs, 
 and oxhcv Jill all compojitions ; many of tliem from his own defigns, in tlie 
 Itvle of Bernard Picart. 
 
 J. B O U R Q^U E T. 
 
 Fiouriflied, 1723. 
 
 A goldfmith, refiJenc at Paris, who engraved, in a very neat ftyle, a fet 
 of filial! plates of ornaments for goldfmiths and jewellers, which he publifhed 
 A. D. 1723. 
 
 BOURGUIGNON or BORGOGNONE. See Cortesi, 
 
 FRANCIS B O U R L I E R, 
 
 Flourifhed, 
 
 A native of France, who, according to Bafan, was a painter, and flonr'iflied 
 
 in the laft century. He etched feveral plates ; among others, Mofes Javed 
 
 from the water by PbaroaVs daughter, a large plate, length-ways, from 
 
 Francis Perrier. He alfo fngrayed from Giulio Romano, and a variety of 
 
 other mafters, 
 
 FRANCIS BOUT. 
 
 Fiouriflied, 
 Bafan, on what authority I know not, calls tliis painter Peter Bout. He 
 was a native of Flanders, and flouriflicd about the beginning of the prefent 
 century. His chief employment wai painting figures for the landfcapes of 
 Bodewyns, witli which artift he worked conjointly. There are, however, 
 feme fliglit etcliings by his hand, from his ovm compofitions ; namely, the 
 bride conducted to the church, a middling fized plate, length-ways; and a 
 country market, its companion ; four fmall plates, length-ways, reprcfcnting a 
 great number of figures Jkating. 
 
 A 
 
 FREDERIC 
 
 Flouriflicd, 1555. 
 He wa5, 1 believe, chiefly a publilher ; as fuch, I have feen his name to a 
 
 3 print, 
 
B O U [ 137 ] B O U • 
 
 print, reprefenting the Virgin and Chil J, -with St. John, dated 1555; which 
 was perhaps engraved by himfclf. There is alio a fmall plate, length- 
 ways, reprefenting, gentleynen and ladies playing at cards. It is executed 
 ■with the graver, in a neat, ftiff llyle, but not entirely deftitute of merit ; 
 and fubfcribed " F. Bouttats fecit;" it appears to be older than the works 
 ■of Frederic Bouttats, who flourilTied towards the middle of the 
 laft century. Kis fole employment, I believe, was engraving book plates, 
 and portraits, of the laft we have a great number by him. They are in 
 general, neatly performed with the graver only, in a taftelefs incorreft 
 ftyle. Among them are feveral of the portraits of the painters, and 
 ethers artijis, publifhed at Antwerp (where the engraver refided at tlictc 
 time) by John Meyffens, a. d. 1649 • '^^^^ ^^^ of which appears to me to 
 be that of Henry Hondius. 
 
 CASPAR BOUTTATS. 
 
 Flourifhed, 162 1. 
 
 He refided, I believe, at Antwerp, and was probably of the fame family 
 widi the preceding artift. His works are chiefly, if not entirely, flight etch- 
 ings, and they have no great merit to recommend them. I fhall only notice the 
 plates, which compofe a large folio volume, etched by him from the defigns 
 of John Peters, confifting of views oijerujalem, and the Jurrounding country ; of 
 Antiochy of Mecca., and other parts of Afia. They are executed in a heavy, 
 dark ftyle, without effeft ; and the figures, introduced, are very flight and 
 incorreft. Bafan fays, he aifo etched feveral plates from Wouvermans \ -but 
 thofe I never faw. 
 
 PHILIBERT BOUTTATS. 
 
 Flourifhed, 1649. 
 
 If not a native of Antwerp, it is evident, that he refided there, and, with- 
 out doubt, was of the fame family with the artifts, mentioned in the pre- 
 ceding articles. His engravings appear to be chiefly copies for books, 
 and confifted principally of portraits, wliich are far lefs valuable than nume- 
 rous. Several of the plates for the folio colledion of the heads of the pain- 
 ters, publiflied at Antwerp, 1649, ^''^ by him. To the portrait of Le Brun, 
 which feems to be one of his beft prints, he fubfcribes his name, " Phi. 
 " Bouttats junior fecit Antwerpise." The -word junior may perhaps imply, that 
 there was another artift of the fame name and family, otherwife the diftinc- 
 tion will appear to be unnecelTary. To the portrait of fohn. III. king of 
 Poland, he writes both his names at lengdi, Philibert Bouttats, without the 
 word junior; but the ftyle of engraving feems to be die fame with thofe 
 above-mentioned. 
 
 PETER BALTHAZER BOUTTATS. 
 
 Plourilhed, 1707. 
 Somebad engravings by this artift^ lays Bafan, were publifl-ted at AntorfF, 
 
 VOt. I. T A. D. 
 
B O U [ 138 ] BOY 
 
 A. D. 1707. According to profeflbr Chrift, he fometimes omitted his name, 
 and figned the initials to his plates in this manner, P. B. B. F. the F. as ufual, 
 ilanding for fecit. 
 
 B O U S O N N E T. See Stella. 
 
 DANIEL BOUTEMYE. 
 
 Flourifhed, 
 He is cited by Florent le Comte, as excelling particularly in engraving of 
 Vajes, I have never feen any of his works. 
 
 A. B O U Y S. 
 
 Flouriflied, 1720. 
 He was a painter, and the difciple of Francis de Tro^y. He alfo engraved 
 feveral portraits in mezzotinto ; but he never attained to any great degree of 
 perfeftion in that art. Among the reft of his prints are the following : The 
 portrait of J. Bap. Maffilon, from a pifture of his own ; that q{ M. de Bqfe, 
 the fame; and that of Marais a famous mufician, the fame* He alfo 
 engraved feveral plates after the pictures of De Troy, Sec. 
 
 E. B O W E N. 
 
 Flourifhed, 
 This engraver refided, I believe, in England. His works, however, are 
 fo very indifferent, that they do not merit a particular defcription. He feems 
 chiefly to have been confined to the loweft clafs of engraving, as ornaments 
 forjfjop bills, &CC, 
 
 SAMUEL BOYCE. 
 Born, Died, 1775. 
 
 He was airthor of feveral poetical pieces j and to himi is attributed the 
 portrait of Edward Rujfel, earl cf Orford, 
 
 JOHN BAPTIST BOYER, Marquis D'Aiguilles. 
 
 Flourifhed, 1700. 
 This celebrated nobleman was counfellor and procurator general to the 
 parliament of Aix in Provence. Bring exceedingly fond of the arts, he 
 collected in Italy, during a voyage which he made thither, a great number 
 of piftures, fciilptures, drawings, prints, &c. and he was himfclf at once 
 a connoifTcur, defigner, painter and engraver. He caufed to be piiblifhed 
 two folio volumes of prints, engraved from his own piftures, chiefly by 
 Scbaflian Barras and James Coclmans. In the firft edition of this work 
 there were fix prints, engraved by himfclf, and a feventh from a pidure 
 of his own painting, they are as follow : 
 
 The marriage of St. Catherine, from Andrea del Sarto. 
 
 Two 
 
BRA [ 139 J BRA 
 
 Two figures of Chrlft when young, on one plate. 
 
 A land/cape, from Brecourt j another landjcnpe, its companion, from die 
 fame. 
 
 Thefe four plates are engraved with ftrokes- 
 
 St. John, from Manfredi. 
 
 A/mail bufi of a man. 
 
 Thefe two plates are engraved in mezzotinto. 
 
 The feventh, by Coelmans, is the portrait of i7(?«(7r^ Moulin playing upon 
 the lute. All thefe plates being loft, the impreffions are now become very 
 rare. 
 
 In the fecond edition there are three others by himfelf. 
 
 The frontifpiece engraved by Coelmans, is after a defign made by the 
 marquis, dated 1698. Thofe engraved by him are as follows : 
 
 The portrait of the miftrejs of Paolo Veronefe. A Magdalen, from J. F. 
 Romanelli. The adoration of the Magi, from a compofition of his own. 
 
 GIOVANNA BATISTA BRACELLL 
 
 Born, Died, 1607. 
 
 This artift was a painter, and a native of Genoa. He engraved, in a 
 
 flight, ftiff ftyle, the plates of architeSiure for a work, publilhed at Rome 
 
 by Jacomo Barozzio, an architeft of the laft century. He figns his name, 
 
 Joan. Baptifia Bracellus Flo. incidebat Rom^. 
 
 NICOLUS BRAED. 
 
 Flourifhed, 
 The name of an obfcure engraver of very little merit, which I found 
 affixed to a fmall upright print, reprefenting ChriJ} before Pilate, after Tin- 
 toretto. It was publifhed by J. Maetham, whofe ftyle of engraving it 
 (lightly refembles 
 
 C. D E B R A E N. 
 
 Flourifhed, 
 An obfcure engraver of portraits, by whom, among others, we have that 
 of Peter Poiret, from Verkolye. The word junior is added to the name of 
 this engraver, to diftinguilh it probably from fome perfon of the fame family, 
 who mio;ht be an artift alfo. 
 
 o 
 
 FRANCISBRAGGE. 
 
 Flourillied, 
 The name of an obfcure Englilli engraver, mentioned by the Hon. Mr. 
 Walpole, on the authority of Mr. Thorefby. I have never feen any of his 
 works. 
 
 AMBROSIUS BRAM. 
 Flourifhed, 
 A name affixed as the engraver of a large print, length-ways, entitled, 
 
 T 2 Bene- 
 
BRA [ 140 ] BRA 
 
 BenediSfictie del Pontif.ce nela Piaza de Santo Pictro. There is a great 
 number of figures introduced in this compofition, which are executed in a 
 flight, incorrcft, heavy flyle, bearing fome refemblance to that ufualJy 
 adopted by Tempefta. It is marked, " Ambrosius Bram. F." from a 
 painting, as it appears, of Claud. Duchetti. I by no means pretend to fay, 
 that this is not the abreviation of the name Brambini, which artift is fpoken of 
 a little lower. 
 
 BRAMANTE. 
 
 » 
 
 Born, 1444. Died, I5i7. 
 This great artift was born at Caftel du Sante, in the dutchy of Urbino, 
 A. D. 1444, His genius for the arts dilcover.ed itfelf in the very early part 
 of his life ; but as his parents were by no means in affluent circumftances, 
 his progrel's in them for want of proper aflittance might be in fome meafure 
 retarded. It is likely that he went to Milan, about the year 1470, when he 
 was 26 years of age. He certainly fpcnt much time in that city, where he 
 faw the works of Leonard de Vinci ; From Milan he went to Rome. Vafari 
 fpeaks cf him widi the higheft commendation, and infonr.s us that he was a 
 poet, a painter, a mufician,.and, above all, a moft fl^ilful architect. Though 
 he is n )t mentioned as an engraver, yet the knov,'ledge and practice cf 
 this art may be added to his other accomplifhments. Dr. Monro has in 
 his colleftion a very curious print, which is two feet three inches and an 
 half high, by one foot eight inches wide; reprefcnting a perfpeftive viezu 
 cf the injide of a magnificent church or temple. The mechanical part of the 
 engraving is executed exadlly in the ftyle, adopted by Andrea Mantegna ; that 
 is, with the ftrokcs running from one corner of the plate to the other, with- 
 out any croffing. On a column near the altar is written, in large capitals*, 
 Bramantis fecit in mlo ; which Dr. Monro conceives fhould be read, 
 Bramantis fecit in Milano. As he refided a confiderable time at 
 Milan, where he determined to follow architefture, he might tliere have 
 learned the art of engraving, for we-certainly know that it was praftifed at 
 Florence, as early, at le aft, as the year 1464. Bramante died a. d. 1517, 
 aged 73. 
 
 AMBROSIUS *B R A M B IN L 
 
 Flouriftied, 
 
 He engraved, fiiys profeftor Chrift, fome plates from the defigns of Domi- 
 nicus Fontana, concerning the elevation of the obcliflcs at Rome. See the 
 mark attributed to him on the plate at the end of the volume. 
 
 SEBASTIAN BRANDT- 
 
 Flourifhed, 
 
 A man of letters, who flourlflied in the fifteenth centurVv and on whom the 
 
 dodlors degree was conferred. Le Cpmte and others, miftaking the words 
 
 of Abbe MaroUes, have called him an engraver, and attributed to him the 
 
 wooden cuts after Lochcr, for the book, entitled, Stultifera Navis, or the 
 
 2 Ship 
 
F R A [ 141 ] H R E 
 
 Ship of Fools. But this miftake has been already confidered under the name 
 Bergman, to which die reader is referred. 
 
 R. BRANT. 
 
 Flourilhed,. 
 The name of a defigner and engraver, affixed to a middling fize upright 
 plate, reprefenting the Virgin and Child, v^'ith ]o(t^h^nA a.n angel. It is 
 etched in a dark flight ftyle, fomething refembling that adopted by Caftig— 
 lione, butvery incorreftly drawn. 
 
 G. B R A. S N f. 
 
 Flourifhed, 1768. 
 A modern defigner, who refided fome time in London, where he made » 
 bad mezzotint© of the prefent king of Denmark, whilft he was in England. 
 
 B R A U W £ R. See Brouwer. 
 
 JACOB D E BRA Y, 
 
 Flourifhed,. 1664. 
 
 By this artift, who was a painter born at Haerlem, I have feen a fmalf 
 portrait, very Ipiritedly cut in wood, of Salomon de Bray, his father : It is 
 marked with his name, and dated 1664. 
 
 J. B. B R E B E S. 
 
 Flourifhed, 1682. 
 
 This artlft was, I believe, a native of France ; atleaft, he appears to have 
 refided at Paris, where he engraved fome of the plates for the large folio 
 work, entitled Les Edifices yJniiques de Rome, drawn by Antoine Defgodetz.- 
 which was publilhed 1682. They are all graved in a very neat ftyle, with- 
 out m.uch tafte. He alfo engraved from Sebaftian Bourdon, and other 
 mafters ; but his hiftorical prints are by no means excellent. 
 
 PETER B^ E B I E T T E. 
 
 Flourifhed, 1625. 
 
 This ardftwas a native of France, born at Mante upon the Seine. He- 
 was a painter of fome degree of eminence j and, as an engraver, he is alfo 
 veiy well known. We have many flight, fpirited etchings by him, which 
 prove him to have been a man of genius, and great fertility of invention. 
 His compofitions are frequently very agreeable, and abound, in general, with 
 figures, which, though not correftly drawn, are well grouped, and executed 
 in a mafterly manner. Among others are the following : 
 
 The martyrdom of St. George, a fmall upright plate from Paolo Veronefe. 
 
 Paradife, a large print, length-ways, on two plates, from Old Palma. 
 
 A holy 
 
B R E [ 142 ] B R E 
 
 A holy family, with St. John, whofe foot is upon the cradle, from Raphael, 
 a fmall upright plate. 
 
 The Virgin kneelifig by the fide of the infant Chrifi, attended by two 
 angels, a middling fized upright plate, from a defign of his own. 
 
 Two fiiiall plates, length-ways, one reprefenting the battle of the Lapithit; 
 the other the death of the children of Niobe, from his own defigns; the latter 
 is dated 1625. 
 
 A variety of friezes, which poflefs great merit, and other compofitions of 
 the fame kind, from his own defigns. He alfo engraved many other plates 
 from the paintings, &c. of the great matters. The letters F. B included in 
 a heart, funnounted with a fort of figure refembling a 4, are attributed to 
 him by the author of the Abecedario. But, I think, the matter rather doubt- 
 ful. Sec the mark copied on the plate at the end of the volume. 
 
 CHRISTOPHER BRECHTEL. 
 
 Flourifhed, 
 This engraver, and another named Joachim Brechtel, are cited by 
 profeiTor Chrift ; but he has not fpecified any of their works. The former, 
 however, he tells us, was an engraver on copper, and marked his plates C. B. 
 The latter ufed the letters I. B. Thefe initials were u fed by fo many maf- 
 tcrs, feveral of them living nearly at the fame time, and working much in the 
 fiime ftyle, that it is a total impoffibility to feparate them with any certainty, 
 fo as to attribute to each thofe prints only, which belong to them. 
 
 G. V. B R E E N. 
 
 Flourifhed, 
 
 An artift, who has efcaped the notice of the generality of authors on the 
 fubjefl: of engraving. He worked entirely with the graver; and very pro- 
 bably received his firft inftruftions from James de Gheyn, whofe ftyle 
 he feems, at leaft, to have adopted, and though he never equalled that 
 artift, either in the correftnefs of his drawing, or the execution of the me- 
 chanical part of the engraving, yet his prints are not devoid of merit. I 
 fliall notice the following plates, only : 
 
 y/ lijoman with a hafket of eggs, niarketing with a man, who has a bafket of 
 fowls ; a bridge and other buildings are in the back ground ; a middling 
 fized plate, length-ways, from Claus Clock. A man and woman walking, 
 with a figure of envy fulling the cloaths from the back of a lady ; the fame, from 
 the lame. A manfeated, to whom another isfjowing a flipper ; two men are 
 difputing at a diflance ; one of whom is drawing his f word ; and near them is 
 reprefented a lady, purchafing fome cloth, a finall plate, length-ways, from 
 Karl Van Manderen. A fct of fmall long prints, reprefenting fea-ports 
 with fjippinghomC. Nicolai. The G. the V. and the B. are joined together in a 
 fort of cypher, in the manner reprefented in the plate at the end of the volume. 
 
 BARTHOLOMEW BREENBERG. 
 Born, 1620. Died, 1660. 
 ^ This excellent painter is bcft known by the name of Bartolomeo, an ap- 
 
 pellation 
 
B R E [ 143 ] B R E 
 
 pellation beftowed upon him, for diftinftion fake, by the foc'ety of Flemifh 
 painters at Rome, called Benizwgels. He was born at Utrecht ; but in the 
 early part of his life went to Rome. His ftudies in the art of painting were 
 attended with fuch fuccefs, that his pidureswere held in the higheft eftima- 
 tion. He greatly excelled in landfcapes, and thefe he enriched with hiftorical 
 fubjedts. The figures and animals, which he introduced, were very fpirited, 
 and drawn in a mafterly manner; efpecially when they were not larger than 
 the fize, in which he ufually painted them. He died 1660, aged 40 years. We 
 have, etched by him, a fet of twenty-four views, and landfcapes, ornamented 
 with ruins, 8cc. from his own defigns. His mark when he did not fign his 
 name, according to profefibr Chriil, was " B. B. F."^ the F. as ufual. Hand- 
 ing for fecit. 
 
 ANGELICA BREGEON. 
 
 Flourifhed, 
 
 This lady, who, according to Bafan, was the wife of Tillard, a modern 
 French artift, was herfelf an engraver. We have by her hand a youth learn^ 
 ing the art of drawing ; a fmall upright plate, from Carlo Vanloo, 
 
 D. V. B R E M D E N. 
 
 Flourifhed, 
 
 An artift of no very great eminence, who worked entirely with the graverj- 
 in a ftyle fufficiently neat, biTt ftiffly executed. The drawing alfo of the figures 
 is very incorreft. We have by him a fmall plate, lengthways, reprefenting. 
 ladies and gentlemen at an entertainment, from S. de Vliger. He alfo en- 
 graved from A. Vanden Venne. When he did not fign his name at length, 
 he fubftituted the cypher, which is copied on, the plate at the end of the 
 volume. 
 
 V. BRENNER. 
 
 Flourifhed, 1708. 
 An engraver o( portraits, who flourifhed at the beginning of the prefent 
 century; but his works by no means merit a feparate lift. 
 
 FREDERIC BRENTEL. 
 
 Flouriflied, 1608. 
 Profeflbr Chrift reads this nameBrendelj but the artift himfelf figns it 
 Brentel, to the pompous parade at the funeral of Charles HI. duke ofLorrain., 
 which is well defigned by him, and etched in a flight ftyle, but with great 
 fpirit. The procefTion confifts of a great many plates, thefe, bound up 
 together with the defcription, make a large folio volume. They were pub- 
 lifhed at Nancy, a. d. 1608. This engraver frequently fubftitutes the letters 
 F. B. when he does not fign his name at length. In Florent le Comte, by a 
 
 typographical 
 
7J R E I 144 ] B R E 
 
 typographical error, the name is Breutel ; but it is evidently meant for tlic 
 fame artift. 
 
 HANS or JOHN B R E S A N G. 
 Flouriflied, 1619. 
 "Brefimo- was a native ofGermany. He is ranked in the clafs of little mafters, 
 'becaufe the prints which he executed, in general, were fmall. He chiefly 
 engraved on wood; but there are fome copper-plates alfo, which have his 
 cypher, and from the date appear to belong to him. Among other prints 
 attributed to him, are the twelve apojlles, with Chrift and St. Paul, dated 
 1619; and a fet of fmall hiftorical plates, taken from the Ne-d) Tejlamer.t. 
 See his mark or cypher, compofed of an H. a G. and a B. on the plate at 
 ■the end of the volume. Great care muft be taken not to confound this en- 
 graver with another, fuperior to him, called Hans Baldung, who ufed the fame 
 mark and flourilhed a century before him. 
 
 ,C O M T E D E B R E T E U I L. 
 
 Flourifhed, 1752. 
 This gentleman, according to Bafan, was a great lover of the arts, who 
 for his amufement etched feveral fmall plates, from Berchem, and other 
 .mafters. 
 
 CHARLES BRETHERTON. 
 
 Born, Died, 1783. 
 
 He was the fon of James BretTierton of Bond Street, (well known to the 
 public for his etchings, after the defigns of Mr. Bunbury.) The chief of this 
 young artift's performances in the engraving line were views, landfcapesj and 
 portraits. He alfo defigned feveral fubjefts, which prove him to have been 
 a man of genius ; particularly Kate of Aberdeen, a half fheet circle, engraved 
 by Tompkins. He diedin a decline, July, a. d. 1783. 
 
 ANDRE BRETSCHNEIDER. 
 Flourifhed, 16 10. 
 An artift cited by profeflbr Chrift, who, he tells us, refided at Leip- 
 fjck, where he worked from 1600 to 1620. See the mark, attributed to 
 this engraver, at the end of the volume. 
 
 PETER BREUGHEL. 
 Born, 1510. Died, 1570. 
 This artift is ufually called old Breughel, to diftinguifli him from "his fon, 
 who was alfo a painter of confiderable eminence. He was born at Breda, and 
 icarned the Erft principles of painting from Peter Cock ; after which he went 
 to Italy, to improve himfelf from the ftudy of the works of the greateft maf- 
 ters. 
 
B R I C 145 ] B R I 
 
 ters. He excelled diiefly in landlcapes, and droll fubj efts, refembling chofe 
 of Jeroni Bofche. He all'Oj for his amufement, is faid to have engraved 
 fome few plates of landfcapes and grotefque fubjefts, which according to 
 profeflror Chrift, he marked with the initials of his name, P. B. 
 
 Peter Breughel the younger, was the fon of the above-mentioned artift, 
 and named Hellifli Breughel, from the horrible fubjedls he delighted to 
 reprefent. He engraved alfo, according to M. Heineken ; but his works 
 are not fpecified. He died 1642. 
 
 John Breushel, brother to the preceding artift, diftinguiflied by the 
 name of Velvet Breughel, was a painter of greater eminence than either his 
 father or his brother. He particularly excelled in flowers, fruit, and land- 
 fcapes, with fmall figures. He died, according to the bell accounts, 1625, 
 aged 52. To him is attributed fome fmall plates oi landfcapes, &c. &c. 
 
 B R I C A R T. 
 
 Flouriflied, 
 
 A modern engraver, who refided, I believe, in France. He is mentioned, 
 however, byBafan, by whom we are informed, that he engraved feveral prints, 
 from Joan. Baptifta Santerre and others; the fubjeds of whichhe has not 
 fpecified. 
 
 P A U L B R I L L. 
 
 Born, 1554. Died, 1626. 
 
 This great artift was born at Antwerp, a. d'. 1554. His excellence, as a 
 
 landfcape painter, is fo generally known, that it needs no repetition here. 
 
 He died at Rome, a. d. 1626, aged 70 years. He etched feveral land^ 
 
 /capes in a very fpirited, mafterly ftyle, of which four large ones are found in 
 
 the fet, publiftied by Nieulant, his difciple. 
 
 Matthew Brill, the elder brother of the above-mentioned artift, was 
 an eminent painter of landfcape, and hiftory ; and, according to M. Heine- 
 ken, he alfo engraved. 
 
 B R I L L O N. 
 
 Flouriflied, 
 A modern French engraver, by whom, according to Bafan, we have feveral 
 prints, from Watteau and other mafters. 
 
 J. B R I O T. 
 
 Flouriftied, 1632. 
 
 An artift of very moderate abilities, who worked entirely with the graver, 
 imitating the ftyle of Jerom Wierix. He fucceeded tolerably well with refped 
 to the neatnefs of the mechanical part of his engravings ; but in drawing, 
 harmony, and effeft, he was greatly deficient. His produdtions are ftifi^ and 
 taftelefs, without the leaft mark of genius. He appears chiefly to have 
 
 VOL. I. U worked 
 
B R I [ 146 ] B R I 
 
 •worked from his own defigns, which, however do him no great honour. 
 I fhall only notice. 
 
 The/even theological and cardinal virtues, on feven finall folio plates. 
 
 A fft of prints for Ovid's Metamorphqfisy fmall plates length- ways. 
 
 The /yl>ils, a fet of finall circular plates. 
 
 A variety offrontijpieces, and other ornaments for books, &c. 
 
 N. Briot is alfo mentioned as an engraver, by profeflbr Chrift, and other 
 authors ; and to him is attributed a fet of drejfes^ &c. from the defigns of 
 Saint Igny. 
 
 B R I R I E T T E. 
 
 Flourifhed, 
 
 The name of an obfcure artift, which I found affixed to fome flight fpi- 
 rited etchings. To his name he adds the words, inv. et fecit ; from whence 
 •we may conclude, that he engraved thefe plates from his own defigns. 
 
 B R 1 S S A R T. 
 
 Flouriflied, 
 
 The name of an artifl: affixed to a large whole flieet print, reprefentiiig a 
 bird's eye view of iha royal palace of Vincennes, which is very flightly etched 
 by him, from a drawing of his own. It is fufficiently neat, but totally devoid 
 of effc(5l. He alfo engraved feveral plates, from the drawings of J. B. 
 Santerre. 
 
 GIOVANNA MARIAE BRIXIENSIS, or DA BRESCIA. 
 
 Flouriflied, 1562. 
 
 This Angular artift, a native of Brefcia in Italy, was an ecclefiaftic of the 
 order of the Carmelites. He painted, at the beginning of the prefent century, 
 the hiftory o{ Elifim and Elijah, for the monaftery to which he belonged. For 
 his amufement, he alfo took up the graver; and we have feveral prints 
 by his hand, which evidently prove liim to have been a man of ability, 
 though he never reached to any fuperior degree of perfeftion. His ufual 
 ilyle of engraving bears fome refemblance to th.at of Marc Antonio, fuffi- 
 ciently neat, and croflfed with hatchings upon the fliadows ; but there arc 
 fome few of his plates, in which lie has followed the manner of Andrea 
 Mantegna ; and the ftrokes, which form the fhadows, are laid from one 
 corner of the plate to the other, without any hatching, or crofs ftrokes, thefe 
 are commonly among the artifts dlftinguiflied by the name o{ fecond ftrokes. 
 
 Florent le Comte, and others, who have followed him, have fallen into a 
 ftrange miftake, and attributed to this artift thofe prints which are marked 
 with a monogram, compofed of an I. a B. an A. and an M. which cer- 
 tainly belonged to John Baptifta of Mantua, of the fame family as George 
 Ghilfi. See the account of this artift under Ghiffi. 
 
 I ftiall only mention the following prints by this artift: K miracle of St. 
 Gregory, where a boy is rcftored to life. It is thirteen inches Jiigh by nine 
 wide i and the name is affixed in this manner : Opus. Frs. 10. mariae bri- 
 
 XIENSIS 
 
B R I [ 147 ] B R 1 
 
 xiENSis. OR.CARMELiTARUM. Mcccccii. The mechanical part of the en- 
 graving of this print is executed in a fort of mixed ftyle, between that of Marc 
 Antonio, and of Andrea Mantegnaj but it is by no means equal to either. 
 The drawing is defeftive, efpecially in the extremities of the figures, which 
 are heavy, and not well marked. A large upright plate, reprefenting 
 the Virgin, Jeated upon the clouds, with St. John Baptift, St. Jerom, and three 
 ecclefiailics of the order of the Carmelites, at the bottom, dated alfo 1502. 
 
 GIOVANNA ANTONIO BRIXIENSIS, or DA BRESCIA. 
 
 •Flourifhed, 1509. 
 
 An artifb of die fame family with the preceding. He was apparently a 
 difciple of the fchool of Mantegna ; for the llyle of engraving of that artift 
 he almoft conllantly adopted ; and the mechanical part of the execution of his 
 plates is ftill more neat and regular. But the advantage he may be 
 faid to have gained hereby over Mantegna, is abundantly over-balanced by 
 the defeftivenefs of his outlines, and the heavinefs of the extremities of his 
 figures, which are ufually very poorly drawn. I fliall notice by him, 
 
 T\\e.fcourgingof Chrift, a large upright plate; with the name, lo. Anton. 
 Brixian. on a tablet, dated 1503. The fecond impreffions are marked 
 1509. 
 
 Hercules JlrangUng a liofi, marked d, herc. in. victo, and with his 
 -name. 
 
 A middling fized upright plate, Hercules and Ar,taus, the fame. 
 
 K ii'hiuhorje, like that by Albert Durer ; the back-ground only varied 
 in the latter. In this he has intermixied fome hatching : it is marked with 
 his name, and dated 1505, a fmall upright plate. 
 
 St. Peter, a fmall upright plate. In this he approaches nearer to the ftyle 
 of engraving adopted by Marc Antonio: it is marked Jo. An. 
 
 FRANCESCO BRIZIO, or BRICCIO. 
 
 Born, 1574. Died, 1623. 
 
 This artift excelled in painting architeflure, and landfcapes. He 
 was born at Bologna, a. d. 1574, and received his firft inftructions in 
 the art of painting from Pafterotti ; but completed his ftudics under 
 Ludovico Carracci. It is faid, that he frequently afllftcd Agoftino Caracci 
 in the plates, which he engraved. Perhaps he might; at leaft, it is certain, 
 that he generally worked with the graver only in the fame ftyle ; and in the 
 mechanical part of the execution fom.etimes equalled him ; but in correftnefs 
 of outline, beauty, or expreffion, never. We have alfo fome few etchings 
 ■l>y, him. Among the prints by this artift I fhall mention the follov/ing : 
 
 A holy family, from Corregib, a large upright plate, arched at the top. 
 
 St. Roch, from Parmigiano, a middling fized upright plate. 
 
 The flight into Egypt, a fmall upright plate from Ludovico Caracci. 
 
 Chrift and the %voman of Saraaria, a middling fized plate, length-ways, 
 from Agoftino Carracci, engraved, a. d. 1610. At the fame time, Guido 
 etched the charity of St. Roch, from Annibale Caracci. 
 
 U 2 "CRISPIN 
 
B R O [ 148 ] B R O 
 
 CRISPIN VANDEN BROECK. 
 
 Flourifhed, 1590. 
 He was a native of Antwerp, and a painter of feme eminence in the hifto- 
 rical line. Wc have a confiderable number of prints, engraved from his defigns, 
 which prove him to have been a man of genius, and great fertility of inven- 
 tion. His ufual mark was a cypher, compofed of a C. a V. and a B. joined 
 together, which is copied on the plate at the end of the volume. He alfo is 
 faid to have engraved ; and among other things attributed to him, is the 
 circumcifion of CbriJ}, a middling fized circular print, in chiaro-fcuro. The 
 outline is etched in a bold, free manner, on copper j and the block of wood, 
 which produces the lighter tints, is fo contrived as to imitate the hatchings of 
 wiiice chalk upon the lights. It is marked with his cypher. 
 
 BARBARA VANDEN BROECK. 
 
 Flourilhed, 1600. 
 
 She was daughter to the above artift. It is highly probable, that fhe 
 learned to draw of her father : but from whom fhe received inftruftions in the 
 art of engraving is very uncertain; perhaps. in the fchool of the Colaerts, 
 who engraved many plates from lier father's defigns. However, the progrefs 
 flie made was fuch, as does no fmall credit to her abilities. I fhall mention, 
 in the firft place, a middling fized upright plate, reprcfenting the laft judgment, 
 into which is introduced a great variet)' of figures. She has executed this 
 plate entirely with the graver, and copied the ftyle of IVIartin Rota with great 
 iuccefs. The figures, in general, arc w. 11 drawn; the heads expreffive; and 
 the other extremities marked with great judgment. It wants effeft, from 
 the lights being too equally powerful, and too much fcattered ; but this was 
 an error, that almoft all the engravers, and many of the painters of that age, 
 were very apt to run into. It is marked at the bottom, " Crifpin Vanden 
 " Broeck inv. et Barbara filia Crifpine fculpfit." I Ihall notice alfo a holy 
 family, with St. John and feveral angels. This is marked with her 
 father's cypher, as dcfcrib.'d above; and to it is added, " B. filia fculp." It 
 is a fmall upright plate, dated a. d. 1600. Another holy family, with St. John 
 kneeling, and angels attendant upon them, the fame, and marked as above. 
 This plate was publifhed by Hondius, a. d. 1621. 
 
 J. VAN BROEDELET. 
 
 Flourifhed, 1700. 
 
 A Dutch artift, who flouriflied at the begining of the prefent century, by 
 
 whom we have uveral mezzotintos. Among the reft, Cephalus and Procris, 
 
 from Gerard Hoet, a middling fized upright plate, companion to Venus and 
 
 Adonis, engraved in mezzotinto by Verkolie, from the fame maftcr. 
 
 C. D E 
 
B R O I 149 ] B R O 
 
 C. D E B R O E N. 
 
 Flourifhed, 
 
 An artiflof no great merit, whofe chief employment was engraving of por- 
 traits for tlie bookfellers, &c. To fome plates the name is figned, <' C. dc 
 Brocn, jun." as to the portrait of Piere Poicet, from N. Vcrkolie. 
 
 JOHN VAN BRONKHORST. 
 Born, 1603. 
 This artift was born at Utrecht, and, after having ftudied under feveral 
 mafters, entered the fchool of Cornelius Poclemburg, whofe ftyle of painting 
 he imitated with great fuccefs. He painted both hiftory and landfcapes ; 
 and his piftures, which are very highly finiflied, are held in great eftimation. 
 He amufed himfelf with the point; and fome land/capes from Poelemburg, 
 together with other fubjecls from his own compofitions, are attributed to 
 him. His mark, according to the generality of authors, was a cypher, com- 
 pofed of a 7. a G. and a B. But the ufe of the fecond letter, if the cypher 
 really belonged to him, I know not. See the mark copied on the plate at 
 the end of the volume. 
 
 JOHN VAN BROOKS, 
 
 Flourillied, 1742. 
 
 He was a native, as I have heard, of Ireland. He engraved in mezzotinto. 
 His works, however, do him no great credit as an artift, either with refpeft of 
 the drawing, or the execution. His prints are chiefly portraits ; but there is 
 a large hiftorical mezzotinto by him, reprefenting the battle of the Boyne, 
 after Wyke. Among his portraits, are the following : Hugh Boulter, arch- 
 bijhcp of yirmagh, and primate of Ireland, from F. Bindon, a large whole 
 length. IFilliam Jldrich, lord mayor of Dublin, a half Iheet print, dated 
 1742, &c. 
 
 R. B R O O K S H A W. 
 
 Flouriflied, 1770. 
 A very modern engraver in mezzotinto, who refided in London, and exe- 
 cuted feveral portraits ; among the reft, that of Mr. Bergeret, after Cotes, 
 Lady Erjkine, General Paoli, &c. 
 
 B R O O N. 
 
 Flouriftied, 
 A name mentioned by Mr. Evelyn in his Sculptura, as an engraver. I 
 do not recolledl to have feen any of his works : perhaps it is the fame artift 
 as C, dc Broen, mentioned above. 
 
 HANS 
 
B R O [ 150 ] B R a 
 
 HANS or JOHN B R O S A M E R. 
 
 Flouri filed, i545> 
 
 A native of Fulda in Germany. He is one of thofe artifts, who on 
 account of the fmallnefs of their engravings, are ranked in the clafs oi little 
 mafters. It is impoffible, at this diftance of time, to afcertain the fchool, in 
 vk^hich he learned the principles of the art of defign and engraving. His 
 ftyle fometimes bears a refemblance to that of Aldegrever ; but, in general, 
 he has finiflied his draperies and back-ground with fmall dots between the 
 ftrokes. His drawing of the naked figure is very deficient. In the mecha- 
 nical part of his plates he by no means equalled, either that celebrated 
 artift, or John Sebald Beham, his cotemporary. His ufual cypher is conti- 
 pofed of an H. and a B. joined together in the manner repreiented on the 
 plate at the end of the volume. I fliall only mention the following by him. 
 
 The rhiliftines coming upon Sampfon, after Dalilah bad [horn the locks of 
 hair from his head ; a very fmall plate, length-ways. It is dated 1545, and 
 has the cypher between the two firft and the two latter figures of the date j 
 and to it is added his,Ti2ivaQz.ti\A\\cngt.\i,JohafmesBroJamerFtildaDegens 
 Faciebat. 
 
 Solomon with his wives, adoring the idol, a fmall upright plate, dated 1545, 
 and marked with the cypher. 
 
 The rape of Helen, a very fmall long frieze, dated 1540, marked with the 
 cypher. 
 
 Marcus Curtius leaping into the gulph, a fmall circular plate, marked the fame. 
 
 Biblia Veteris 'Tefiamenti Artifc'iojis piSiuris ejfigiata, Franckfort 1552, a 
 fet of fmall wooden cuts, copied chiefly from the excellent work of the fame 
 kind, executed by Hans Holbein, and publifhed at Leyden 1547, with fome 
 additions ; but by no means equal to the original in fpirit, or neatnefs of 
 execution. 
 
 M. V. B R O U C K. 
 
 Flourillied, 162 1. 
 By this artift, who appears to have been a painter, we have a fmall plate, 
 length-ways, reprefenting Mercury and Argus, with tiie cow in the back- 
 ground. It is a flight etching, very poorly drawn, and defliitute of effeft. 
 In retouching it with the graver, he has attempted to imitate fomething of 
 the ftyle of Cornelius ViflTcher, but without fucceis. It is dated 1621. 
 
 ADRIAN BROUWER, or B ROWER. 
 Born, i6o3. Died, 1640. 
 According to the generality of authors, this artift was a native of Ouden- 
 arde ; though fome have affirmed, that he was born at Haerlem, a. d, 1.608. 
 He was the difciple of Francis Hals, and proved an excellent artift. The 
 fubjeds of his piftures were always taken from low life, and reprefent Boors 
 fighting, tavern Jcenes, and drunken quarrels. But thefe he executed with fo 
 much fpirit, and tranfparency of colouring, that his pidures are held in 
 the higheft eftlmatlon. His levity of temper prevented his continuing with 
 Rubens, who had procured his releafe from prifon at Antwerp, where he had 
 
 3 been 
 
B R O [ 151 ] B R U 
 
 been confined as a fpy. And his debauched manner of living put an end to 
 his days, at the age of 32. By him we have fome few etchings of fuch fub- 
 jefts, as his piftures ulually reprefented. He frequently figned them with the 
 initials of his name only, thu-s : H. B. the name Adrian being frequently 
 written with an H. 
 
 J. B R O U W E R. * 
 
 Flourillied, 
 
 An engraver of portraits of no great eminence. He worked entirely with 
 the graver, and imitated the ftyle of Cornelius Vifcher j but without fuccefs. 
 Among other things by him, is a large portrait of the emperor Leopold, from 
 W. Vaillant. 
 
 ALEXANDER BROWN. 
 
 Flourifhed, 1669. 
 
 According to the Hon. Mr. Walpole, we have fbme mezzotintos by this 
 artift, wlio alfo wrote a treatife on the art of painting, drawing, limning, and 
 etching. This treatife is illuftrated with 31 copper-plates in folio, and was 
 firft publifhed at London, a, d, 1669. Thefe plates, Mr. Walpole fuppofes, 
 were engraved by his own hand. This matter however appears to me in a very 
 doubtful light ; for he is profefledly writing a treatife on etching, in the 
 part which may be faid to refer to them, and fpeaks very little concerning the 
 ufe of the graver j now all the plates for this work are executed with the gra- 
 ver entirely,except perhaps the bare outline, which has fometimes the appear- 
 ance of etching ; and they are copied from the book of defigns pubhflied by 
 Abraham Bloemart, well known by the name o{ Bloemari's Drawing-book. 
 
 There was a modern printfeller of the fame name with the above artiflr, 
 who publifhed a great variety of mezzotintos ; fome of them probably exe- 
 cuted by himfelf, 
 
 J. BROWN. 
 
 Flourifhed, 1676. 
 Fie was probably a native of England ; and engraved perhaps only for his 
 amufement. According to Ames, we have by him the portrait of Richard 
 CollinSyJupervyor of excifc at Brifi;ol. This plate was engraved at Tedbury. 
 
 ROGER BRUGES. 
 Flouriflied, 161 1. 
 An artifl of little note, who affifled Aaron Rathburne in engraving a map 
 of London and Weftminfler ; for which they obtained a patent, a. d. 161 i. 
 
 JOHN VANDER BRUGGE N. 
 
 Flourifhed, 
 This artifl, according to M. Heineken, was a native of Flanders, and 
 srefided, as it leems, at BrulTcls. He is faid to have flourifhed towards the 
 
 £nd 
 
B R U [ 152 ] B R U 
 
 end of the laft century. By him we have a large number of mczzotintos ; 
 which, however, though not enticcly dellitute of merit, are fuch as do him no 
 o-reat honor as an artift. See the mark, which he frequently ufed, when he did 
 not chufe to fign his name at length, on the plate at the end of the volume. 
 I fliallonly mention the following prints by him : Several droll JiihjeSfSy from 
 Teniers : among the reft the tooth-drawer^ an upright half flieet print. The 
 gold iveigker, copied from Rembrandt Gerretz. The portrait of Vajidyck, 
 a fmall upright plate, arched at the top, from a pidure painted by that 
 artift. His own portrait, a half flieet oval plate from Largilliere. He 
 alfo engraved from Adrian Brouwer, Oftade, and other mafters. 
 
 D* 
 
 D. P. BRUGGHE. 
 
 Flouriftied, 
 
 A very obfcure artift, who, etched fome few plates, in a ft)'le greatly 
 refembling that of Romain la Hooghe, into which he ufually introduced a 
 great number of figures ; and thefe he executed very prettily. The other 
 parts of his compofitions are ftitf and taftelefs ; and a want of effeft gene- 
 rally prevadcs the whole. 
 
 ABRAHAM DE BRUIN. 
 
 Flouriftied, 1570. 
 
 This artift was a native of Flanders, and refided at Antwerp. He may be 
 reckoned among the clafsof artifts, diftinguiflied by the appellation of little 
 tnajlers, for his engravings, in general, are veiy fmall. He worked entirely 
 with the graver, in a neat, ftiff"ftyle. His drawing is by no means corredt; 
 and the extremities of his figures are ufually very defeftive. His prints are 
 evidently rather the produftions of labour and afliduity, than of genius. The 
 lights in them are fcattered and unharmonized, which deftroy the efFeft, and 
 give them a cold, filvery appearance. But inattention to the chiaro- 
 fcuro was rather the fault of the age, than of the artift. His beft prints, 
 according to my judgment, are imzW friezes, length-ways, reprefenting the 
 various modes of hunting, haivking, &cc. Add to thefe, 
 
 K figure on horjehack, a fmall upright plate from Sebald Beham. His 
 cypher is here made in a fingular manner; the A. and the B. are joined 
 together, and the D. is under the A. it is dated 1566. 
 
 A fmall upright plate, reprefenting three ni-n converftng together ; one of 
 which has a bafliet of eggs, copied from Albert Durer. In this the D. is 
 joined to the A. and the B. is under the A. all the letters as well as the date, 
 which is 1567, arereverfed. 
 
 The habits of the different nations of Europe y /ifta and America, publiftied 
 in quarto, a. d. 1581. 
 
 Pyramus and Thijhe, a fmall plate, length-ways, from Francis Floris. 
 
 The feven planets, very fmall upright plates, dated 1 569. 
 
 The five fenfes,S)Cc Am^W plates length-ways, the fame. 
 
 The refurretlion of Lazarus, a fmall upright plate, from a painter whofe 
 mark is a C. a V. and a B. joined together : perhaps Crifpin Vanden Broech, 
 
 who 
 
B R U [^53] 13 k U 
 
 who muft, however, have been a young man at tliat time ; for it is dated 
 1 57 1, See all the marks ufed by Abraham de Bruin, copied on the plate 
 at the end of the volume. 
 
 NICHOLAS DE BRUIN. 
 
 Flouriflied, 
 
 This artift was the fon of Abraham de Bruin mentioned in the fore- 
 going article, and by him we have a great number of prints. He did not 
 follow the example of his father, either in his ftyle of ejigraving, or the fize 
 of the prints which he executed. He imitated Lucas Jacobs of Ley- 
 den, whofe works he appears diligently to have ftudied ; and, engraved 
 large places. His prints evidently prove, that he had more fertility of in- 
 vention, than tafte, and he wanted judgment to feleft fuch forms only as were 
 beautiful or ftriking. His compofitions, which ufually abound with figures, 
 are deftitute of effeft. The lights are too much diffufed, and the breadth of 
 fhadow by no means fufficiently ftrong to relieve the principal objefts from 
 thofe at a diftance ; by which defeft, the harmony is deftroyed, and the 
 whole appears confufed and unfiniflied. He worked entirely with the graver, 
 in a very neat, but laboured ftyle, copied, as before obferved, from Lucas 
 Jacobs of Leyden. His drawing is carefully attended to j but it is rather 
 mannered, than corredl. The heads of his figures are frequently very ex- 
 preiTive; and amidft all the difadvantages which the artift labours under, 
 much fterling merit is very confpicuous in his works. As I can only mention 
 a few from the vaft variety of plates engj-aved by this mafter : I ihall con- 
 ■ fine myfelf to thofe which are moft generally efteemed. 
 
 Boys playing, a fet offmall plates, length- ways. In one of them is repre- 
 fented two children fiain by lions: thefe plates are dated 1594. 
 
 TYiQ fajfion of our Saviour, reprefented in a fet of large plates, length- 
 ways, from his own compofitions, dated 16 12. 
 
 Adam and Eve in Paradife, the fame, dated 1 600. 
 
 Solomon and the queen of Sheba, the fame. 
 
 Solomon adoring the idol, the fame, dated 1602. 
 
 RefurreBion of the dry bones, the fame. 
 
 The golden age, from Abraham Bloemart, a large plate, length-ways. 
 This is generally confidered as his fineft print : it was admirably copied, in 
 a fmall circle, by Theodore de Brye. 
 
 A fet of large landfcapes, length-ways, from Egidius Coninxlogenfis, J. 
 Savery, D. Vinckboons, &c. 
 
 He ufually figned his name at length ; when he neglected that, he fubfti- 
 tuted the initials in this manner, N. de B. and feldom omitted the date. 
 
 C HA RLES LE BRUN. 
 
 Born, 161 9. Died, 1690. 
 This celebrated French artift was a native of Paris. He was born, a, d. 
 16 1 9, and died in that city 1 690, aged 7 1 . The battles of Alexander, among 
 other eftimable performances, painted by his hand, are fufficient teftimonies 
 
 VOL. I. X of 
 
B R U [ 154 ] B R U 
 
 of h'ls fuperior meritj and the excellent engravings from them, by Girard 
 Audran, have contributed not a little to render that merit more generally 
 confpiciious. As a painter, I need not fpeak of him here; but for his 
 amulement he etched feveral plates in a dark bold ftyle ; and though they 
 are but fiightly executed, the hand of the mafter appears very evidently in 
 them. Among the reft. 
 
 The four times of the day, fmall upright plates, from his owndefigns. 
 
 An itfaiit kneeling upon a cvojs, the fame. 
 
 GABRIEL LE B R U N. 
 
 Flouriflied, 1660. 
 
 He was brother to Charles le Brun, mentioned above, and was alfo a pain- 
 ter J but he never arrived at any great degree of excellency. By him we 
 have alfo feveral engravings j among the reft, the twelve apoftlesy from his 
 brother. He alfo engraved from Tintoret, Augoftino Carracci,, L. Teftelin, 
 and other mafters. 
 
 F. BRUN. 
 
 Flouriflied, 
 
 Perhaps of the fame family with the two preceding artifts. His name I 
 have found, however, affixed to fome portraits, executed entirely. with the 
 graver, in a neat ftyle j but very ftifF and taftelefs. Among the reft are the 
 following : 
 
 The king and queen of Bohemia, a middling fized upright plate. 
 
 Leopold, archduke of Aujlria, in a fmall oval. 
 
 Frederic Henry, prince of Orange, a large upright plate 
 
 ORAZIO BRUN I. 
 
 Flouriflied, 
 
 He was a native of Sienna, and judging from the ftyle in which he en- 
 graved, I fliould conclude, that he flouriflied towards the middle of the laft 
 century. He worked chiefly with the graver, and feems to have aimed at 
 copying the flyle of Francis de Poilly j but he has by no means happily fuc- 
 ceeded. He worked chiefly from Andrea de Ancona, Rutilio Mannini,. 
 and other mafters ; but we have alfo fome few prints by him, whicli appear 
 to have been executed from his own defigns. 
 
 *o" 
 
 ISAAC BRUNN. 
 Flouriflied, 1615. 
 This obfcure artift appears to have been a native of Strafl^urgh in Alface. 
 By him we have a neat, laboured engraving of tlie church at Strafl'urgb, to 
 f?hichhe figiis his name Ifaac Brunn Argentienfis, x'*^-'i<'7p^f "'^Sj ^- °- 161 5. 
 
 D. BRUNN. 
 
B R U I ^55 ] B R Y 
 
 D. B R U N N, 
 
 Floiiriflied, 1628. 
 Apparently this engraver was of the fame family with the preceding artift ; 
 for he refided at the fame place. He worked entirely with the graver, in a 
 neat (lyle, fomething refembling that of Paul Pontius; but he by no means 
 nearly equalled that great artift. Befidv*, his drawing is exceedingly defeftive. 
 Among other prints by him, is a Bacchanal, from Rubens, a fmall plate, 
 iengtli-ways. Alfo a Bacchanal with boys, from Vandyck, marked " D. 
 BrunnArg''=. fculp." and dated 1628. 
 
 A. F, B R U N N. 
 
 Flouriihed, 
 
 A name I found affixed to a fmall upright plate, neatly engraved, but in a 
 ftiff, taftelefs ftyle. It reprefents Chrift flan ding on a mountain^ accom.panied 
 by an angel, and a female figure reprefenting the church; and Satan, with 
 his accomplices, appear below. It is marked "A. F. Brunn fecit," with- 
 out any date, or painter's name: hence wc may conclude, it is from adefign 
 of his own. 
 
 FRANCIS BRUNNER. 
 Flouriflied, 1620. 
 
 This artift was an engraver, and, according to profefTor Chrift, worked 
 under Aiihry. He engraved, among other things, the figures ot the Sylloge 
 de LiickiuSy about the year 1620. 
 
 JOHN THEODORE DE BRYE. 
 
 Born, Died, 1598. 
 
 This excellent artift was a native of Liege ; but he refided chiefly at 
 Franckfort, where he carried on a confiderable commerce in prints. It does 
 not appear, when he was born, nor to what mafter he ov/ed his inftruclions 
 in the art of defio-nino; and ensravino;. The works of Sebald Beham were 
 certainly of great fervice to him. He copied many of the plates en- 
 graved by that artift, and feems to me to have principally formed his tafte 
 from them. He worked almoft entirely with the graver, and feldom called 
 in the affiftance of the point. He acquired a neat, free ftyle of engraving, 
 excellently well adapted to fmall fubjedhs, in which many figures were to be 
 reprefented; z.s, funeral parades, procejfions, and the like, which he executed 
 in a charming manner. He alfo drew very corredtly. His heads, in ge- 
 neral, are fpirited and expreffive, and the other extremities of his figures 
 well marked. His back-grounds, though frequently very flight, are touched 
 withamafterly hand. He died, as his fons inform us, in the third part of 
 Boiflard's colleftion of /)»r/r<?zVj, March 27, 1598; the two firft parts of 
 which coUeftion were engraved by himfelf, aflifted by his fons, who after- 
 wards continued it. See his mark on the plate at the end of the volume. 
 
 X 2 His 
 
B R Y [ 156 ] B R Y 
 
 His great works were the following: The plates for the firft four volumes of 
 Boiflard's Ronton Antiquities ; the two laft volumes of which work was com- 
 pletcti by his two fons. 
 
 The plates for the illuftration of the dclcription o( the Manners and Cuf- 
 tonis of the Firginians, in " the brief true Report of the new found land of 
 " Virginia, publified by I'homas Hariot, fervant to Sir Walter Raleigh, and 
 " employed by him in the dijcovery." This work was printed at Franckfort by 
 J. Wechelius, A. d. 1590. The plates were executed at De Brye's own ex- 
 pence from drawings made by J. White, who was fent thither for that purpofe. 
 
 Thefe plates were copied by Picart for his Religious Ceremonies of all 
 Nations. 
 
 The plates to the Latin, narrative of the Cruelties of the Spaniards in AmC' 
 nV^, publifhed 159S. 
 
 About the fame year, namely, 1598, appeared De Brye's great work, en- 
 titled, Defcriptio Indiac Orient alis et Occid^ntalis, in nineteen parts, contained 
 in five large folio volumes. 
 
 Among his detached prints, the following are greatly efleemed : 
 
 The little village fair-, and its companion, the /c«K/rti« of youth ; two fmall 
 pktes, length-ways, from Sebald Beham. 
 
 A Bacchanalian procejfon, a fmall plate, length-ways, from Julio Romano» 
 
 The Venetian ball, a fmall circular plate, from Theodore Bernard. 
 
 The golden age, a fmall circular plate, copied from the print, engraved by 
 Nicholas de Bruin, from a dcfign of Abraham Blocmart, 
 
 The procejf.onfor the funeral of Sir Philip Sidney, engraved at London. This 
 is a long roll, " contrived and invented by "Thomas Lant , gent . fervant of that 
 " honourable knight, and graven in copper by Derick or "Theodore de Brie, in 
 '■'■the city of London, 1578." It contains about thirty-four plates; and prefixed 
 is the portrait of Mr. Lant, aged 32. This has ufually been confidered as 
 the firft Engliih work by De Bryc. John Fenn, efq. of Eaft Dereham in 
 the county of Norfolk, is polTefled of a very fingular Curiofity, which, as it 
 is thought to be unique, certainly merits a very particular defcription. I 
 have little doubt, but that it was executed by De Brye ; and if fo, it is 
 certainly one of his beft works. That gentleman has obligingly favoured 
 me with the following account of it. 
 
 A Defcription of a Roll reprefenting the Proceffion of the Knights of the Garter 
 
 /« 1576, 18//^ of Elizabeth. 
 
 The proceffion is reprefented as moving along a portico, quite open on the 
 fide next the oblerver, butfupportcd by thirty-three pillars of the Ionic order 
 on the fide from him, in the following order : 
 
 The verger alone bearing his filver rod. 
 
 The twelve alms knights, two and two in their proper habits^ 
 
 Their governor alone. 
 
 p'our purfuivants, two and two,"v • 1, 1 i- i „„„ ^1,„• 
 
 „. , ' , , ' , ' in black gowns, over which are their 
 
 bix herakls, two and two, > u j ■ l ^u r • >, „ „,^ 
 
 _ ,. V 1/1. I tabordswith theiovereign 3 arms. 
 
 Two Kings of arms, a-brealt, J ° 
 
 The twenty-four knights companions, two and two, > all in the full habit 
 
 The emperor alone, - - j of •^h^' order. 
 
 G artcr 
 
B R Y [ 157 ] B R Y 
 
 Garter king of arms, with his fceptre, . ^_^^^^^ ^.^^^ ^^^^.^ ^,^^^j^ 
 
 The regilter, with his book, - f &:c 
 
 The ufher of the black rod, with his rod, ) 
 
 The prelate, > a-breaft with their mantles, &c. 
 
 i he chancellor, ) 
 
 Two gentlemen ufliers, a-brecft. 
 
 A nobleman (not of the order) carrying the fword of ftate, alone. 
 
 The fovereign in the full habit of the order, alone. 
 
 Amounting in the whole to fixty. 
 
 Over each knight companion of the order, are his arms within the garter, 
 and in a compartment below, his name, titles, &c. are written in French. l"he 
 laft ftall was vacant, and there is only a fancy portrait, given without name 
 or arms. There are fixty portraits in the procefllon, each of them between 
 four and five inches in height ; under the arches of the portico, is a delight- 
 ful view of a hilly country,, (too hilly for an Englifh profpeft) interfperfed 
 with caftles, churches,, houfes, rivers, woods, men, animals, &c. and an 
 exadl view of Windfor Cattle, as it appeared in that reign. The roll is 
 iixteen feet three inches long, and one foot deep, and was engraved on twelve 
 plates. 
 
 Who was the original poireflbr of this curious roll, I know not, but in the 
 beginning of this century, it belonged to Peter le Neve, Efq. norroyj from 
 him it came to Mr. Thomas Martin of Palgrove; after his deceafe it 
 was the property of Mr. Worch, and from him, in 1773, it came into my 
 poflefTion. 
 
 The date under the dedication, written by Dawes, is altered with a pen 
 from 1576 to 1573, but the proceffion was in 1576, as two of the knights re- 
 prefented, were dead before 1578, though, perhaps the engraving was not 
 finiflied before the latter year. 
 
 Hollar, to his plate of the procefllon copied in fmall from this engraving, 
 in Afhmole's order of the garter, feys, the original was defigned by Marc 
 Garrerd, who could be then only fifteen years old, being born in 1 561, and 
 I believe did not come into England till after the time this was done. 
 
 Mr. Walpole fays, Garrerd drew a procefllon of the queen, knights of the 
 garter, &c. in 1584, fron^ whence Aflimole took his plate for the Hiftory of 
 the Order of the Garter. It certainly could not be this, which was not only 
 drawn, but engraved before 1578, and from the dedication, I have no doubt, 
 but that the drawings of this were executed by Thomas Dav/s, Rougecroix. 
 It is a proof print, as the titles, names, dedication, &c. are written, and not 
 quite finifhed; fo that the engraver had not added his name. The queftion is, 
 what became of the plates ? for 1 never heard of another proof having been 
 feen by any one. 
 
 The following is a lift of the knights, companions, and ofRcers, repre- 
 fented by their portraits in the procefllon. 
 
 Charles Howard, E. of Effingham, Void, 
 
 Henry Stanley, E. of Derby, Henry Herbert, E, of Pembroke, 
 
 Wiliiim 
 
B R V [ *i5« I B R Y 
 
 William Cecil, Lord Burleigh, Artlnir, Lord Grey of Wilton, 
 
 Henry Haflinf^s, E. of Huntingdon, Walter d'Evereux, E. of Eflex, 
 Sir Henry Syd'^ncy, Knt. William Somerfet, E. of Worccftcr, 
 
 Henry Carey, Lord Hunfdon, Francis RulTel £. of Bedford, 
 
 Gccr^e Talbot, E. of Shrewfbiny, Ambrofe Dudley. E. of Warwick, 
 Anthony Browne, Vifcount Montague, Robert Dudley, E. of Leiceftcr, 
 Edward Clinton, E. of Lincoln, Thomas RatcliflFe, E. of Suffex, 
 
 Henry Fitz Allen, E. of Arundel, F. Montmorency,D. of Montmorency, 
 Emanuel, D. of Savoy, Adolphus,D.ofSlcrwick,Holftein,&c. 
 
 Philip n. King of Spain, And Heniy IIL King of France, 
 
 Maximilian IL Emperor. 
 Sir Gilbert Dethick, Garter. WilHam Day, Dean of Windfor, Regifter. 
 
 Ufhcr of the Black Rod. 
 Robert Horne,Bifliop of Winchefter, Prelate. Sir Thomas Smith, Chancellor. 
 
 Two Gentlemen UAers. 
 
 A Nobleman with the fword. 
 
 Queen Elizabeth. 
 
 He alfo engraved a great number of portraits, proceflions, and a variety of 
 other fubjefts, as well from his own compofitions, as thofe of other maftcrs. 
 
 ^ JOHN THEODORE DE BRYE. 
 
 Flouriihed, 1620. 
 He was the fon of the preceding artift. After the death of his father, 
 affifted by his brother, he completed the plates for Boiflard's Roman Anti- 
 quities, two volumes of which were left unfiniflied. They alfo added fcvcral 
 parts to the coUedtion of portraits of illuftrious perfons, which their father 
 ■had begun. 
 
 JOHN ISRAEL DE BRYE. 
 
 Flourifhed, 1620. •' 
 The younger fon of John Theodore de Brye the elder, and brother to the 
 above-mentioned artift, whom he affifted in the completion of the works, 
 which their father had left unfiniflied. They both of them imitated the 
 flyle of their father; but in a ftiff, taftelefs manner. They never nearly 
 equalled him in merit. 
 
 HENRY BRYER- 
 
 Died, 
 
 He was pupil to the late Mr. Ryland, with whom he aftenvards entered 
 into partnerfliip ; and they opened a print-fhop in Cornhill. When that part- 
 nerfliip was diflblvcd, he went into bufinefs for himfclf ; but he did not en- 
 grave many plates. By him, among others, are the two following: 
 
 Bacchus and ylriadne, a middling fized upright plate ; and Mars difcovered 
 •with Venus by Vulcan, a large plate, length-ways. For this laft he obtained 
 a premium from the fociety for the encouragement of arts and fciences. His 
 
 widow 
 
BUB i ^59 ] BUI 
 
 widow lives at prefent in Poland-Street, where fhe ftill continues to publifh 
 prints from tlie pictures of Angelica KaufFman, &c. 
 
 L. B U B E. 
 
 Flourifhedj 
 
 An engraver on wood, by whora we have a fmall upright print of a /joly 
 familj in chiaro-fcuro. It is engraved on three blocks ; the firfl: for the 
 outline and dark rtiadows ; the fecond for the light (liadows ; and the third 
 for the demy-tint. Though it is executed in a very flight manner, it is, 
 however, very fpirited, and manifefts the hand of the mafter. It is from a 
 compofition of Abraham Bloemart. 
 
 SAMUEL BUCK. 
 Died, 1779. 
 This ingenious artift, afTifted by his brother Nathaniel Buck, drew and 
 engraved a large number of plates of various fizes. They confift of viev/s of 
 churches, monafterics, abbies, caftles, and other ruins. Alfo views of the 
 principal cities and towns in England and Wales; and, among them, a very 
 large one of the cities of London and irejlininjier. They are all executed much 
 in the fame ftyle. The back-grounds are flightly etched, and the buildings 
 finifhed with the graver, in a ftifFmanner. Their drawings, efpecially thofe 
 of the ruins, &c. appear to have been too haftily made; for which reafon,on 
 examining the prints with the objefts they reprefent, they are frequently found 
 to be very inaccurate. However, in many inftances, they are the only views 
 we have of the places reprefented ; and in fome, the only views we can have, 
 as feveral of the ruins engraved by them, have fince that time been totally 
 deftroyed. Samuel Buck died at his apartments in the Teipple, in the 
 month of Auguft. A. D. 1779. The prints by thefe artifts, which amount in 
 the whole to 500, are too well known to need a feparate lift. The two brothers, 
 were employed upwards of 3 2 years in this undertaking. 
 
 CARLO BUFFAGNOTL 
 
 Flourifhed, 
 
 A native of Bologna. By him we have feveral plates ofi architecture., into 
 which he has ufually introduced fome figures. They are very flightly etched, 
 and the figures are incorreft. To fome circular plates his name is figned ; ta 
 which he adds, inv. et fecit. Thefe, therefore, were manifeftly engraved from 
 his own defigns. 
 
 'o' 
 
 A. VAN BUISEN or BUYSEN. 
 
 Flouriflied, 17 10, 
 
 An indifferent engraver, who was, I think, a native of Holland. He 
 
 worked entirely with the graver in a ftiff ftyle, very like that adopted by 
 
 Gribelin j but he did not equal that artift. Buifen, I believe, engraved 
 
 .3 for 
 
BUI [ i6o ] B- U ' R. 
 
 for the bookiVllcrs only. We have by him a print ov David plnyini on the 
 harp, an oiflavo plate for the edition of Cowley's poems, printed, a. d. 1700. 
 He alfo did fome of the folio plates for the work entitled Figures de la Bible, 
 from Picart and others, publifhed at Amfterdam, 1720. 
 
 W. B U I T W E C H. 
 Flourifhed, 
 According to profefTor Chrift, he engraved fome plates, reprefenting the 
 various habits of difFereut nations, which he figned W. B. and W. BW. 
 
 B U G E Y. 
 
 Flouriflied, 
 An obfcure engraver of portraits, who probably worked only for the 
 bookfellers. By him we have the portrait of marfloal de Brcglio on horfeback, 
 from M. Loir. 
 
 MICHAEL B U M E L, or B I M E L. 
 
 Flouriflied, 
 
 A very indifferent engraver, by whofe hands we have (ome/mall figures of 
 Jaints, iLndiJuhje^s of devotion -, executed neatly enough with the graver j but 
 without the leaft tafte or corrednefs. 
 
 C. B U N O. 
 
 Flouriflied, 1650. 
 
 This artift, according to profeflTor Chrifl:, flouriflied about 1650 ; when 
 he engraved fome plates, which he marked with the initials of his name C. B. 
 But the fubjefts of thefe engravings are not fpecitied. 
 
 FLORIANO DEL BUONS. 
 
 Flouriihed, 
 A name I found affixed to the portrait of Guido, a fmall oval plate, all 
 graved in a poor, feeble, fl:iff fl:yle, and without effeft. It appears by the 
 word fecit, which he had added to his name, that he engraved it from a defign 
 of his own.. 
 
 FRANCIS BURANI. 
 
 Flouriflied, 
 He was, according to Bafan, a painter, a native of Reggio, and flouriflied 
 in the lafl: century. He etched a plate from a compofition of his own, in the 
 fl:yleof Spagnoletto, reprefenting Bacchus feated upon a tub, accompanied by 
 three fatyrs, a middling fized print, length- ways. 
 
 THOMAS 
 
BUR _[ :i6i j] BUR 
 
 He was an.engravei;,ia mezzotiaco, and not deftitute of merit. We have 
 fome few landfcapes, and other fubjedis by him ; but, I believe, he chiefly 
 confined hlmfclf to portraits -, fome of which he alfo drew himfclf from the 
 life ; as that, of the Rtv. Roget: Pickering, F. R, S. pofter fize, half figure, 
 which is dated 1747. Add to this, Mr. JVar bur toti, (torn. Philip i Mr. 
 Charles Churchill, from J. H. Schlanck, dated 176^5. 'He refided in 
 London, where, I believe, he died a few years fince. 
 
 H. B U R G H. 
 
 Flourinied, • 
 An engraver of no great eminence, who refided, 1 believe, in London, and 
 ■worked for the bookfellers. Among other prints by him, are the two 
 following : The Irijh dwarf, from B. Smith, a fmall upright plate. 
 The ^ovtxTiAX. oi Thomas 5r<2^T^«ry, minifterof the gofpel, a fmall oval print, 
 which is frgned " H. Burgh del.. et.fculp.l' ^ Tt}efe;.'af£;both flight, and 
 indifferent etchings. / ro .vl-.-xi.vn ?on li ^vFl^-rfo 'TrA.oH uM . . 
 
 MIGH'AEL BURGH' ERS. 
 
 Flourifhed, 1670. 
 
 This engraver, who was probably a native of . the United Netherlands, 
 came into England foon after Utrecht was taken by Louis XIV. and fettled 
 at Oxford. From the multiplicity of his works, he appears to have been 
 employ^ed, not 9nly by that univerfity, but by moll: of the chief bookfellers. 
 His plates are executed entirely with the graver, in a ftiff, laboured ftyle, 
 without genius, or knowledge of the art of defign. His drawing, when he 
 attempted to reprefentthe naked figure, is exceedingly defedlive. He has, 
 however, painfully preferved many ancient reliquesj the originals of which 
 are noyv loft. And though we cannot admire the tafte, with which they arc 
 executed^ yet, they become eftimable, becaufe they ftill continue to us an 
 idea of thofe monuinents of antiquity, which time 'had ottierwife obliterated 
 for ever. At the bottom of fcveral of his plates he adds to his name. 
 Academic Oxon. calcographtis, Among other things for the univerfity, he 
 engraved the almanacks ; and the firft that appeared with his, name,, was -for 
 
 the year, 1676. ^^ .. .1:^; ' r / .^ r- -.:'■'■':'"'••■■ ''' 
 
 Speaking as an artlft, I fliould fay, that'his beft prints are fome few ;fronr 
 tifpieces which he copied from Mellan, and imitated in them the ftyle of 
 engraving adopted by thai mailer very fuccefsfuUy. Of this fort is the 
 oftavo frontifpiece to the firft edition q( Creech's Tranf.ation of the Satires of 
 Horace, where a woman is reprefented taking a fatyr's mafk from the face 
 of the poet. ,:,■., .,,...., 
 
 ■ But his moft eftimable work^ are xhseinilquitiesi.ancienp pavemeiitSyVieivs 
 of churches, ruined ahbies, and other ciiriojitics, ■yi't}\d\ were chiefly executed 
 for that indefatigable antiquary, Thomas Hcarne. He alfo engraved a great 
 VOL. I. Y variety 
 
BUR [ 162 ] BUR 
 
 variety of portraits ; among the bcft of thefe may be reckoned that 
 of Sir Thomas Bodley, with the heads of the other benefactors to the library, 
 at the corners of the plate ; this engraving was placed as a frontifpiece to 
 the cataloone of the manufcripts, contained in the Bodleian library. The 
 portrait oi Anthony Wood, a fmall plate in mezzotinto, is by Burghers, and 
 I believe the only one he ever executed in that inanner of engraving. See . 
 the markwhicTi heufed, when he did not fign his name at length, on the 
 plate at the end of the volume. ' 
 
 LE CHEVALIER BURGHESE. 
 
 , . Flourifhed, 
 
 A name cited by Florent le Comte, as an engraver o( thefe s and emhlema- 
 tical fubjeSlsi but he, has not fpecified any of his works. 
 
 HA N S "or "j O H N BUR G K M A I R. 
 ..,1,1 ( . Flourifhed, 1518. 
 
 ' A native of Germany, and according to die general account, a fcholar of 
 Albert Durer. He worked chiefly, if not entirely, on wood ; and his prints 
 pofTefs much of that fire and fpirit, which we difcover in thofe of his maf- 
 ter. Some of his engravings are dated as early as 1510 ; for this reafon, 
 profeflTor Chrift attributes to him, and with great appearance of reafon, fome 
 fmall, fpirited wooden cuts which were made for the ancient edition of the 
 works of Geyler de Keiferberg, marked I. B. and dated 1510. Hefometimes 
 ufedthe two letters in this manner^ H. B. feparate from each other; and at 
 other times, both joined together ; again, an H. and a B. joined together, with 
 a C. upon the crofs bar of the H. the fame cypher, which Jaines Binck after- 
 wards ufed, is attributed to him, when the date is from i5ioto 1518. Of this 
 fort is a fmall upright wood cut, reprefenting the th-ree fates, with Cupid at the 
 bottom plucking a flower. It is dated 1513. Florent le Comte informs us, 
 that, about the year 1518, he engraved a fet of riiirty-fix prints, the emperors 
 or kings. I never faw the fet complete ; but I have frequently met with odd 
 prints belonging to it. They are on wood, in chiaro-fcuro ; on two blocks, 
 one for the oudine and principal Ihadows, and the other for the half tints. 
 The figures are reprefented on horfeback. One I have before me has his 
 name, " H. Burgkmair;" and it is dated ici3 : the others have the initials 
 
 of his name, H. B. only. ''"■'?'''''/t;Vl'!"''"' ' 
 
 St. Sebajlian {landing in an arch, a fmall upright print, with ' his riaffie, and 
 
 dated 1512. • . ^. - " . 
 
 oil ;r.. I'dj an naiav^ z):i;icilij 
 
 B U R N F O R D.:, - f — r, ,..: 
 Flouriilied, 
 One of thofe book plate makers whofe labours have adorned the publi- 
 cations of the former century. I have before me a frontifpiece to the Prac- 
 tife of Piety, or fome other book of devotion in twelves ; it is executed 
 entirely with the graver, but in a ftyle that do^S no honour to the artift or 
 credit to the tafte of his employer. 
 
 a COR- 
 
£ U S [ 163 ] BUS 
 
 CORNELIUS .B,US, :or BO.SC,^ or .VANDEN BOSCH. 
 
 Flourifhed, 1543. 
 
 He was a native of Bois le Due in Flanders, and eftablifhed at Antwerp, 
 where, exclufive of his' profelTion as an engraver, he carried on a confiderable 
 commercein prints. His manner of engraving fometimesrefennbles that of Marc 
 de Ravenna; at other times that of iEneas Vico. He never arrived at any fu- 
 perior degree of excellence. He worked entirely with the graver, in a ftiff, dry 
 ftyle, without tafte. His drawing is by no means corredt ; neither are the 
 heads, and other extremities of his figures, fufficiently attended to ; and from 
 the lights being difflifed, and the feeblenefs of the maffes of fliadow, his en- 
 gravings are ufually deftitute of efFeft. He generally marked his plates with 
 the initials of his name, C. B. and the date in the manner reprefented at the 
 end of the volume. The following prints may be reckoned among his beft : 
 
 The taking do-n'H from the crojs^ a large upright plate, dated 1545, without 
 any painter's nam.e. 
 
 'The entombing of Chrift, the fame, from Francifcus Floris, and marked 
 ''''Cornelius Bus fecit, a. D.1554." 
 
 • '^'Chi-ijl preaching to the JeivSy a middling fized upright plate, nearly fquare, 
 with the initials, and no date. On a pedeftal is written, Beati que audiunt 
 'verbum Dei, et Cufiodiunt." 
 
 Mofes breakiffgthe tables of the law, a middling fized plate, length-ways, 
 from Raphael, dated 1550. 
 
 Mofes prefenting the law, to the people, the fame, from the fame, dated 15 51. 
 Battle of the giants, with his mark : no painter's name. 
 
 • • Tntonph of Bacchus, a large print, length-ways, engraved on three plates, 
 -frorn Julio Romano, dated 1543. 
 
 Venus and Cupid coming to Vulcan, v^ho is working, with the three Cyclops, 
 
 at the forge; a middling fized plate, length-ways, dated 1546, with the 
 
 mark, fioth the mark and the date are reverfed on this print, being engraved 
 
 the right way upon the plate. 
 
 "^^ Healfo engraved from Michael Angelo and other mafters. 
 [ -J . 
 
 B U S C. 
 
 Flourifhed, 
 According to Bafan, this gentleman was infpeftor of the galleries of the 
 duke of Brunfwick ; and for his amufement, engraved a fet of twenty-eight 
 fmall plates, after Rembrandt, and twenty heads, &c. 
 
 JOHN BUSH. 
 
 Flourifiied, 
 
 He engraved fome few portraits ; but never arrived at any fuperior pitch 
 of excellency. Among others by him, is a fmall print of Gaven, a Jefuit. 
 
 Y 2 LOUIS 
 
BUS [ i6^ ] BUY 
 
 LOUIS B U SI NCK. 
 
 Flourifhed, 
 
 This artift, according to Bafan, flourifhed during the laft centi)r.- ; and 
 bv him \vc have feveral prints in chiaro-fcuro, performed in a very Ipirited 
 and mafterly manner, from George L'AUemand. I fliall only mention the 
 •following: A middling fized print reprefenting a At7^j /««?/>•. It is exe- 
 cuted on three blocks of wood; the iirfl: for tlie outline, the fecond for thje 
 deep Ihadows, and the third for the demy tint. .'A .-y/tu j:--. .: ' -'it 
 
 j£necs faving kis father frcm the deJtruElion- of 'J'rGj, a middling fized 
 upright print, the fame, with the painter's name. 
 
 Mojes, a fingle figure feated, the fame. 
 
 J O H N B U S S E. 
 
 Flourilhed, 1528. 
 
 He may be ranked in die clali of little mafters, and was apparently a dif- 
 ciple of Aldegrever ; at leaft, he copied the works of that artift. He ufually 
 figned his prints with the initials of his name, I. B. and added the date. 
 Among others by this engraver, are the Jeven planets, very, fmall upri^ly: 
 plates, marked I. B. 1 528. On a fmall plate length-ways, repr^fcnting a man 
 and '■jjxnnan dancing., with two merr playing on mufical inftnimerrts, the name is 
 figned at length, " John Bujfe." If any one fliould objeft againft the name, 
 and fuppofe that it does not belong to the engraver, bringing, for inft^nce, 
 feveral of tiie fmall dancing figures by John Sebald Beham, which feem to 
 be a fpecies of portraits, and have the names written aver them, as Maytinus 
 IFinterton, Nico/as Crijlnian, Sec. adding, that, like Beham, the prefeni art^ift: 
 has alfo reprefented the portrait of John Bufle. I fhall obfcrve, that the 
 prints of this fort by Beham have conftantly bis mark upon them, as well as 
 the names of the dancing figures j this feems to be an invariable rule 
 tllablifhed among the ancient engravers : and fometimes they added it, evea 
 when they figned their name at length. Now this is the only print by this 
 mafter, (for it is evidently by the fame hand as the planets mentioned above) 
 without his mark ; which, 1 think, he v.'ould hardly have omitted on this 
 occafion; efpecially as the initials of the name were the fame as his own. 
 Befides, if the dancing figure of the man be a portrait, why fliould not thofe 
 -who are playing on the mufic be portraits alfo ? yet their names are not ex- 
 preffed. In this manner, the name Bufemaker is affixed to a fmall print of 
 Jupiter and Leda, copied from Henry Aldegrever, by JMardn Pohem. But 
 then that artift has added his monogram, compofed of a P. and an M. 
 joined together, to prevent the purcliafer from attributing by miftake the 
 engraving to BufTemaker, who was probably only the publifher. 
 
 MARTIN VAN BUYTEN. 
 Flourilhed, 1588. . 
 Ah engraver of no great note, who refided at Rome, and worked, I believe, 
 chiefly for the bookfellers. By him, among other things, we have the 
 froniifpiece to a book, entitled, i,<2/;e/e»j;'<j detle Cancellares cbe corjive et altre 
 
 maniert 
 
BYE [16^] BUZ 
 
 manlere di Lodovico Curione, in folio. It is executed entirely with the graver^^ 
 in a neat, dry ftyle, without efFeft. 
 
 JAMES DE BYE, 
 
 Flourifbedy. 1600. 
 
 This artift, if he was not a native of Antwerp, certainly refided there, and 
 carried on a confiderable commerce in prints and books. He very probably 
 learned the art of engraving in the fchool of the Collaerts, whofe ftyle he feems 
 to have imitated, and with great fuccefs. He drew correftly, and executed 
 his plates entirely with the graver, in a neat, clear, determined manner. The 
 heads of his figures are very accurately finiflied, and the other extremities well 
 marked. The effecft indeed of his prints is not powerful, but confufed, from 
 the lights being too much fcattered; and a certain ftiffnefs or formality api'- 
 pears in the management of the ftrokes, which is unpleafing to the eye of the 
 artift. His prints, however, may rank with thofe of the beft early Flemifh 
 mafters. He, with his cotemporary, John Baptifta Barbe, afTilled the Collaerts 
 in engraving the ///V, /rt^ow, and refurreSfion of Chrijt, which confided of fifty 
 middling fized plates, length-ways, from Martin- de Vos. No. 1 8, reprefenting 
 Peter's wife's mother healed of her fever by our Saviour, and No-. 30, the re~ 
 furreSlion of Lazarus, both in that work, are, I think, fine fpccimens of our 
 artift's abilities. He alfo affifted Phitip and Theodore Galle, in the life of 
 the Virgin, engraved alfo from the defigns of Martin de Vos. The portraits 
 of the defcendants of the Maifen de C'fey, which are contained in a folio 
 volume, are by him, and marked in the manner exprefled On the plate of 
 monograms, at the end of the volume. Ukewife the portraits of the ^z«^j, 
 queens, and Jauphins cf Prance, for the iUrge edition of the hiftory by Meze.- 
 ray, &c. 
 
 M A R C D E B Y E. 
 
 Flourilhed, 1664, , 
 
 By this artift, who probably might be of the fame family with the pre- 
 ceding, we have Ibme very neat, fpirited etchings o^ animals, &cc. from Marc 
 Gejard and Paul Potter. They are fmall plates, length-ways, dated 1664. 
 
 N I C H O L A S D E BY E. 
 
 Elouriihed,. 
 
 He might perhaps be related to the forementioned artifl". We have By 
 him fome portraits, and other fubjefts -, though I believe, the former chiefly 
 employed his graver. Among them, is that of Charles IX. king of France. 
 
 CORNELIUS BUZZT. 
 Flourifhed, 
 The name of an engraver mentioned by Florent le Comte, as chiefiy 
 excellent in the architedlal line. He has not^ however, fpecified any of his 
 works, 
 
 ADRIAN 
 
CAB [ i66 J G A F 
 
 :. ■'.< 
 
 C. 
 
 ADRIAN VANDER CABE:L. 
 Born, 1 63 1. Died, 169S: <ju ^j,: 
 
 This juftly celebrated artift was born at Ryfwick, near the Hague, a. d. 
 1 63 1. He was the difciple of John Van Goyen, and chiefly excelled in 
 painting landfcapes, fea-ports and cattle j all of which he conflantly ftudied 
 from nature, with great accuracy j and his piftures are defervedly held in 
 the higheft eftinaation. He died, a. d. 1695, aged 64. By his hand we have 
 fome few etchings, in a flight, free ftyle, Among others, 
 
 A large upright landjcape, in which is a figure o( St. Antony. It is re- 
 markable, that the figure is engraved in the ftyle of Mellan, with fingle ftrokes, 
 without any crofs hatching, perhaps inferted by anotlier mafter. 
 
 Another large upright land/cape, with St. Jerom, its companion. 
 
 Two large land/capes, length -ways. 
 
 Thirty fmall land/capes, the fame. 
 
 Six fmall upright landjcapes. 
 
 VINCENZIO CACCIANEMICI. 
 
 Flouriflied, 1540. 
 
 This gentleman was a native of Bologna, and of a noble family. He is 
 faid to have ftudied under Francefco Mazzoli, who is more commonly 
 known by the name of Parmigiano j and the engravings marked with the 
 letters V. C. are attributed to him. Among others, thus marked, are the 
 two following: Diana returning frorn hunting, with fome oxen in the back- 
 ground, a middling fized plate, length-ways. A landjcape in which a 
 Nymph appears with dogs, oxen and other animals reprefented in the 
 back-ground, apparently companion to the former. They are both neatly 
 executed, entirely with the graver, and in a ftyle, greatly refembling that of 
 ^neas Vico, the difciple of Marc Antonio. 
 
 C A E S I U S. See Cesio. 
 
 G. V. C A F F E E L S. 
 
 Flouriflied, 
 The name of an engraver of no great note, affixed to the portrait of LodQ~ 
 fvick Mtiggletoruythc fchifmatic. 
 
 CAGLIARDI. 
 
C A G I ^^7 ] GAR 
 
 C A G L I A R D I. See Gagliardi. 
 
 PAOLO CA'GLIARDI, called VERONESE. 
 Born, 1530. Died, 1588. 
 
 This admirable hiftorical painter was born at Vcronaj a. d. 1530, and 
 was the difciple of Antonio Badile, his uncle. The works of this artift, and 
 his fuperior merit, are too generally known to need any repetition here. 
 For his amufement he etched fome few plates, which though flight, haflry 
 produdlions, evidently Ihow the hand of the mafter. Among them are the 
 following : 
 
 The adoration of ihe Magi, a large upright plate, nearly fqu are, marked 
 *' Paolo Veronefe fee." 
 
 Two faints Jleeping, a fmall upright plate, without a mark. 
 
 There are alfo fome etchings, marked P, C. and PA. CAL. attributed 
 to him. 
 
 D. C A G N O N I. 
 
 Flourilhed, 
 A name affixed to a portrait of ViSor Armid. III. king of Sardinia. 
 
 C A I L U S. See Caylus Count De. 
 
 HENRY DE CAISSER. 
 
 Flourifhed, , .,,., 
 
 An artift, who was chiefly excellent, according to Florent le Compte> in 
 cr\grz.v'mg funeral proceJJtonS) monuments , &c. but that author has not fpeci- 
 fied any of his works. 
 
 JOHN CALCAR. 
 
 Born, 1499. Died, 1546. 
 He was a painter of no fmall eminence, born at Calcar, a city of Cleves. 
 He was the difciple of Titian, and copied the ftyle of that excellent mafter fo 
 cxadly, as to deceive Henry Goltzius. He died at Naples, a. d. 1546, 
 aged 47. It is faid, that he engraved fome few prints j but I have not feen 
 any of them. 
 
 POLIDORO CALDARA, called DA CARAVAGGIO. 
 
 Born, 1492. Died, 1543. 
 This celebrated artift was one of the difciples of Raphael, and aflifted him 
 in the paintings, which he executed in the Vatican. He was born at Cara- 
 vaggio in the duchy of Milan ; but refided chiefly at Rome ; where, befides the 
 works above-mentioned, he painted a great number of piftures, which are 
 held in the higheft eftimation. He was murdered in the 51ft year of his 
 
 age. 
 
C A L [ i68 ] C A L 
 
 agr, hv his own v^let, who had difcovered, that his, matter had a large fum of 
 ir.oney in his pofTeflion. According to Florent le Comte, he etched lome 
 plates from his own coinpofitions, but this author has neglected to fpecif}' the 
 fubjctfts. 
 
 C A L L I A R T, See Paolo Cagliardi. ' 
 
 JAMES CALLOT. 
 
 -Jijri;. .-■•... :., Born, 1593. Died, 1635. (.■' 
 
 This juftly' celebrated artift, who was of a noble family, was born at 
 Nancy in Lorraine, a. d. 1593. His paiTion for the arts was fo ftrong, that 
 contrary to the inclination of his parents, he refolved to purlue them. 
 Accordingly, at the age of twelve, he determined to go to Italy, in order to 
 improve himfelf ; and fecretly departed from his father's houfe. But having 
 80 money, he joined himfelf to a travelling company of Bohemians ; and 
 being arrived at Florence, an officer of the great duke placed him with 
 Remigio Canta Gallina ; under whofe infpeftion he copied the works of the 
 great mafters, in order to acquire facility in the art of defign, and a proper 
 tafte. When he left Gallini, he purfued his journey to Rome, where he was 
 met by-f3Wie merchants from Nancy, who knew him, and took him with 
 them back to his family. Here, however, he did not long remain ; for in 
 order to complete his darling ftudies, he made a fecond elopement j but was 
 difcovered by his elder brother at Turin ; and was a fecond time brought 
 back to Nancy. His father now finding, that it was impolTible to prevent 
 his following his inclination for the ai'ts, confented, at laft, to his folicitations, 
 and permitted him to fet out for Italy the third time, in the fuite of a gen- 
 tleman, whom the duke of Lorraine fent to the pope. Being arrived at 
 Rome, he applied himfelf afTiduouily to drawing, under Giulio Parigii, 
 After which, defirous of acqiiiring a facility in handling the graver, he entered 
 the fchool of Philip Thomaflln J but that artift having a pretty wife, who 
 expreffed more kindnefs for Callot, than he approved of, a difagreement 
 between them took place ; and the latter having greatly improved himfelf, 
 went to Florence J where he was particularly noticed and employed by the 
 great duke, Cofmus II. At this city it was, that he firfttegan to etch i and 
 he executed feveral fmall fubjefls with great fucccfs. 
 
 j., Upon the death of the duke his patron, Callot returned to his own country, 
 and fettled at Nancy, where he married a gentlewoman of diftinttion, a. d. 
 1625, being then 32 years of age. His reputation increafed daily, and he 
 was fent for by the infanta Elizabeth-Clara- Eugenia to Bruflcls, at the time 
 the marquis de Spinola was befieging the town of Breda, to draw and engrave 
 the taking of that townj which he accordingly performed. In the year 
 162S, he went to Paris ; where he engraved for Louis XIII. ft veral other 
 great fieges ; among die rell:, that of Roclielle, and the ifland de Re -, after 
 w^hich he returned to Nancy. . iii'i 
 
 He was a great favourite with the duke of LDSraine, who not only fre- 
 quently honoured him with his vifits, but even condefcended to learn 
 to draw under his inftnjdtions. The troubles arifins; afterwards in 
 
 Lorraine, 
 
C A L [ 169 ] C A L 
 
 Lorraine, which concluded with the fiege and taking of Nancy, by the king 
 of France, occafioned his forming the refolurion of returning to Florence with 
 his wife ;. but he was prevented from putting it in praftice by death, March 
 28, 1635, being then forty -two years of age. 
 
 The following curious anecdote is related of him. After the reduftion of 
 the town of Nancy, in the year 1631, Louis XIII. fent for him to draw and 
 engrave that fiege, as he had done thofe of Rochelle and Re ; but he in- 
 treated his majeily to difpenfe with his complying with this command ; 
 becaufe he did not think it confident with the refpeft he bore to his prince, 
 and love to his country, to reprefent any thing that fliould appear to their 
 difgrace. A courtefan belonging to the king's fuite, furprifed at the re- 
 fufal of theartift, and notfcelmg the dek^acy of his fentimencs, replied, in a 
 menacing tone of voice, " you fhall be m.ade to obey," To which he 
 boldly anfwered, " I will fooner difable my right hand, than be conftrained. 
 '' to do.any thing contrary to my honour." The king was pleafed with the 
 greatnefs of foul, which appeared in this noble reply, and offered him a pen- 
 lion of three thoufand livres, if he would attach himfelf to his fervice. 
 Callot thankfully refufed the advantageous offtr, preferring the love of his 
 country to the amaffing of a fortune. 
 
 The fertility of invention, and the vaft variety, which are found in the works 
 of tliis excellent artift, are very aftonifhing. One could hardly have fuppofed 
 it poffible, to combine fo great a number of figures together as he has done, 
 and vary the attitudes, without forced contraft, fo that all of them, whether 
 fingle figures or groups may be eafily diflinguilhed from each other, evenin the 
 mafles of Ihadow ; efpecially when we confi.der, that they are often minute to 
 admiration. He generally (in his large prints efpecially) railed the point of 
 fight to a confiderable height in his compoutions, to afford a greater fpace 
 for the figures, and confequently a greater fcope for his invention. In that 
 charming print, called the puniJJjmentSy the number of figures he has intro- 
 duced is wonderful ; all of them difpofed in different groups, with the greateft 
 judgment ; and the aftions of the fmalleft of them, in the difhance feem 
 confpicuous, though the largefl: figure, in the fore-ground, fcarcely exceeds 
 three quarters of an inch. The fame may be faid of the /;-;/> ; and indeed of 
 many others nearly equal to them in beauty. Where fo great a number d$ 
 figures is introduced into one print, it cannot hz fuppofed, that there (hould be, 
 any great general eflfeft, to ftrike the eye at firft fight. On the contrary, in 
 cafl:ing it curforily over the /i??>, the piinifoments, or the temptation of St. 
 Anthony, one would be at a lofs to declare the fubieft, the whole appears' 
 confufed and without harmony : But the trouble of a careful examination 
 is well repaid by the richnefs, the beauty, the tafl:e, and the judgment we dif- 
 cover in the difpofition of the figures, the management of the groups, and 
 the variety and propriety of the attitude, which Ileal as it were, upon the 
 mind. 
 
 He engraved in feveral ftyles j the firft of which was in imitation of his 
 tutor Canta Gallina. After which he worked entirely with the gra- 
 ver ; but without fuccefs. Of this fort are the a£ls of the apoftles, 
 fmall plates from Ludovicus Civolius. His next ftyle was a mixture of the 
 
 VOL, I. Z peine 
 
C A L [ 170 ] C A L 
 
 point and the graver, with coarfe, broad hatchings in the fhadows : as, the 
 card-players, the miracle of St. Manjiietus rejhring to life the fan of 
 king Leucorus, who had fallen into a river, in reaching for his tennis ball. 
 The Virgin feated at a table, with Jcfepb giving drink to the child Jefus. 
 But his beft manner is that, which appears to have been executed with the 
 mofl: freedom j by which we may fay, as it were, he has exprefled with a 
 fingle ftroke, variety of charafter, and correftnefs of defign. 
 
 He was, according to report, the firft who ufcd hard varnifli in etching ; 
 which certainly is greatly fuperior to that which was before adopted. The 
 works of this mafter amount to 1500 prints. Of thefe but few can poffibly 
 be mentioned in the following lift. 
 
 The murder of the innocents, a fmall oval plate, engraved at Florence. 
 Callot engraved the fame fubjeft at Nancy, with fome difference in the 
 figures on the back-ground. The former is the moft rare : a fine im- 
 prefiion of it is very difficult to be found. 
 
 The marriage of Cana in Galilee, from Paolo Veronefe, a middling fized 
 plate length-ways. 
 
 The pajfion of Chrift, on twelve very fmall upright plates: firft impref- 
 fions very fcarce. 
 
 St. John in the iflandof Palma, a fmall plate, nearly fquare. 
 
 The temptation of St. Anthony, a middling fized plate, length-ways. He 
 alfo engraved the fiime fubjeft larger j which, though not the beft, is not- 
 withftanding the fcarceft print. There is a confiderable difference in the 
 treatment of the fubjeft in the two prints. 
 
 The punijhments, wherein is feen the execution of feveral criminals. The 
 marks of the beft imprefTions of this plate are, a fmall fquare tower which 
 appears above the houfes, towards the left, and a very fmall image of the 
 Virgin placed in an angle of the wall, near the middle of the print. 
 
 The miferies of war, eighteen fmall plates, length-ways. There is another 
 fet on the fame fubjeft, confiftingof feven plates, lefs than the former. 
 
 Tht great fair of Florence, fo called, becaufe it was engraved at Florence. 
 As feveral parts of this plate were not equally bitten by the aqua-fortis, 
 it is difficult to meet with a fine imprefTion. Callot, on his return to Nancy, 
 iip engraved this plate, without any alteration. Tlie copy, however, is by 
 no means equal to the original. The firft' is diftinguifhed from the fecond 
 by the words, in Firenza, which appear below at the right hand corner of 
 the plate. The fecond has thefe words in the fame place, Fe Florientis, £5? 
 excudit Nancei. There is alfo a large copy of this print, reverfed, publilhed 
 by Savery ; but the difference is eafily diftinguifhed between it and the true 
 print. 
 
 The /////^/a;>, otherwife called the players at howls-, where alfo fome 
 peafants are reprefented dancing. This is one of the fcarceft of Callot's 
 prints; and it is very difficult to meet with a fine impreffion of it; for the 
 diftances, and other parts of the plates, failed in the biting it with the 
 aqua-fortis. 
 
 The tilting, or the new flreet at Nancy, a middling fized plate, length- 
 ways. 
 
 The Garden of Nancy, where young men are playing with a baloon, the 
 fame. 
 
 View 
 
CAM [ i/i ] CAM 
 
 View of the Port Netif, a fmall plate, length-ways. 
 
 View of the Louvre ^ the fame. 
 
 Four land/capes, fmall plates, length-ways. 
 
 ANDREA CAMASSEL 
 Born, Died, 1695. 
 
 A painter of Bevagna. He is cited in the lift of Engravers at the end of 
 the Abecedario; but none of his works are fpecified. I do not recoiled 
 having feen any engravings by this artill. ,. 
 
 GIOSEFFE CAMERATA. 
 
 Flouriflied, 1740. 
 
 A modern engraver, a native of Venice, who flouriflied 1740. He was the 
 difciple of G. Lazzarini. His works are not held in any great eftimation. 
 The principal part of them were for the colleflion of engravings, from the 
 piiftures in the Drefden gallery. I fhall only notice the following : 
 
 The ajfiimption of the Virgin, a large upright plate, from Annibale Car- 
 racci. 
 
 St. Roch relieving the people affli^edwith the plague, a large plate, length- 
 ways, from Camillio Procaccini. 
 
 The charity of St. Roch, a large plate, length-ways, from Annibale Car- 
 racci j the fame fubjeft as Guido made an etching of. 
 
 DOMENICO CAMPAGNOLA. 
 
 Flouriflied, 1 5 1 7 . 
 
 This artift, a native of Vienna, was one of the difciples of Titian ; and his 
 reputation as a painter is by no means inconfiderable. He is faid to have 
 chiefly excelled in landfcapes. He engraved on wood a variety of fubjefts, 
 as well from his own defigns, as thofe of his mafter. They are executed in 
 a bold, fpirited flyle ; but very flight. The drawing of the naked figure, 
 when it is introduced, is not correft, nor are fufiicient pains taken to deter- 
 mine the extremities. He frequently marked his plates in this manner, 
 DO. CAP. without writing it at length : to which alfo he ufually added the 
 date. I fliall only mention the following: 
 
 A. holy family, with St. John and St. Jerom, a large plate, length-ways, 
 without the painter's name, which I take to be Titian : it is dated 1517. 
 
 Two circular prints, in one of which is reprefented the beheading of a wo- 
 man before a king, dated 15 18. 
 
 Bafan appears to me to have been very much miftaken, when he fays of 
 this artift, that " he etched fome plates from his own compofttions." He has run 
 into the fame error, with refpeft to the following engraver. 
 
 GIULIO CAMPAGNOLA. 
 
 Flouriflied, 15 16. 
 According to the author of the Abecedario, this artift was the brodier of 
 
 Z 2 Domenicoi 
 
C A M [ 172 ] CAN 
 
 Domenico ; and Florent le Comte afiures us, that he worked from 1507 to 
 1517. He engraved entirely with the graver, in two manners very different 
 from each other. The following plates are by this artill : 
 
 A fmall upright print, reprefenting Ganymede uf on the lack of the eagle. 
 In this he has imitated the ftyle of Marc Antonio, and with fome fuccefs, 
 refpedting the mechanical part of the engraving ; but the drawing of the 
 figure is by no means fo mafterly, or equally corredt. This is marked, 
 " Julius Campagnola Antenoreus fee." 
 
 A middling fized upright print reprefenting a fingle figure {landing, 
 holding a cup and looking upwards. In this plate he has entirely varied his: 
 former manner. The back ground is executed with round dots, m.ade appa- 
 rently with a dry point. The figure is outlined with a ftroke deeply en- 
 graved, and finilhed with dots, in a manner greatly refembling thofe prints, 
 which Demarteau engraved at Paris, in imitation of red chalk. The hair 
 and beard are expreffed by ftrokes. It is a very extraordinary print, and 
 proves the antiquity of that mode of engraving, which has been erroneoudy 
 confidered as a modern invention; but its merit confifts chiefly in its fin- 
 gularity; for the drawing of the figure is ftiff and incorred; and there is 
 nothing in the general effeft to recommend it. 
 
 PIETRO CAMPANA. 
 
 Flourifhed, 1755. 
 A modern Italian engraver, by whom among other things, we have St. 
 Peter delivered from the prifon by an angel, from Matthias Preti, for the 
 coUeftion of prints, engraved from the pidtures in the Drefden gallery. 
 
 C. D. C A M P I G L I A. 
 
 Flourifhed, 
 
 An engraver of no great note, whofe chief employmertt appears to have 
 been in the portrait line. Among other portraits engraved by him, are 
 thofe of Julius Romano the difciple of Raphael, and James Jordans the 
 fcholar of Rubens. 
 
 L'ABBE TERSAN DE CAMPION. 
 
 Flourifhed, 
 
 A modern connoifTeur, who, together with his brother, engraved feveral 
 landfcapes, and other fubjefts, from Monet, and other mafters. I have feea 
 a fmall head in an oval, neatly executed, entirely with the graver, but in a 
 ftiff ftyle, without much taile : it is marked " Campion fculp." -without 
 any painter's name or date. 
 
 ANTONIO CANAL. 
 
 Born, Died, 1768. 
 
 A modern Venetian artift who excelled in painting views, fbme of 
 
 which he engraved. He was uncle to the famous It Canaletto. That 
 
 juftly efteemed artift was his pupil, and painted alfo greatly in the fame 
 
 ftyle. 
 
CAN [ 173 ] CAN 
 
 ftyle. According to M. Heineken, Canaletto is called by the Germans 
 CoMTE Bellotti : He alfo etched I'eyeral large views of the town of 
 Drejden, 
 
 JOSEPH CANAL E. 
 
 Flourilhed, 1755. 
 A modern Italian artift, who, among other things, etched the incredulity 
 of St. 'Thomas the Apoftle, a middling fized plate, length-ways, from Mat- 
 thias Preti, for the colledlion of prints engraved from the pidlures in the 
 Drefden gallery. This plate was finifhed by Jean Beauverlet. 
 
 P. C. C A N O T. 
 
 Flouriflied, 1760.. . 
 
 This artift, who was a native of France, refided the greater part of his 
 life in London, where he engraved a great variety of plates, chiefly views, 
 landjcafesy &c. from Vangoycn, Claude Gellce Lorrain, Pilement, &c. 
 Some of them have much merit ; but his moft excellent prints appear to me 
 to hzfea views, with feveral naval engagements , large plates from Paton. 
 
 REMEGIO CANTAGELLINA. 
 Born, Died, 1620. 
 
 A native of Florence. He was a painter and defigner, of the fchool of 
 the Carracciij and his drawings with the pen are very eftimable. He alfo 
 engraved land/capes, triumphal entries, opera Jcenes-, fejlival decorations, &c. 
 as well from his own defigns, as from thofe of Giuiio Parigi, from whom he 
 learned the art of engraving. Among the reft, is a fet of plates by him, 
 called Palazzo del la Fame. They are very (lightly engraved, in a dark, 
 heavy manner, and reprefent triumphal chariots, vejfels, and a variety of 
 other fompous decorations. They were publiftied 1608. It is no fmall 
 addition to the fame of this artift, that Callot and De la Bella were his dif- 
 ciples. He had two brothers, namely, Antonio and Giouanna Fran- 
 cesco, who, according to M. Heineken, alfo engraved, but he has not fpe- 
 ciiied their works. 
 
 SIMON CANTARINI, called IL PESARESE. 
 Born, 1610, Died, 1648. 
 This excellent young artift was born at Pefaro, a city in the dutchy of 
 Urbino in Italy, a. d. 16 10. The firft principles of defign and painting he 
 learned from Gio. Giocamo Pandolfi. After which he entered the fchool of 
 Guido, where the rapid progrefs he made was fuch, that the greateft expec- 
 tations were formed of his future excellence. He died at Venice, a. d. 
 1648, aged 38 years. Florent le Comte, who gives us a lift of this mafter's 
 etchings, fays he was a native of Oropeza -, and that the name of Pezaroro 
 (for fo he writes the cognomen) was given him, " parce quejes pieces furent ft 
 
 , " rechercheSy 
 
CAN [ 174 ] CAN 
 
 «re-cherches,quelon les payoif aupoidsde I'or," becaiifehispidures werefomuch 
 fought after, that they were bought for their weight in gold. To this he grave- 
 ly adds, and with more juftice, " the great painters of his time were ex- 
 " ccedingly jealous of him, becaiife there was no doubt, but that he would 
 *' have furpafled them, had he lived to attain to their age j but he died very 
 *' young." His being a native of Pafaro, which, according to the moft 
 authentic accounts, he was, is moft probajbly the reafon of his being called 
 // Pejareje, and not the great price of his piftures, though certainly he was 
 an artift of very extraordinary talents. We have a confiderable number of 
 etchings by his hand, which are very fpirited and mafterly. In them he 
 has fo nearly imitated the ftyle of Guido (from whom we may reafonably 
 conclude he learned the art of etching), that his prints are frequently mif- 
 taken for thofe of that great artift. Yet, on clofe examination it muft be 
 owned, that thofe of Canterini are inferior in the marking of the naked parts 
 of the figures, and efpecially the extremities. Among the reft of his etch- 
 ings, which amount to about thirty, are the following: 
 
 6V. Sebajiian tied to a tree, ivith an angel bringing the crown and 'palm, a 
 large upright plate, from Guido. 
 
 Chriji carrying his crofs, a fmall plate, length-ways. 
 
 The Dejnoniac cured by St. Bencit, a middling fized plate, length-waysj 
 from Lodovico Carracci. 
 
 Afars and Venus, a middling fized upright plate, from Paolo Veronefe. 
 
 Adam giving the apple to Eve, a fmall plate nearly fquare, from his own 
 ■compofition. 
 
 Mercury and Argus, a middling fized plate, length-ways, the fame. 
 
 The rape of Europa, the fame. 
 
 Several prints of the Virgin, holy family, and oxkitxJubjeSfs of devotion, &c. 
 
 DOMINICO MARIA CANUTI. 
 Born, 1623. Died, 1671. 
 
 This extraordinary artift, by the force of his own natural genius, without 
 tlie aftiftance of a maftcr, acquired fuch a knowledge of defign and colouring, 
 that Guido beheld his works with aftoniftiment, and highly commended the 
 tafte and judgment, which were manifefted in them He was born at 
 Bologna, a. o. 1623, and died, a. d. 1678, aged 55. We have fome 
 etchings by his hand, in which lie has followed the manner of Guido, though 
 in a ftyle which is fometimes neater and more finifhed ; but in the 
 excellency of the drawing, and the fpiritof the outline, he has not equalled 
 that artift. Among others by him are the following : 
 
 The Virgin feated in the clouds, "with Chriji fianding by her, a fmall upright 
 plate, from his own compofitions, marked D. M. C. F. The initials of his 
 name, and the F. as ufual ftanding for fecit. 
 
 St. Roch, a fmall upright plate, die fame. 
 
 St. Francis praying, a fmall upright plate, from Guido. Tliis laft is 
 marked " Doms. Ma. Canuti fee." 
 
 2 BERNARDINO 
 
 J 
 
CAP [ 1/5 ] CAR 
 
 BERNARDINO CAPITELLI. 
 
 Flourilhed, 1633. 
 
 Thisartift was a native of Sienna in Italy, and the difciple of Rmiiio Ma- 
 neti. Asa painter, I believe he never made any very confiderable figure; 
 nor can any great praife be attributed to him, confidered as an engraver. We 
 have feveral prints by him, which are etched, and retouched more or lefs 
 with the graver, as he thought the effeft required. They are all executed 
 in a dark, coarfc, heavy ftyle; and the drawing of the figure is by no means 
 correft or mafterly. Among his principal engravings are the followino- : 
 
 The life of St. Bernard of Sienna, twelve fmall plates, length-ways, in- 
 cluding the title, on which he figns his name, " Bernardinus Capitellius 
 Senenfis." When he omits to fign his name at length, he ufually fubftitutes 
 the initials in this manner : B. C. F. the F. as ufua], {landing for fecit. 
 
 A Repofo, where the Virgin holds a difh ivith water, and the infant Chrifi 
 is drinking, a fmall upright plate, from Rutilio Maneti. 
 
 Ceres drinking at the cottage of the old woman, a middling fized uprio-ht 
 plate, from Elflieimer, dated 1633. Count Goudc alfo engraved the fame 
 lubjeft ; but in a much fuperior manner. 
 
 The Aldobrandiyie marriage, from an antique painting, a ilnall plate,,, 
 length-ways. He alfo engraved fortie portraits, and a variety of other Jub- 
 je£ts, from Correggio, Aleffandro Cafolano, and other mailers. 
 
 ALESSANDRO CAPRIOLO. 
 
 Flourifhed, 1600. 
 This engraver appears to have been chiefly employed by the bookfellers ; 
 and we have a great number of portraits by his hand. He worked entirely 
 with the graver, in a ftifF, mannered ftyle. His prints are, however, v- y 
 flight, and without any pleafing effedl to recommend them. Amono- the 
 engravings by this artift, are the portraits for a work, entitled, Ritratti di 
 tento Capitani illujlri. 
 
 GIOVANNI GIACOMO DEL CARAGLIO, or CARALIUS,. 
 
 Flourifhed, 1526, 
 
 This artift was a native of Verona, and moft probably inftrufted in the art 
 of engraving by the celebrated Marc Antonio Raimondi, whofe manner he 
 imitated with great fuccefs. And though he never equalled the beft prints 
 of that great mafter, either in correftnefs of outline, or neatncfs of execu- 
 tion, he may without doubt, be confidered, as one of the beft of his difciples. 
 He pofTefled great knowledge in drawing the human figure, and paid no 
 little attention to die extremities, which he marked with judgment. His. 
 heads efpecially, are in general, very charadleriftic and expreflive. His 
 draperies however are not equally well drawn. The folds, which are too 
 much broken, are not fufHciently varied, or properly determined ; and the 
 management of the chiaro-fcuro is very defeftive. But this was rather the 
 fault of the age, than of the artift. Vafari informs us, that he was alfo fkilful 
 
 ia 
 
CAR [ 176 ] CAR 
 
 ill engraving gems and precious ftones ; for which he was advantageoufly em- 
 ployed by the king of Poland. Profefibr Chrift feems defirous of attributing 
 to this artift the prints marked I. C. dated 1526 ; only, fays he, " I am not 
 " certain, that this engraver had begun to work at fo early a date." He 
 then adds, " the figures, or the ftatucs of the heathen deities, which appeared 
 " under his name, are not by him : I find thefe ancient plates come originally 
 " from James Binck." But here he is certainly miilaken. Thofc by Caralius 
 are dated 1 526 ; and the copies by Bincic i 530 ; which is four years pofterior 
 to the firft publication of them. Thefe are fmall upright plates ; and the 
 figures are reprefented Handing in the niches. They are from RofTi. 
 
 Caraglio engraved for Rofli, a painter of Milan, among other plates, 
 according to Vafiiri, an anatomical figure holding a /kull in its band. After- 
 wards he worked from the paintings of Perino del Vaga, Parm.iggiano, and 
 other great mailers. I fhall notice by him the following only : 
 
 The loves of the gods, on twenty fmail upright plates, from Perino del 
 Vaga. 
 
 The annunciation of the Virgin Mary, a large upright plate from Titian. 
 
 The marriage of the Virgin, the fame, from Parmiggiano. 
 
 Chrift preaching to the multitude, a fmall plate, length-ways, from Lam- 
 bert Lombard. On the firft impreflion of this plate, the name ofCara- 
 glius, or Karolus, as it is written, is wanting. 
 
 LUDOVICO CARDI, called CI V O L I. 
 Born, 1559. Died, 1613. 
 
 This celebrated mafter, who poflelfed all the requifites of a great painter, 
 firft ftudied under Aleflandro Allori, and afterwards under Andrea del Sarto, 
 and Correggio. He firft grounded himfelf perfeftly in the art of defign, 
 as * ell from the antique ftatues, as the works of Michael Angelo, Buona- 
 roti, and other mafters, eminent for their tafte and correflnefs of drawing. 
 When he h.id fucceeded in this, he applied his ftudies to colouring ; and tlie 
 works of his pencil are generally held in the higheft eftimation. He died 
 at Rome, a. d. 16 13, aged 54. 
 
 This great artift alfo engraved a few plates in a flight, neat ftyle, which, 
 however, evinces the hand of the mafter. Among others is a fmall plate, 
 length-ways, reprefenting Mary Magdalen, wafhing the feet of Chrift, at the 
 table of Simon the Pharifee. The heads of the figures, and there are many 
 of them in print, are remarkably beautiful ; thofe efpccially of our Saviour 
 and Mary Magdalen. This print is marked, c. l. civ. f. the c. and the l. 
 being joined together, in form of a cypher, in the manner reprefented on the 
 plate at the end of the volume. 
 
 LUCA CARLEVARIIS, 
 Born, 1665. Died, 
 This painter was born at Udino in Italy; but he appears to have gene- 
 rally refided at Venice. He was chiefly excellent in painting landfcapes, and 
 Jea views ivith ftjipping. He alfo engraved a fet of views of Venice, con- 
 
 fiftino 
 
CAR C 177 ] CAR 
 
 filling of ohe hundred large plates, length-ways. They are flight, bat bold, 
 fpirited etchings ; and give us a clear idea of the places they are intended 
 to reprefent. Thefe were publifhed at VenicCj May 27, 1703. 
 
 SALVADOR CARMONA. 
 Flourifhed, 1760. 
 
 A native of Spain. He was pupil to Charles Dupuis ; but afterwards 
 fettled at Madrid. Among other prints by this arrift are, 
 
 The reJurreSHon of Chrift, a large upright plate, from Vanloo j and the 
 adoration of the Jhepherdsy a large plate, lengdi-ways, from Pierre. Am.ono- 
 the portraits which he executed, is that of Mr. M. Colin de Vermont, a mid- 
 dling fized upright plate. This portrait, together with that of Boucher die 
 painter, he engraved for his reception into the Royal Academy of Arts at 
 Paris, . 
 
 CAROLUS REX. 
 
 Flourifhed, 1735. 
 
 It is no fmall honour to the art of engraving, when confidered as aft 
 amufement only, that it has had charms fufficient to engage the attention of 
 ^ king. The works of genius, and the ftudies of the learned, lay ajufl; 
 ■claim to the patronage of the great ; and furely the condtfcending to 
 employ a leifure hour in the improvement of any ufeful art or fcience, 
 cannot reflefl difhonour even upon royalty itfelf. 
 
 The king of Naples and the two Sicilies, has very carefully preferved from 
 deftruftion a prodigious number of valuable reliques of antiquity, difcovered 
 at Herculaneum, and other neighbouring places, which were overwhelmed by 
 the irruption of Vefuvius j and he has caufed them to be drawn, engraved, 
 and pubiiflied. They are contained in five large folio volumes. He 
 may therefore be called the patron of the arts ; yet not as the patron of the 
 arts only, but as an artift, this royal perfonage claims a place in this work. 
 The following plate is engraved by him : 
 
 The Virgin and Child, in a fmall circle. The Virgin, which is only a half 
 figure, leans her head upon her right hand ; and the infant Chrift is upon her 
 lap, holding a crofs in his right hand. It appears to be executed entirely 
 with the graver, except upon the lights, which are foftened with round dots, 
 apparently made with the dry point. Under it is written, Maria, Virgo 
 felicitates, and marked, C. R. V. S. Mejfana, 1735, The C. R. and V.S. 
 are joined together, cypher-ways, in the manner exprefled on the plate at the 
 end of the volume j and the initials are thus explained at the bottom : 
 ■Carolus Rex utriufque Siciliae. This print is in the collection of Dr. Monro. 
 
 C A R O T. 
 
 Flourifhed, 1585. 
 
 By this artift, who refided at Rome, I have feen a fmall upright ;pniit,'rc- 
 j)refenting St. Francis holding a crofs. From the broad, fpirited Ityle, in 
 which it is etched, I Ihould fuppofe he was a painter ; and it appears froni 
 
 you 1. A a the 
 
CAR t 178 ] CAR 
 
 the word/^<r/V, which he has added to his name, without attributing the 
 defign to arvy body elfe, diat it was his own. 
 
 UGO or HUGO DA CAR PL 
 
 Flourifhed, 1500. 
 
 He was a native of Italy, and a painter of no very con(Tderable talents ; 
 though a na;in of ingenuity. The following anecdote is recorded of him, 
 that he painted a pifture with the ends of his fingers, without ufing a pencil ; 
 wliich pidlure was prelerved at the altar of the church of St. Regard at Rome, 
 and Michael Angelo Buonarota> being greatly importuned to give his opiniori 
 concerning it,, replied fimply, that it would have been better, had he ufed his 
 pencil. His engravings on wood, however, have fecured to him that fame, 
 which, perhaps, his paintings might not have done. I Ihall not, in this place, 
 enter into an examination of the claim, which has been given him, of being 
 the firft engraver on wood. That he was not, will hereafter be abundantly 
 proved,, in the effay on that fubjeft, prefixed to the fecond volume of this 
 work. His claim to the invention of that fpecies of engraving on wood, 
 diftinguilhed by the name of chi.iro-fcuro, in imitation of drawing, will. 
 appear to be better founded. This is performed by ufing more blocks 
 than oriCi and Ugo da Carpi ufually had three; the firft for the outline and 
 dark fhadows ; the fecond for the lighter fhadows; and the third for the half 
 tint. The prints by this artift, though very flight, are ufually very fpirited, and 
 in amafterlyftyle. They prefcrve, at leaft, a bold ftriking refemblance of 
 the fketches of the great painters, from whofe defigns they are taken. His 
 firft work of this kind appears from Vafori to have been, 
 
 A Sihyl reading in a bcek, with an infant holding a flambeau ti light her^ 
 from Raphael. We have alfo by him 
 
 The burning of Troy, with yEfieasfaving his father ^nchifes, a large upright 
 print, from the fame. 
 
 Kdejcent from the crefs, from the fame, a middling fized upright print. 
 
 David cutting offtheheadofGoliahy a middling fized plate, length-ways, 
 from the fame. 
 
 A Magician, feated on the ground, with a book open before him ; and in 
 the back-ground to the right appears a bird, with all its feathers plucked off, 
 a large upright print, from Parmigiano. The fame fubjedt was alfo en- 
 graved on copper by one of the difciples of M. Antonio. Bafan calls it, 
 Diogenes Jeated at the entrance of his tub. 
 
 Thefe are all I can mention ; but he engraved a great number more, from 
 matters above-mentioned, and from others alfo. 
 
 GIULIO CARPIONE. 
 
 Born, 161 1. Died, 1674. 
 
 This artift, a native of Venice, was a painter of great eminence. He 
 
 chiefly excelled in painting Bacchanals, procejjions, and triumphs, which he 
 
 executed in a fuperior tlyle. His pictures are generally fmall, and confilt 
 
 of a great variety of figures, which are finely compofed with much 
 
 \ grace. 
 
CAR C 179 ]. CAR. 
 
 grace, and great excellency of colouring : fo that his paintings were greatly 
 fought after, and have always borne a good price. He alfo etched feveral 
 plates, which though flight, are performed in a very mafterly manner, and 
 bear fome refemblance to thofe of Guido, The drawing of the naked parts 
 of the figures indeed is not fo correfl, nor are the extremities fo well marked. 
 I fhall notice by him, from his own compodcion. 
 
 Two fmall plates, length-ways, reprefenting Bacchanalian Jubjects, tuith 
 boys flaying, &c. 
 
 Love blinding Umperaiue^ a fmall plate, length-ways. 
 
 Chrijl in the garden of olives, a middling fizcd upright plate. 
 
 A holy family y with angels, and the Deity reprejented above, a fmall upright 
 plate. 
 
 Arepofo: the Virgin is reading and Jo/epb is Jlanding by her, a fmall 
 upright plate. 
 
 R. C A R R. 
 
 Flouriflied, 1668. 
 This engraver, who was certainly an Englifliman, imitated the ftyle of 
 Hollar, but with no great fuccefs. We have etched by him a map of 
 England dated 1668. 
 
 LODOVICO CARRACCI. 
 Born, 1555. Died, 161 9. 
 
 The family of the Carracci have immortalized their names, not only by the 
 extraordinary merit of their performances, but by the fchool of defign, which 
 they eftablilhed at Bologna, in order to encourage the drawing of the human 
 figure from nature. And they not only fucceeded themfelves wonderfully in 
 this branch of the art, but alfo brought up feveral very excellent fcholars ^ 
 and the very fame thofe fcholars have acquired, reflecEls no fmall degree of 
 honour upon their tutors. The firft artift of this well known family was Lodo- 
 vico Carracci, who was born at Bologna, a. d. 1555, and firft fliiidied under 
 Profpero Fontana ; but he perfeded himfelf by an affiduous examination of 
 the works of the greateft mafters. And he fucceeded fo well in colouring efpe- 
 cially, that his pictures are juftly held in the highefteftimation. 
 
 By this celebrated artift we have a few fmall engravings, from his own 
 compofitions. He firft etched his defign, and afterwards finilhed it with the 
 -graver. His etchings are flight and free j and the extremities of the figures 
 are marked in a mafterly manner. I fhall notice the following by his hand : 
 
 A holy family, a middling fized plate, length-ways, wherein jofeph is re- 
 prefented, leaning his head upon his hand. 
 
 The Virgin, half figure, Jeated, holding the infant JeJus,furrounded with 
 angels, a fmall upright plate. 
 
 The Virgin giving the breaji to the infant Chrifl, the fame. 
 
 The Virgin Jeated, holding a book in her hand ; the infant Chrifl and St^ 
 ^ohn arejeen at the (orner, the fame. 
 
 A a 2 He 
 
CAR [ i8o J CAR 
 
 He often marked his plates with the initials of his name, as L. C. or 
 LO. C. 
 
 AGOSTINO CARRACCL. 
 
 Born, 1553. Died, 1602. 
 
 He was the fecond artift of this extraordinary family,, firfl: coufin to the pre- 
 ceding painter, and brother to Annibale Carracci. Their fadier's name was 
 Antonio, and he was a taylor by occupation ; but being willing to make a 
 better provifion for his children, he gave them a good education. Agoftino, 
 in particular, was bred a fcholarj but his violent inclination for the arts 
 foon manifefting itfelf. Antonio placed him with a goldfmith ; where, it is 
 highly probable, he acquired fome knowledge in the art of engraving. 
 This bufinefs, however, not fuiring his temper, he at laft refolved to follow 
 painting j and firft placed himfelf under Fontana. Afterwards he became 
 the difciple of Pafferotri ; but he completed his ftudieswith his coufm Louis 
 Carracci. With all his excellence as a painter, he could not give up the 
 de fire he had formed in his mind of improving himfelf in the art of en- 
 graving; a tafte for which he had difcovered, fo early as the age of fourteen. 
 Accordingly he applied to Cornelius Cort, one of the moft celebrated artifts 
 of that time ; and imitated his manner fo exadtly, with refpeft tothe mecha=- 
 nical part of it, that were it not for the great fuperiority, which appears in 
 the drawing of the prints of Carracci, it would be difficult to diftinguifh them 
 from each other. A ftriking inftance of the truth of this aflertion, may be 
 Isen in the holy family with St. Jerom, from Correggio, which was engraved by 
 both artifts. 
 
 Agoftino Carracci worked entirely with the graver, in a bold,, free ftyle : 
 and his drawing of the naked parts of the figure is admirable. The heads 
 are remarkably fine, and the extremities are marked in a moft accurate and 
 mafterly manner. His draperies are frequently ftifF, and croflTed with a fquare 
 fecond ftroke, which gives them an unpleafing efFedl. But perhaps hisgreatefl: 
 defedl is the prevalent fault of that age, namely, the little attention paid to the 
 cjiiaro-fcuro. The lights are too much fcattered, and l^ft untinted, as wcU 
 upon the diftances, as upon the front and principal objefts ; which not only 
 deftroys the harmony of the effeft, but gives a flight, unfiniflied appearance 
 even to the neateft engraving, Bafan fpeaks of him in theie words : " This 
 " excellent artift, equally verfed in the fciences and the fine arts, treated his en- 
 " gravings in fo perfeft a ftyle, that one knows not which to admire moft, 
 " the correftnefs of his drawing, or the beauty of the performance. All young 
 " artifts ought carefully to obfcrve, with what facility and perfedlion he 
 " exprefTed the extremities of his figures, ajid with what art he executed even 
 " landfcape with the graver." . 
 
 Agoftino Carracci died 1602, aged 44, 
 
 The following are the principal engravings by this great artift: 
 
 The adoration of the Magi, a very large upright print, arched at the top, 
 'engraved on feven plates, from Baldaflarc Peruzzi. 
 
 h holy family, -^-ith St. Jerom, and' Mary' Magdalen kijftng the foot af 
 
 ihf 
 
CAR [ i8i ] CAR 
 
 the infant Chrifi, a large upright plate from Correggio, dated 1586. Corne- 
 lius Cort alfo engraved a print from this pifture, which bears the fame date. 
 
 The Virgin Jeated upon a flight offtefs, holding the infant Chrift. St. John 
 isftanding by them, and Jojeph appears behind. Towards the left is St. Michael 
 treading on the deviL, holding a pair ofjcales, in which are two fmall figures, 
 a large upright plate, from Lorenzino da Bologna. 
 
 Kbcly family, reprejented on a/ort of pedeftal, with St. Anthony and St. 
 Catherine below, a large upright plate from Paolo Veronefe, dated 1583. 
 
 The marriage of St. Catherine, a large upright plate, from the fame. 
 
 An ecce homo, half figures, a middling fized upright plate, after Correggio, 
 
 dated 1587. 
 
 The crucifixion, a large print, length-ways, on three plates, after Tinto- 
 retto. 
 
 A dead Chrift in the tomb, with an angel holding one of his hands, 2. mid- 
 dling fized upright plate, from Paolo Veronefe. The fame fubjeft was 
 alfo engraved by Gafper Duchange, for the Crozat coUedtion. 
 ' Chrift appearing to St. Anthony, and conjoling him during his temptation, 
 . a.large upright plate from Tintoretto. 
 
 The Virgin appearing to St. Jerom, the fame, from the fame. Dated 1588. 
 
 The martyrdom of St. Juftina, a large upright print on two plates, from 
 Paolo Veronefe. 
 
 The extajy of St. Francis, a fmall upright plate, copied from the beautiful 
 etching of Francifco Vanni. This is dated 1595. 
 
 ^^ne as Jailing his father from the deftru^ion of Troy, a large plate, length- 
 wavs, from Frederico Baroccio. 
 
 Mercury and the Graces, a fmall plate, length- ways, from Tintoretto. 
 
 Wifdcm accompanied by Peace and Abundance, driving away the God of War, 
 the fame from the lame. 
 
 The two following are from his own compofitions : 
 
 St. Francis receiving the ftigmatics ; in the front of the print is a fcull 5 a 
 
 large upright plate. 
 
 The cord or girdle of St. Francis, thus called becaufe St. Francis is repre- 
 fented in the clouds, diftributing pieces of his cord to the popes,, cardinals,, 
 .biihop^,. and kings,, who appear below; a very large upright plate, dated 
 
 ic36. 
 
 'He marked his plates A. C. or AVG. F. or Agos. C. or Ag. C. orAg.. 
 .Bononise. But when the colleftor is acquainted widi his manner, he cannot 
 eafily be miftaken in his prints. 
 :-i .IT .M.':; dI ^'fii'jr; ^:.".' 
 
 AN'NIBALE C A R R A C C I.. 
 
 ■ - Born, 1560. Died, 1609. ,. 
 
 He was the fecond fon of Antonio Carracci, and brother to Agoftino> 
 
 mentioned in tlie preceding article.. He was born at. Bologna, and applied 
 
 .himfelfwluolly. to- painting. That; the works of genius and merit do not 
 
 always meet with dieir jufc rew:lr.a, we have a ftriking inftance in the hiftory 
 
 of' this great artift:. Poffeffed o^-fuperior abiniies, which he. cultivated with 
 
 'treat ftudy and application, he arrived at To high a pitch of excellence, that 
 
CAR I 1^2 1 CAR 
 
 .few have furpaffed him in any of the great reqiaifites of the art of painting; 
 and none I believe, in correftnefs of drawing the human figure. To his cor- 
 reftnefs he ioined an admirable tafte. His pidures are held in the highell 
 'cftimation, and juftly ranked among the produdiions of the lirft matters ; but 
 his labours were by no means recompenced as they deferved ^ and he died of 
 chagrin, to the lafting difgrace of cardinal Farnefe^ Tliat opulent ecclefiaftix; 
 .employed Carracci, for a very fmall llipend, to ornament his palace with 
 ;paintings ; which he performed with unremitting affiduity, juftly expefting 
 -at the end of eight, or, as fome fay, ten years, the time employed in the 
 execution of the work, to re&.ive a bountiful reward for his labour; but to 
 ;his great aftcniflimcnt, was prefented with five hundred crowns. This 
 ■paltry fum for lo noble a performance was rather an affront, than a reward. 
 And it lay fo heavy upon the mind of the artift, that it is faid to have thrown 
 him into a confiimption, which hallened by his own intemperance, put an 
 icnd .to his.life, at Naples, where he had retired for his health, a. d. 1609, he 
 jDcing then only 49 years of age. 
 
 This great work of Carracci, which has been engraved feveral times, is well 
 Jcnown by the name of the Farnefian Galleiy. We have fome few etchings 
 which are retouched with the graver, by the hand of this artift. And though 
 the point appears to have been taken up for amufement only, yet the hand of 
 the mafter is vifible in his produdlions j one of the beft of which, in my opi- 
 .nion, as well in point of finiftiing, as in fpirit and charadler, is 
 
 The crownisg of Chriji with thorns, a fmall upright plate, dated 1606. 
 This as well as all the following, is from his own compofition, and has been 
 ■copied feveral times. 
 
 A dead Ghrift on the lap of the Virgin, who is accompanied by St. John 
 and Mary Magdalen, a fmall plate, length-ways, called the Chrifl du Caf- 
 ■rarok, dated 1 5 97 . 
 
 The adoration of the fhepherds, a fmall plate, length-ways, called the little 
 xrib or manger ; part of which a ftiepherd is leaning againft, in the middle of 
 the print. This has been copied feveral times, the fame fize. 
 
 The adoration of the Afagi, a fmall upright plate. 
 
 Chrifl and the woman of Samaria., a middling-fized plate, length-ways. 
 
 A. holy family, where Jofeph is feated, leaning againjl a column, hclding a 
 hook, a fmall plate, length-ways. 
 
 The Virgin holding the infant Chrifl, and giving drink to St. John. This 
 print is diftinguiftied by the name of the Virgin of the porringer, a fmall 
 platej length- ways. 
 
 The defcent of the Holy Ghofl, a fmall upright plate nearly fquare. This is 
 marked with a fingular cypher, compofed of an A. a C. and a B. for Jnnibale 
 Carracci, Bolognejc. Sec this cypher copied on the plate at the end of the 
 volume. 
 
 Sufanna and the elders, a middling fized plate, nearly fquare. 
 
 Jupiter and Jnticpe, a fmall plate, length-ways, dated 1592. 
 
 Silenus with twofatyrs, a fmall circular plate, about eight inches and a 
 half diameter ; the border of which is ornamented with vine branches, and 
 bunches of grapes. This is commonly called the difh of Annibale Carracci ; 
 
 and 
 
CAR [ 1S3 ] CAR 
 
 and is faid to have been engraved upon the bottom of a falver, belonging to 
 cardinal Farnefe. 
 
 He- often ufes the letters A. C. when he does not fign his name at length. 
 However,. his works are eafily dillinguiflicd from thofe of his brother Agof- 
 eno, who I believe never etclied. 
 
 FRANCESCO GARRACCI, called FR ANCESCHINO, 
 
 Born, 1594. Died, 1622, 
 
 This imprudent young man, poflefTed of fuperior talents for the art of 
 painting, might with proper application, have acquired perhaps a reputation, 
 equal, if not fuperior to any of the Carracci's. He was nephew to the two 
 foregoing artifts, and inftrufted in the art of defign by Lodovico Car- 
 racci. In a fliort time he attained to, a prodigious knowledge of the human- 
 figure, which he drew fo correctly, as to aftonifh his tutor. But neglefting 
 thediftates of genius and of reafon, he gave way to vice and debauchery, which 
 foon brought his life to a miferable end. He died in an hofpital at Rome, 
 A. D, 1662, aged only 28 years. He etched fome few prints, from the com- 
 pofitions of his uncle, Annibale Carracci. Among them are the following : 
 
 The Virgin with the infant JeJuSyJeated upon a cloud, a fmall upright plate.. 
 
 Semiramis, and three oxhtrfamoui ivomen of antiquity, four fmall upright 
 plates. 
 
 He fometimes marked his plates with an F. and a C. joined together, in 
 the falhion of a cypher, in the manner expreffed on the plate at the end of 
 the volume. 
 
 LAURENCE CARS.. 
 
 Flourilhed, 1760.. 
 "'A-modern French engraver of great merit, who refided at Paris. By him 
 we have a confiderable number of prints, from Le Moine, and other matters. 
 Among the reft,. 
 
 The portrait o^ Louis XV. king of France, furrounded with emblematical 
 figures, 7i large upright oval plate, from Le Moine. 
 
 Hercules andOmphale, a middling fized upright plate, from the fame.. 
 
 Perfeus and Androraeda, the fame from the fame. 
 
 lime and 'Truth, the fame, from the fame. 
 
 Nymphs bathing, the fame from the faine. . 
 
 G A R T A R U S. See Kartarius-.. 
 
 W. CARTER. 
 
 Flourilhed, 1660. 
 This ingenious artift was the difciple of Winceflaus Hollar, and imitated 
 his ftyle of etching with great fuccefs. . Apparently, he afTifted his mafter 
 in the execution of his large works 5 and this might probably be the 
 reafon, that his name fo feldom appears. And indeed I do not ever recol- 
 - . left 
 
CAR [ 184 ] CAS 
 
 feft to have feen it, at full length, affixed to any plate; but he fubftituted 
 the initials W. C. Among other things by this engraver, are the ornamental 
 vignettes and letters, at the top of the pages, at the begining of each book in 
 Ogilby's Tranflation of Homer. 
 
 STEPHEN CARTERON. 
 
 '■'^'^'r TlounnTed,-iSi5. --^-^'^ 
 
 By this artift, who appears to have worked from his own defigns, we have 
 fe\'eral prints, which he has marked S. C. or S. C. F. with the date 161 5, 
 iinderneath it. The F. as ufual, ftands for fecit. He alio engraved fome 
 ornaments for goldfmiths and jewellers, &c. 
 
 THOMAS CARTWRIGHT. 
 
 Flourifhed, 1-571. 
 He was an architect and builder, and by him it -i^.faid, was engraved a, plaa 
 of the Royal Exchange of London. 
 
 WILLIAM CARTWRIGHT.. 
 
 ^•^■•i- ...j^.AM. ^. Flourilhed,..- _ m!j-' . -i/.J Lr:a t-.T«.rA-.- . 
 
 A name affixed to the portrait of Thomas Cranmer, archiijhop of Canter- 
 /•a'^, a half flieet print, after Holbein. - 
 
 J. C A R W I T H A M. 
 
 , Flourillied, 1730. 
 This engraver was T believe a native of England. " We have a confider- 
 able number of book-plates and other prints by him, fome of them executed 
 with the graver only, but the greater part etched and retouched with the 
 graver in a ftyle refembling that of Bernard Picart. I fhall only notice by 
 him xhtjiatue of the Laocoon, a middling fized upright plate from the antique, 
 dated 1741. An emblematical frontifpiece in vn^\\'&%, from B. Picart, dated 
 1723. 
 
 NICHOLAS DE LA CAS A. 
 
 Flourifhed, 
 An engraver of great merit, who appears to have been a native of Lorraine 
 in Italy, and from the ftyle of his engraving, to have flourifhed towards the 
 end of the fixteenth century. We haVe by him the portrait oi Baccio Ban- 
 ■^anelliy a fmall upright plate, executed entirely with the graver, in a flyle 
 greatly refem.bling that of Agoftino de Mufis, whofe fcholar perhaps he may 
 have been. But his befl print is the portrait of the Emperor Charles V. in an 
 cval, furrounded by an ornamental border, with feveral figures, copied from 
 a print of the fam - fize, engraved both on wood and copper by ^Eneas Vico, 
 from a defignof his own. It is a large upright plate, figned n. d. la casaj 
 tOTARiNGUs. f . without any mention of the name of Vico, or any date. 
 
 ANDREA 
 
CAS [ 1-35 ] CAS 
 
 ANDREA C A S A L I. 
 
 Flourifned, 1740. 
 
 A modern Italian artift, who refided fome time in London^ and was 
 employed to paint the tranfparent piftures, which were exhibited at the mag- 
 nificent fire-works in the Green Park, A. D. 1749. He alfo painted a great 
 variety of /?'i/?(7/7V^/^/<^.Yrw, for the nobility, &c. of England. By him v/e 
 •have feveral etchings from his own compofitions : Amiong others, 
 
 The princefs Gunhilda, or innocence triumphant, a middling fized, upright 
 plate. 
 
 Lucretia comforted by her friends, a middling fized upright plate. 
 
 Simon Francis Ravenet has engraved both thefe fubjedts, from the 
 'pi£lures of Cafali, for Mr. Boydcll's coUeftion. 
 
 ABRAHAM CASEMBROT. 
 
 Flouriflied, 
 
 By him we have feveral etchings, reprefentingy>^-^or/j, with gallies and 
 other flipping ; (on\e vienjs alfo, embellifhed with proJpe£fs of the city of 
 Meffina. He figns his name, Abraham Cafembrot, Belgicus. 
 
 GIOVANNI FRANCESCO CASSIONE. 
 
 Flourifhed, 1678. 
 
 By this artift are performed feveral of the portraits, cut on wood, for the 
 book, entitled, Felfina Pittrice, by C. C. Malvafia, in quarto, publiflied 1678. 
 Among thofe by this artift is the portrait of Malvafia himfelf. 
 
 PETER C A S T E E L S. 
 
 Flourifhed, 1726, 
 
 This artift painted birds, in a ftyle greatly refembling that of Barlow,, 
 ^hofe fcholar, I am inclined to believe he was. He refided in London, 
 A. D. 1726, where he engraved a fet of different birds, confifting of a con- 
 fiderable number of plates, from his own paintings. They are (lightly etched^ 
 but have much meri{:. 
 
 BERNARD CASTELLI. 
 
 Born, 1557. Died, 1629. 
 This painter was a native of Genoa, and a difciple of Andrea Semirii. 
 He engraved in a ftyle fomething refembling that of Cornelius Bus. 
 Among other works by this artift, is a (tx. of prints for TaflTo's Poems. His 
 mark was a B. with a C. upon the top of it, in the manner of a cypher,. 
 See it copied on the plate at the end of the volume. 
 
 CASTELLUS GALLUS. See Chateau. 
 TOt. J. B i, G" 10- 
 
CAS [ 186 J CAT 
 
 GIOVANNI BENEDETTO CASTIGLIONE. 
 
 Born, 1616. Died, 1670. 
 
 This juflly celebrated artiftwas born at Genoa. His firft mafter was Gio, 
 Battifta Paggi. Afterwards he ftudied under Andrea Ferrari ; and laftly 
 perfeded him fclf from the inftruftions of Anthony Vandyck, who at that time 
 refided at Genoa. He pzintcd perirrits, bijlorical peces,. Und/capes, and 
 cajlles. In the latter of which he is faid chiefly to have excelled ; as alfo in 
 fairs-i markets, and all kinds of rural Junes. He died at Mantua, a. d. 
 1670, aged 54. 
 
 His etchings, of which we have a great number, are fpirited, free, and 
 full of tafte. The effeft is, in general, powerful and pleafing. And many 
 of them have a more harmonized and finifhed appearance, than is ufual from 
 the point, fo little affifted by the graver. His drawing of the naked figure,, 
 though by no means correft, is notwithftandmg managed in a ftyle that 
 indicates the hand of the mafter. Among his moft eftimable plates, may 
 be reckoned the following, all from his own compofitions : ' 
 
 The animals ccming to the ark, a middling fized plate, length-ways. 
 
 Labanjcarching fvr his gods in the tent of Jacob, the fame. 
 
 The angel appearing to Jojepbin a dream, a fmall plate, length-ways. 
 
 The nativity oj our blejjed Saviour, a middling fized plate, length-ways. 
 
 The _fiight into Egypt, a fmall upright plate. 
 
 The reJurreSiion of Lazarus, a fmall plate, length -ways,, dated i645< 
 
 Diogenes ivith his lanthcrn, a fmall plate, length-ways. 
 
 A magician zvithjeveral animals, the fame. 
 
 The little melancholy, a fmall upright plate. 
 
 A ruin with a vaje, and two men -, one of them is reprejentei pointing fo a 
 tomb, a fmall plate, length-ways. 
 
 T'^-o rural Jubjells, with JauKs andfatyrs, (inall plates, length-ways. 
 
 KJet oJ heads, on fixteen fmall upright plates. 
 
 Another/^/ of heads, on fix plates, the fame. 
 
 The initials of his two baptifmal names he frequently formed into a kind 
 of a cypher, in the manner expreflTed on the plates at the end of the volume. 
 
 J. B. C A T E N A R 0» 
 
 Flourifhed, 
 This artift was a painter, of whom I find no fatisfaftory account. He 
 refided, however, both at Madrid and at London, as appears from the por- 
 trait of L. Jord'^Kz by him, which is thus infcribed : " J. B. Catenaro pinx. 
 ■' Madridi, et Londini fculp." It is a flight, fpirited etching, by no means 
 devoid of merit. We have alfo by this artift, a woman feated in a landjcape, 
 with five children, a fmall upright plate, from a compofition of his own. 
 Apollo Jurrounded by Cupids, the fame. 
 
 L. J. C A T H E L I N. 
 
 Flourifhed, 1760. . 
 A modern French engraver, by whom we have feveral neat views, from 
 
 Vernet and other mafters, 
 
 JOHN 
 
CAT [ 187 ] C A V 
 
 JOHN CATINI. 
 
 Flouriflied, 1760. 
 
 A modern engraver, who refided at Venice j by whom we have a fet of 
 fourteen large beads, from Piazzetta. 
 
 THOMAS CATLETT. 
 
 Flourifhed, 
 
 An obfcure Englifh engraver, whofe name I found affixed to a coat of' 
 crms, furrounded with ornaments. We have alfo feveral book plates by this 
 -artift equally indifferent. 
 
 GIOVANNI BATTISTA CAVALERIIS. 
 
 Flourifhed, 1570. 
 
 This artift, who, I believe, was a native of Brefcia in Italy, flourirtied 
 from 1559 to 1688 i as we find by the date of his engravings, which were 
 very multifarious, and, according to Abbe MaroUes, amounted to three 
 hundred and feventy-feven or upwards. His manner of engraving 
 fometimes refembles that of iEneas Vico, one of the difciples of Marc An- 
 tonio. His prints have, in my opinion, very little to recommend them. 
 They are ufually executed entirely with the graver, in a dry tafi;elefs ftyle, 
 without effeft j the lights being fcattered, and unharmonized ; and his 
 drawing is exceedingly defeftivej particularly in the extremities of his 
 figures. Sometimes he etched his plates, and retouched them with the 
 graver. A great part of his engravings are no other than copies from thofe 
 of difFerent mafters. 
 
 I fhall only mention the following prints by this artift : 
 
 Beati ^pollinaris Martyris, primi Ravanatum Efifcopiy Res Gefta, Romse 
 1586 ; or the Life and Miracles of Apollinaris, firfi Bifhop of Ravenna, in 
 folio, confifting of many plates, which are coarfely etched and retouched 
 with the graver. 
 
 Ruins of Rome, from Joan. Ant. Doflius, on thirty-three plates, dated 1579. 
 
 The Frontifpiece and heads to the Lives of the Popes, dated 1588. 
 
 Ecclefia Anglicana "frophaa, in folio, from Nicolaum Circiniaum. 
 
 The murder of the innocent s, a large plate, length-ways, from Raphael. 
 
 The miracle of the feeding of five thoufand, on two plates, a large print, 
 length-ways, from the fame. 
 
 The battle ofConfiantine, from the fame. 
 
 The. de/cent from the crojsy from Daniello de Volterra, a middling fized, 
 iipright plate. 
 
 The reJurreElion of Chrifi, a very large upright plate from Livio Agrefti da 
 Forli. 
 
 He alfo engraved from Michael Angelo, Polidoro, and other great 
 mafters. 
 
 F. MORELLON LE CAVE. 
 
 Flourifhed, 1730. 
 
 He was the difciple of Bernard Picart, and refided in England j where he 
 
 B b 2 was 
 
C. A IT. [ i8S ] CAY 
 
 was principally employed in engraving portraits for the bookfcUers, He- 
 worked chiefly with the graver j but never attained to any great degree of 
 merit-, among other things by him is the head of Dr. Pococke, before T. 
 Wells's edition of his works. 
 
 CORNELIUS VAN CAUKERKEN. 
 Flourifhed, 1657. 
 
 He was a printfeller, and eftablifticd at Antwerp, where he engraved feve- 
 ral plates from Rubens and other mafters. He w^orked entirely with the 
 graver, in a heavy, laboured ftyle, without much tafte. He ufually crofled 
 his fecond ftrokes fquarely upon the firft, whicli mode of engraving requires 
 more exquifite handling of the graver-, than Caukerken poffefled, to render 
 the effedl agreeable. His lights are generally too much covered ; and his 
 drawing is in particular very defeclive. However, fome of his beft prints 
 are by no means devoid of merit. Among which may be reckoned the fol- 
 lowing : 
 
 The martyrdom of St. Lievinus, a^krge upright plate, from Rubens. The 
 befl: imprellions of this plate are- before the name of Gafp. de Hollander waS' 
 put at the bottom : it is dated 1657. 
 
 The Roman charity, a large plate, length-ways, from the fame painter. 
 The firft imprefiions are without the name of Corn, de Hollander. This 
 appears to me to be one of his beft prints. Capr. Baillie has a proof print,' 
 in which th-e outlines of the naked parts of the figures are correfted by Ru- 
 bens, with red chalk. 
 
 A dead Chriji lying upon the ground, with his head repofed on the knees of, 
 the Virgin, from Annibale Carracci, a middling fized plate, length-ways. > 
 
 A dead Chriji Jtlpported hy the Virgin and St. John, a large upright plate,. 
 from Vandyck. 
 
 L. C A U Q^U IN.. 
 
 Flourifhed, ,'... 
 
 He engraved part of the plates for a fmall book of ornaments for gold- 
 fmiths and jewellers, from the defigns. of Gilles Legai-e, -which were pub- 
 lilhtd at Paris. 
 
 H. C A U S E. 
 
 Flourilhed, 1690. 
 A name affixed to the portrait o( Ferdinand' D'Jdda, cardinal, dated 1690. 
 I. Cause, another indiflFerent artift, apparently of the fame family. He 
 engraved the head of Joan. Baptijla Tavernier, for Hondius's coUeiftion of 
 portraits.. 
 
 L. E COMTE DE CAYLUS. 
 
 •- Flourifhed, 1736. >''■ ^10.^ 
 
 This nobleman, -who was a great lover of the arts, has diftinguiflied him- 
 fclfj.not only as an able connoifieur, but as an artift. He copied the flight 
 
 mafterly, 
 
C A Z [ 1S9 ] C E C 
 
 jfiafterly fketches of the moft eminent painters with great precifioni in a 
 manner that proves his taPce and judgment. His engravings are chiefly? 
 performed with the point ; for he feems to have made little ufe of the 
 graver. The number of plates which he executed, fufficiently teflify, that 
 his application to the arts muit have em.ployed a large [hare of his time. We 
 have by him, 
 
 A fet of upwards of two hundjed plates, engraved from the drawings of 
 the great mafters, in the cabinet of the king of France. 
 
 A colleElion of heads, from the drawings of Rubens and Vandyck, in the 
 cabinet of IVI. Crozat. 
 
 A fet oi grotefque charaBers of heads-, from Leonardo da Vinci, publifhed 
 1730. 
 
 A fet o( antique gems, from drawings by Boucherdon. 
 
 This artift rarely figned his name at length ; but ufually the initials are- 
 fubftituted in this manner: " M. le C. de C. fculp." 
 
 NICHOLAS C A Z A. See Casa, 
 
 THOMAS CECIL. 
 
 Flourilhed, 1630. 
 
 Mr. Evelyn, fpeaking of the Englifh engravers, fays of Cecil, that he' 
 engraved heads from the life, and was little inferior, for the excellence of his 
 *' burin" or graver, and happy defign, to any of the greateft Italian, French, 
 or Flemifh artifts. A little may, and perhaps ought to be allowed to a writer, 
 if in fome inftances of comparative merit, he fhould appear to be biafled in 
 favour of his friend or countrymen ; but when his zeal for the honour of 
 either carries him beyond the reafonable bounds of difcretion, his deci- 
 fion mull: appear too partial to claim any credit 5 and he, without doubt, 
 weakens rather than ftrengthens, the caufe he undertakes to defend. In 
 the prefent inftance, Mr. Evelyn, after having fpoken of the moft celebrated' 
 engravers of the age in which he lived, and of Nanteuil, in particular, whofc 
 extraordinary genius for drawing and engraving portraits from the life, has 
 fo juftly immortalized his name, muft be laid to have decided too haftily at 
 leaft; when he added, that in " excellency of the burin," Cecil was little in- 
 ferior to him, or any of thofe mafters he had mentioned before. The art of 
 engraving was certainly at this period very low in England i whilft, on the. 
 continent, it flouriflied in its meridian fplendour. - j- 
 
 Cecil v/orked entirely with the graver, in a ftiff, taftelefs ftyle. His 
 plates, in general, are very neatly executed ; the beft of which are his por- 
 traits, and fome of them are by no means devoid cf merit. I fhall only 
 mention a few prints by this artift, all of which appear to be from his owii- 
 defigns. ■ • " 
 
 Thomas Curie, biJJjof ofWinton, a fmall upright plate. 
 
 'Thomas Kedermifter of Langrey,t\\c{3.iT,f;, dd^lcd \6i%, . , _, ... ,,.-^.r^ 
 John IVeaver, prefixed to his Funeral Monuments, in folibj'dated 1031'.*"' 
 The frontifpiece to Ambrofe Parry's Works, publilhed in London, 1634, 
 in folio. 
 
 The 
 
C E N [ 190 ] C E S 
 
 The frontifpiece to ?. book entitled, Devout Contemplations, a large folio, 
 publifhed in London, A. D. 1629. 
 
 The figures which he has introduced occafionally into his frontifpieces, 
 fome of which are nearly naked, fufficiently prove, that he did not well un- 
 derftand the drawing of the human figure ; for the outline is not only incor- 
 redt and heavy, but the extremities, in general, are very badly marked. 
 
 The fcarceft print by this engraver is the portrait of Sir John Burgh, who 
 was killed at the IQe of Rhee; and the reafon afligned for it is, that the 
 plate was afterwards altered a little, and the infcription erafed, and the name 
 of Guftavus Adolphus inferted in place of it. 
 
 JOAN. BAPTISTA CENCENSIS. See PASQuiLiNr. 
 
 DU CERCEAU. 
 
 Flourifhed, 
 By this engraver, who according to all appearance, never reached any very 
 great degree of excellence, we have a fet of ornaments a la mode, middling 
 fized prints, length-ways, executed entirely with the graver, in a neat, 
 taftelefs ftyle. They were piiblifhed by Nicholas Viffcher, and are marked, 
 " invente et grave par Du Cerceau." 
 
 MICHAEL ANGELO CERQUOZZI, called DI BATTAGLIA. 
 Born, 1600. Died, 1660. 
 
 This artifl: was born at Rome, a. d. 1600, and was called Di Battaglia, 
 becaufe his genius chiefly led him to paint battles, marches and Jkirmijhes. 
 He alfo painted/r«/V and flowers with great fuccefs j and his pidtures were 
 heldin very high eftimation. He died a. d. 1660, aged 60 years. He 
 etched, fays Bafan, feveral prints, which are more eftimable for their fcarcity 
 than their beauty- 
 
 CARLO CESIO. 
 
 Flourifhed, 1660. 
 
 This artift is faid to have been a difciple of Pietro da Cortona ; but he is 
 much better known by his engravings, than his paintings. His plates are 
 chiefly etched, and harmonized with the graver, in a free, mafterly manner. 
 He drew correftly j and the extremities of his figures are in general finely 
 marked ; though flight, and in the broad, bold ftyle of a painter. Cefio 
 engraved a great variety of prints, from the greateft painters that flourifhed 
 in the age in which he lived. The following may be confidered as his 
 greateft works. 
 
 The Farneftan gallery, from Annibale Carracci. 
 
 Tht Pamphilian gallery, {romVittto Berettini da Cortona, confiftingof 
 fifteen plates, including the title. 
 
 GASPER 
 
C H A [ 191 ] C H A 
 
 GASPER DU CHANGE, 
 
 Flourillied, 1707. 
 
 This artift was a native of France, and flourifhed at the commencement of 
 the prefent century. In the year 1707, he was received as a member of the 
 Royal Academy of Arcs at Paris. His manner of engraving feems greatly 
 to refemble that of John Audran ; but in general, it is neater ; and the 
 etching is not fo predominant; his drawing is by no means fo correct as 
 Audran's ; neither are his heads, and other extremities, marked in fo mafterly 
 a ftyle. The prints of Duchange, however, though mannered, and often 
 rather laboured, have much to recommend them to the notice of the con- 
 noifleur, efpecially to fuch as are pleafed with an agreeable management of 
 the graver. He engraved feveral portraits; and, among them, that of 
 Charles de la Fojfe, for his reception into die Royal Academy 1707 ; and that 
 of F. Giradon, for the fame purpofe. I fhall alfo notice the following 
 prints by this mafter : 
 
 Jupiter and Leda, a large plate,, length-ways, from Correggio. 
 
 Jupiter and Diana, the fame, from the fame.. 
 
 Jupiter and lo, a middling fized, upright plate, from the fame. 
 
 Sornique retouched tliefe plates, and added draperies. 
 
 Our Saviour in the tomb, Jupported by the Virgin ; and an angel holding 
 his right hand, from Paolo Veronefe. 
 
 Peace confirmed in Heaven, and fome other fubjefts, for the coUeftion of 
 prints engraved from the Luxembourg gallery, painted by Rubens. 
 
 Mary Magdalen waJJjing the feet of Ch rift, a large plate, length-ways, from 
 Jouvenet. The merchandiser:, driven from the temple, the fame, from the fame- 
 John Audran engraved the other two companions, namely, the miraculous' 
 draught offiJJjes, and the reJurreEtion of Lazarus. 
 
 Tobit reftoring fight to bis father, from Antony Coypel, a middling fized 
 plate, length-ways ; and, in my opinion, one of his beft. « 
 
 He alfo engraved from Le Seur,, Noel Coypel, and other mafters. 
 
 JOHN CHANTRY. 
 
 Flouriflied, 1660. 
 He worked chiefly for the bookfcllers, and performed his plates entirely 
 with the graver, in a ftifF, dry ftyle, which has nothing to recommend it. 
 Among the portraits engraved by him are the following : Edward Leigh, 
 Efq. M. A. of Magdalen Hall, Oxford ; Thomas Whitaker, phyfician to- 
 Charles II. Gething, a writing mafter, &c. He alfo engraved fome orna~ 
 mental frontifpieces for books, with figures, very indifferently performed. 
 
 NICHOLAS CHAPREON. 
 
 Flouriflied, 1649. »/ 
 
 This artift, a native of France, born at Chateaudun, was the difciple of 
 Simon Vouet, he never made any confiderable progrefs in the art of 
 painting ; which perhaps induced him to take up the point. He refided a 
 long time at Rome ; we have engraved by him, 
 
 , . The 
 
C H A [ 192 ] C H A 
 
 The lible hiftories painted in the Vatican by Raphael, commonly known by 
 the name of Raphael's Bible. This colledion chiefly confifts of fifty-two 
 plates, which are chiefly eftimabie as being (upon the whole) the beft copies 
 of that noble work; but however, the fweet fimplicity offtylc, and correft- 
 nefs of drawing, fo nianifeft in the works of that celebrated painter, arc totally 
 loft in the afFedted manner of the engraver. The heads are very indifferent, 
 in general, and the other extremities very poorly marked. He frequently 
 fio-ns his plates with the initials of his name only^thus : N. C. F. the F. as 
 uiiial ftanding for fecit ; they are dated 1649. 
 
 One of his beft finglc prints appears to me to be a fmall upright etching, 
 jeprefcnting/^/)7'j, with ivomen and children, a bold, and fpirited etching. 
 
 P. F. CHARPENTIER. 
 Flouriflied, 
 A modern French engraver, by whom we have feveral prints, from Berg- 
 hem, Vanloo, Boucher, &c. 
 
 Le Charpentier, perhaps of the fame family, another modern engra- 
 .ver, by whom we have fomeT?^ views and land/capes, from Vernet, Patel, &c. 
 
 •LOUIS -DE C H A S T I L L O N. 
 
 Flouriftied, 1682. 
 
 This artift, who was a native of France, flouriflied towards the conclufion 
 rf the laft century, and the beginning of the prefent. I do not find whofe 
 difciple he was; but he evidently attempted to imitate the free flyle of 
 Girard Audran ; and though he falls fiir fhort of equalling that great mafter, 
 efpecially in tafte and correftnefs of drawing ; yet many of his prints poflTefs 
 great merit. Among the beft of them may be reckoned the following : 
 
 The /eve)! /acramenls, large plates, length-ways, from the pidlures painted 
 by Pouflin for the chevalier Pozzo ; and fomething different from thofe of 
 the Palais Royal, engraved by Peibe. 
 
 The Fates /pin>:ing the thread cf dejiiny for Mary de Medicis, a mid- 
 dling fized upright plate, from Rubens, for the coUeflion of prints from the 
 Luxembourg gallery. 
 
 Tht fountaid of Apollo in the garden at Ferf allies, a large plate, length- 
 ways. 
 
 Part of the plates for Les Edifices Antiques de Rome, publiflied at Paris, 
 A. D. 16S2, by Antoine Defgodetz, architect. 
 
 C. Chastillon, or Chatillon, is mentioned by Florent le Comte, as 
 the engraver of t;/Vze?j of to-ions and palaces, i£c. in France. 
 
 WILLIAM CHATEAU, or CASTELLUS. 
 Born, 1633. Died, 1683. 
 This artift was born at Orleans, a. d. 1633 ; and the ftrong deflre he had 
 cf purfuing the arts engaged him, early in life, to go to Lyons, in order to 
 
 vifit 
 
C H A [ 193 ] C H A 
 
 vifit Italy, as foon as occafion offered. After having worked tliere fomc 
 time, he determined to go to Rome ; where, on his arrival, hearing of die 
 reputation, which Frederic Greiiter had acquired as an engraver, he courted 
 his acquaintance, and became his difciple. Under that artift he completed 
 his ftudies, and was employed to engrave the portraits of the popes ; in 
 which work hefucceeded fov/ell, that he had a quantity of other plates given 
 to him, by which, in a fliort time, he eftabliflied his charader as an artift. 
 He then travelled from Rome to Florence, Parma, Genoa, and other places, 
 in order to contemplate the works of the greateft mafters ; and afterwards 
 returned to Lyons, where he remained fome time with the Marquis de Sono- 
 zin. From thence he went to Paris, v.'here he refided under tlie patronage 
 of JVI. Colbert, till his death, which was occafioned by a violent fit of tFic 
 cholic, A. D. 16S3, he being then 50 years of age. 
 
 Chateau worked chiefly with the graver j but in fome inftanccs he has 
 etched his back-grounds, efpecially when they were landfcapes. It appears 
 evidently, that he had a great command of that inftrument. There is much 
 clearnefs in his ftyle of engraving; but from the fquare manner in v/hich his 
 firft and fecond ftrokes interfed each other, the effedl is rendered unpleafing, 
 and his plates have a cold, filvery appearance. The ftyle of his drawing 
 is ftifF and laboured; the outline is not always correft ; and the extremities 
 of his figures, in particular, are heavy, and poorly marked. In fhort, his 
 prints feem to be the laboured productions of patience and afliduity, rather 
 than the works of genius, aflifted by good tafte. 
 
 He frequently latinized his name, efpecially when it was fubfcribed to 
 thofe plates he executed at Rome; and then it is put thus : Guilielmus CaJ- 
 tcllus, Galh'.s. 
 
 Among his beft prints may be reckoned the following : 
 
 The ajjumption of the Virgin, a middling-fized, upright plate, from Anni- 
 bale Carracci, for the coUeftion of prints, engraved from the pictures in the 
 king of France's cabinet. 
 
 The martyrdom of St. Stephen, the fame, from the fame mailer, and for the 
 famecoUeftion. 
 
 The Ifraetites gathering manna in the defert, the fame, from Nicholas Pouflin, 
 for the fame colleflion. 
 
 Chrijl refioring fight to the two blind men of Jericho, the fame, from the 
 fame, and for the fame colleftion. 
 
 The prefervation of theyoting Pyrrhus, a large plate, length- v/ays. This is a 
 bad copy of that admirable pifture, which Gerard Audran etclied in lb maf- 
 terly a manner. 
 
 St. Peal caught up into Heaven, a middling fized upright plate, from the 
 fame .painter : This was alfo engraved by Pefne. 
 
 The death of Germanicus, a large plate, length-ways, from the fame pain- 
 ter, and for the lame colledtion. 
 
 Paul xef.ored to fight by Ananias, a middling fized upright plate, from 
 Pietro de Cortona : Charles Allet alfo engraved this fubjedl. 
 
 PJnaldo and ylrmida, from Le Seur, a large plate length-ways. 
 
 He alfo engraved from Raphael, Correggio, Ciro Ferri, Carlo Maratti, and 
 other great mafters. 
 
 VOL. I. - C c J. B. 
 
C H A [ 194 I C H A 
 
 J. B. C H A T E L A I N. 
 
 FlouriHied, 1744. 
 
 Had this man been poflTeiTed of prudence and afllduity, equal to his great 
 abilities, what might not have been expedted at his hand ? He would not 
 work, but when neceffity compelled him. With a piece of tobacco taken 
 from his mouth, he could make an admirable drawing of a landfcape. It 
 was in drawing and engraving landfcapes that he chiefly excelled ; and the 
 freedom of touch, and fpiric, with which he performed them on paper 
 and copper, has juftly ftamped a value upon tliem. From this artifl, 
 Vivares, fo defervedly celebrated for his copies from Claude Audran, and 
 other excellent prints, learned the firft rudiments of engraving. The fol- 
 lowing curious' anecdotes concerning Chatelain, were communicated to me 
 by Mr. Grofle, who heard them from Mr. Rofllere, a great colledlor of prints. 
 Chatelain v/as fo great an epicure, that if by accident he earned a guinea,, 
 he would immediately go to a tavern, and lay, at leaft, half of it out on 
 a dinner. 
 
 He lived fome time in a large old houfe, at or near Chelfca, faid to have 
 belonged to Oliver Cromwell, which he took in confequence oi' having 
 dreamed he fliould find a treafjre tliere. He was fo prepoffeffed by this 
 idea, that he ufed\ to fpend v/hole days, lying upon his face, liftening if by 
 the fliaking, occafioned by the carriages pafTing to and fro, he could hear 
 the chinking of money. Sometimes he would work in pulling up the 
 floors, fearching behind the wainfcot, and removing walls, in queft of this 
 hidden treafure, till he fo bliftered and bruifed his hand, that he could not 
 work for a confiderable time. 
 
 Fie etched a variety of la7idfcapes ; fome from his own defigns ; but the 
 orreater part from Gafper Dughet, called FoulTin, and other mailers. Among 
 them is a middling fized plate, length-ways, from Rembrandt,, publiflied 
 by Pond, 1744. 
 
 I. B. Chatelain, a name I have feen affixed to a print, intitled, " Le 
 Cuinifiere Italienne" engraved greatly in the ftyle of Beauverlet. This 
 probably is a more modern artift, and a native of France. 
 
 C H A T I L L O N. See Chastillon. 
 
 CHAUFOURIER. 
 
 Flourifhed, 
 A very indifferent modern French engraver, who apparently flourillicd at 
 the beginning of the prcfent century. He worked for the bookfellers ; and 
 I have feen fome bad plates for a book of gardening, which were engraved 
 by him. 
 
 FRAN- 
 
€ H A [ 195 ] CHE 
 
 FRANCOIS GHAUVEAU. 
 Born, Died, 1676. » ' 
 
 This artift was a native of France, born at Paris. He was infl:ru(5ted in the 
 art of defign by Laurent la Hire, and applied himfelf to the graver ; which 
 inftrumenthe foon quitted for the point ; and the prints he produced with it 
 foon convinced him, that it was better fuited to his tafte, and the celerity of 
 execui.ion, which tlie fecundity of his genius feemed to require. That he was 
 a man poirefled of a lively imagination, and great fertility of invention, is 
 evident from the prodigious number of compofitions, which we have by his 
 hand. He feems to, have flcetched his thoughts upon paper, as fail as they 
 entered his mind, and taken little or no pains to cerre6t or expunge any part 
 of them afterwards. Hence it is, that his works are frequently faulty, and 
 unequal to each other. " If," fays Bafan, " we find not in his prints a 
 " beautiful flyle of engraving, we fee, at leaft, with pleafure, the fire, efFedV, 
 " truth, variety, and ingenious turns of his compofitions." I have made 
 the following obfervation concerning the engravings of this artift : His fmali 
 plates, which I think are hisbeft, are executed in a ftyle, much refembling 
 chat of Le Clerc ; which was evidently founded upon that of Callor. In his 
 large prints, he approaches near to thatcoarfe, dark ftyle, which was adopted 
 by La Hire, his tutor. He died at Paris, a. d. 1676. His works confiftof *am 
 
 upwards of three thoufand plates; among which the fets of prints for the fol- 
 lowing books are from his own compofitions. The Bibk Hifiojj. The Hif- 
 tory of Greece. Tht Metamorphojis of Benferade. The Jerufalem of Tajb. 
 The Fables of la Fontaine. Alaric, or Rome conquered, and ftveral romances y 
 &c. Among the prints engraved by him from other mafters, are the fol- 
 lowing: 
 
 Chrifi vsith the difciples at EnwAis, a middling fized plate, length-ways, from 
 Titian. Maffon engraved the fame fubjeft ; and his beautiful print is 
 knov.'n by the name of tlie table cloth. 
 
 A concert, a middling fized plate, nearly fquare, from Dominichino. 
 
 The life of St. Bruno, from Le Sueur, engraved conjointly with Le Clerc. 
 
 Jpbllo and Daphne, from Nicholas Pouffin, a middling fized plate, dated 
 1667. 
 
 A Virgin and Child, ivith St. John and little angelsy finely etched, and 
 finiflied with much tafte. It is marked, " F. Chauveau pinx et fecit," 
 a fmall plate, length ways. 
 
 Aleie-agre preferring the head of the hoar to Atalanta, a fmall upright plate 
 frC'Tii Laurent la Hire. 
 . He alfo engraved from Le Brun and other mafters. 
 
 See the cypher he frequently iubftituted for his name, copied on the plate 
 at the end of the volume, 
 
 Q_U FN TIN PETER CHEDEL. 
 
 Flouriflied, 
 
 A modern engraver, who, according to Bafan, died fome few years fince. 
 He etched his plates with great fpirit, and retouched them with the graver, 
 
 C c 2 in 
 
CHE [ 196 ] CHE 
 
 in a ftyle fomething refembling that of John VifTcher; and his works prove 
 him to have been a man of ability. By him we have fome fmall plates 
 length-ways, reprefenting banditti nnd troops of JolJiers Jkirmifhing, "j/itk 
 landjcape back-ground, from Vander Meulen. Alio, 
 
 Jtirora, a fmall landfcape, length-ways, from David Teniers. 
 
 The ivell, a f nail upright plate, from Boucher. 
 
 The beraiitage, from Pierre, its companion. 
 
 PETER CHENU. 
 
 Flourifhed, 1760. c' 
 
 A modern engraver, who refided at Paris, and engraved in a flight ftyle a 
 large number of prints from various mafliers. Among others, the Jailor's 
 amufement, a fmall plate length-ways, from D. Teniers. 
 
 The Flemijlo baker, from Oftade, a fmall upright plate. 
 
 FRANCOIS CHEREAU. 
 
 Flouriflied, 1730. 
 
 This engraver appears to be a native of France. We have a large number 
 of prints by him, which prove what great command he had of the graver ; for 
 his prints are executed entirely with that inftrument, in a manner fo nearly 
 refembling that of the Drevets, that I have little doubt but that he was 
 brought up in their fchool. The mechanical part of his engraving is ex- 
 ceedingly neat and well executed ; and his drawing is corredl. Yet from a 
 lamenefs of the ftyle in the engraving of his flefli, his draperies and back- 
 ground, his prints have a cold, heavy, laboured appearance ; and the lights 
 being too much covered, prevents that brilliancy of etfeft, which might be 
 expedted from an artift of equal abilities. His prints, however, poflefs great 
 merit, though they cannot be faid to deferve a place among thofe of the firft 
 clafs of artilts. I fliall only mention the following by his hand : 
 
 St. John in the dejart, a fmall upright plate from Raphael, for the Crozat 
 colleftion. 
 
 The crucifixion of Chriji, a large upright plate from Guido, publiflied by 
 Drevet. 
 
 The portrait of £//z« Sophia Cheron, from a pidure painted by herfclf, a 
 middling fizcd, upright plate. 
 
 The portrait o{ cardinal de PoUgnac, from Rigaud, the fame. 
 
 He alfo engraved a variety of other fubjefts, portraits in particular, from 
 different mafters. 
 
 JAMES CHEREAU. 
 
 Flouriilied, 17^0. 
 
 This artift ufually diftinguifhcs himftlf from his brother Francois Che- 
 
 reau, mentioned in the foregoing article^, by adding the word le June, or 
 
 the younger , to his name. He refidcd at Paris, and like his brother, worked 
 
 tniircly with the graver, and in a manner greatly refembling his. The prints 
 
 by 
 
CHE [ 197 ] CHE 
 
 by this artift are very neat, and highly finifned; but cold and filvery in their 
 efFeft. They want that animation fo eflentially neceffary to render an en- 
 graving particularly interefting, and which Girard Audran was mafter of in 
 fo fuperior a degree. This it is, that makes the ilight fcratchy etching of 
 the painter fo much more eftimable, than the cold, laboured efforts of patience 
 unaffifted by the warmth of imagination, and the impulfe of genius. Che- 
 reau's portraits poflefs great merit; and his befV prints are very defervedly 
 held in high eftimation. Among them are the following: 
 
 A holy family, from Raphael, a middling fized upright plate, for the Cro- 
 zat coUeftion. 
 
 The Virgin and Child, with St. John, the fame, from the fame mafter, and 
 for the fame colleftion. 
 
 The transfiguration, from the fame mafter, a large upright plate, arched at 
 the top. 
 
 David, a half figure, ivith the head of Goliah, a middling fized upright 
 plate, from Dominico Feti. 
 
 Vertumnus and Pomona, a middling fized upright plate, from Francois 
 Marot. 
 
 The portrait of xh&biJJjcp of Montpelier, a middling fized upright plate, 
 from Raoux. 
 
 The portrait of the bifJjop of Senez, the fame from the fame. 
 
 He alfo engraved a variety of other plates from different mafters. 
 
 Chereau came overinto England, being invited hither by Du Bofc ; and, 
 among other things, engraved the profile portrait of George the Firjl -, but 
 the extravagant price he demanded for his works, was the occafion of his 
 meeting with but little encouragement ; upon which he foon returned to Paris. 
 
 ELIZABETH SOPHIE CHERON LE HAY. 
 Born, 1648. Died, 1711. 
 
 This lady, whofe name is juftly celebrated by the biographers of the artifts 
 was the daughter of Henry Cheron, a painter in enamel, and by her 
 father firft inftrufted in the art of defign and painting. She m.ade a rapid 
 progrefs ; and the produdtions of her pencil were greatly admired, cfpecially 
 her portraits, which fhe executed in a pleafing ftyle. She alio painted hif- 
 tory with great fuccefs.' She died, a, d. 1711,' aged 62- She was prefented 
 to the Royal Academy of Arts at Paris by Le Brun, a. d. 1676, and honour- 
 ably received as a member. For her amufement fhe alfq engraved ; and we 
 have a fet of cornelians from her own defigns, of which three are etched by 
 herfelf, namely, Bacchus and Ariadne, Mars and Venus, and night fcattering 
 her poppies. The reft were engraved by Urfaline and Jane de la Croix her 
 nieces, J. Audran, C. Simoneau, and others. 
 
 She alfo engraved z def cent from the crofs, which is etched, and retouch.cd 
 with the graver, in a veiy maftcrly manner, from, a medal in wax, coloured 
 byZumbo, a Sicilian. 
 
 Alfo a drawing hok, confifting of thirty-fix prints in folio. 
 
 LOUIS 
 
CHE [ 198 ] CHI 
 
 LOUIS CHERON. 
 
 Born, 1660. Died, 1713. ^ 
 
 This artift was brotlier to the lady mentioned in the preceding article, and 
 born at Paris, a. d. 1660. After being inftrudted in the firft principles of 
 the art of painting in his own country, he went to Italy, where he remained, 
 fupported by the bounty of his fifter, eighteen years. He compofed with 
 facility, and drew corredily, but not gracefully. The troubles, which arofe 
 in his native country on account of religion, obliged him, who was a Cal- 
 vinift, to quit it, and feek a refuge in England, 'where he was employed by 
 the duke of Montague, and died in London, a. d. 1713, aged 53. He en- 
 graved with great tafte the following prints^ 
 
 St. Peter healing the lame man at the gates of the temple, a middling fized 
 plate length-ways, from his own compofition. 
 
 The death of Ananias and Saphir a, the fixme. 
 
 St. Philip baptifing the Eunuch, the fame. 
 
 CHERIMGNON, 
 
 Flouriflied, 
 
 An engraver of merit, by whom, among other things, we iiave a holy 
 family, wherein is rcprefented the Virgin featcd, the infant Chrift afleep in 
 her lap, and Jofeph is leaning on a large ftone behind her. It is etched in a 
 bold, free ftyle, and retouched with the graver, rn fuch a manner, as proves 
 the artift had great command of that inftrument. The lights are broad and 
 well, but too much fcattered : it is engraved from a compofition of Laurent 
 de la Hire. 
 
 C H E R U B I N ALBERT. See Alberti. 
 
 G. C H E V I L E T. 
 
 Flouriflied, 
 A very indifferent modern engraver, by whom we have feveral large 
 plates o{ foreign views, ruins, &cc. from Innocente Bellavite and other maf- 
 ters. He etched in a neat fcratcliy ftyie, and retouched his plates with the 
 graver, without producing the leaft pleafing eff"e6l. The figures which are 
 occafionally introduced, he has executed in a manner that does him no kind 
 of credit. 
 
 F A B R I Z Z I O C II I A R I. 
 Born, 1621. Died, 1695. 
 This painter was born at Rome, A. D. 1621, and acquired a confiderable 
 reputation in his profeffion. He died 1695, aged 74 years. By his hand 
 we have feveral etchings from Pouffin. They are executed in a flight fcratcliy 
 manner, by no means correftly drawn ; yet, however, they manifeft the hand 
 of the mailer. Among others are the following : 
 
 3 . Mars 
 
CHI [ 199 ] CIA 
 
 Mars and Venus in a land/cape, a fmall plate, length -ways, marked Fabri- 
 Tus. Clarus sculp. 1635. 
 
 Venus andJdonis a middling fized plate, length-ways, marked Nicolaus 
 PussiNus IN F. without the name ofFabrizzio. This etching has been 
 ufually attributed to Pouflln liimfelf j but it is undoubtedly the work of 
 Fabrizzio. 
 
 Venus with Mercury and fever al children^ the fame. 
 
 c H r S B O U T. 
 
 Flourifhed, 
 
 This- engraver appears to have refided at Paris, and worked for Drevet ; at 
 leaft, his name as the publifher, is affixed to a coarfe, incorreft etching, re- 
 prefenting Dutch hoors flaying at cards, marked " Chifbout fecit," a fmall 
 plate, length-ways. 
 
 PETER PHILIP C H O F F A R D. 
 
 Flouriflied, 1760. 
 
 This artift was a native of France, and refided at Paris. He was a de- 
 figner, as well as an engraver. By him we have a variety of fmall book 
 prints, and Ibme views, as well fromi his own defigns, as from thofe of other 
 mailers. 
 
 ^CHRISTOPHER CHRIEG. 
 
 P'lourifhed, 1572. 
 
 " Chriftoph^ Chrieg''. AH", inci. is the fignature," fays Papillon, "of an 
 
 *' engraver, affixed to a large print, reprefenting ^tjea fight at Lepanto. 
 
 " It is a magnificent engraving on wood, containing more than three hun- 
 
 " dredveflels andgallies. The combatants, which are exceedingly nume- 
 
 " rous, are diftributed with the greateft judgment. The dreadful confufion 
 
 *' of the vefTels with gallieson fire, or finking to the bottom, cannot be re- 
 
 ** prefented in afuperiorflyle. It is cut on two bloclcs of wood, in the form 
 
 " of an oval, about two feet long, by fixteen inches in height. Upon the 
 
 " two upper corners of the oval are reprefented, the arrangement of the 
 
 " Chriftian army; and that of the Turks ; and below, three Chriftian ge- 
 
 " nerals dividing the fpoil ; and the deftruftion of the Turkifh fleet. This 
 
 " fine print was pubhfhed at Venice, a. d. 1572, by Caefare VeceUi, a rela- 
 
 " tion of the famous Titian, who, I believe, made the defign, it being 
 
 " quite his tafle." 
 
 LUCAS CIAMBERLANO. 
 
 Flourifhed, 1609. 
 
 This artift appears to have been a native of Urbino, and flourifhed towards 
 the beginning of the laft century. He worked entirely with the graver in a 
 flight neat ftyle, but there is not always that freedom in the turn of his 
 
 ftrokes. 
 
C I C [ 200 ] C L A 
 
 ftrokes, which is requifite to render them perfeftly agreeable to the eye. He 
 drew the nalced parts of the human figure with feme degree of correftnefs. 
 His heads indeed, and other extremities, are not always equally well exe- 
 cuted. The lights upon the figures efpecially, are kept broad and clear. 
 The general effcft, however, is much hurt, by their being too much fcat- 
 tered, and equally powerful. Among other plates, engraved by this artift, 
 are the following : 
 
 Cbrift appearing to Mary Magdalen in the garden, a middling fized upright 
 plate, from Frederico Baroccio, to wliich his name is affixed in this manner : 
 " Lucas Ciamberlanus Urbinas, 1. V. Docf, del. et fculp." It is dated 
 1609, 
 
 St. Jerotn dead, lying upon a Jlone, a middling fized upright plate, from 
 Raphael. 
 
 The twelve apojlles, fmall upright plates, from the fame. 
 
 He alfo engraved from Polydoro, Palma, Cherubin Alberti, Annibale Car- 
 racci, Dominichino, and other great matters. He fometimes ufed the initials 
 of his name only, thus : L. C. or L. C. fculp. 
 
 FRANCOIS CICHE. 
 
 Flourifhed, 
 
 This artift feems to have refided in Italy, and to have worked chiefly for 
 the bookfellers. I have feen by him fome llight architeftal etchings, finiflied 
 with the graver, with little figures occafionally introduced. The manner, 
 however, in which thofe plates are executed, does him no credk as an eja- 
 
 graver. 
 
 C I R O F E R.- See Giro Ferri. 
 CIVITELLA. See C^sar Roeertus. 
 
 WILLIAM CLARKE. 
 
 Flouriflied, 
 
 An engraver of little merit, who flourifhed towards the end of the laft 
 century, by whom we have fome portraits ; among the refl, that of George 
 duke of Albemarle, from Barlow; and John Shower, from a pifliure of his 
 own. This laft is engraved in mezzotinto. 
 
 THOMAS CLARKE. 
 
 Flourifhed, 1635. 
 
 An engraver, probably of the fame family with the foregoing; his works 
 
 pofTefs no kind of merit, except that of neatnefs, to recommend them. We 
 
 have by him kveralfronii/pieces, one efpecially for a book of devotion, 
 
 printed at London, 1635. 
 
 JOHN 
 
C L A [ 201 ] CLE 
 
 JOHN CLARKE. 
 
 Flourifhed, 1690. 
 
 This engraver was, I believe, a Scotfman; at leaft, he refided at Edin- 
 burgh, where he engraved the portrait of William prince of Orange, and the 
 ■princejs Mary, in the form of a medallion, dated 1690. We have feveral 
 other portraits by him. I fhall only mention, Matthew Hall, ss^A Andrew 
 Marvell, an o<Stavo plate. He worked chiefly, if not entirely, with the gra- 
 ver, in a ilyle which does him very little credit as an artift. 
 
 JOHN CLARKE. 
 
 Flourifhed, 
 
 Another engraver of the fame name with the preceding, who, according to 
 the Hon. Mr. Walpole, lived in Gray's Inn. By him we have the portrait 
 of Rubens, a quarto fized plate, Alfo a print reprefenting Hercules and 
 Deianira, which prov€ him to have been a very indifferent artift. 
 
 C L A R U S. See Chiari. 
 
 D. C L A S E N S. . 
 
 Flourifhed, 
 
 The name of an ancient engraver of no great merit, affixed to a coarfe, in- 
 correct etching, reprefenting the Virgin Mary holding the infant Chriji, accotn- 
 ■panied by St. John and an angel, a fmall upriglit plate from Procaccini : it is 
 without date, and marked, D. Clajens F. et de. 
 
 MARC CLASERI. 
 
 Flourifhed, 
 According to Papillon, this aitift flourifhed in the fixteenth century, he was 
 a native of Venice, and engraved feveral prints on wood ; among which are 
 enumerated the/(?«r/^<5/(7«j, and the /oar «^^^ of the world, middling fized 
 prints, length-ways. 
 
 VICTORIUS CLASSIC US. 
 
 Flourifhed, 
 Florent le Comte informs us, that this artifl was a fculptor and an architeftj 
 and adds, that he alfo engraved fome prints, from the paintings of Tintoretto; 
 but the fubjeds of thefe prints are notfpecified. 
 
 C L E E M A N. 
 Flourifhed, 
 To this artifl profefTor Clirifl, attributes the engravings on wood, nfiarked 
 with a knife and a trefoil ; but the reafon he gives for this conclufion, does 
 not appear to me to be entirely decifive. 
 VOL. I. D d FRAN- 
 
CLE [ 202 ] CLE 
 
 FRANCISCO DE CLE IN, or KLEYN. 
 Boiriy Died, 1658.4 / 
 
 This artifl was born at Roftock, in Germany, where, it appears, he learned 
 the firft rudiments of painting ; after which he went to Italy, where he re- 
 fided four years. He chiefly excelled in hiftorical and grotefque fubjefts. 
 and is greatly commended for the fertility of his invention. In the reign of 
 James the Firft, he came into England, and was employed by that monarch 
 to make defigns for tapeftry, &c. He alfo etched feveral plates, in a ftyle 
 much refembling that of Hollar, to which he fometimes put the initials of 
 his name F. C. or F. K. but in general he figned it at length. I fliall only 
 notice the following plates by him : 
 
 The Jeven liberal arts., with an ornamental frontifpiece, fmall fquare 
 plates, marked " F. Clein fecit, 1645." -^"^ ^^ fi'^^ Jenfes, with grote/iiue. 
 ornaments. 
 
 JOHN LE CLERC. 
 
 Born, 1587. Died, 1633. 
 
 He was born at Nancy in Lorrain, a. d. 1587 ; but ftudied in Italy, and 
 imitated the manner of his mafter. Carlo Saraccino, called Venetiano, fo per- 
 feiftly, that his pi6b.ires have frequently been taken for the produdlions of 
 that artift's pencil. He died 1633, aged 46. He is called the Chevalier, 
 becaufe he was knighted at Venice. Le Clerc etched feveral plates from 
 the compofition of Venetiano ; among others, the death of the Virgin, a mid- 
 dling fized upright plate. The invention of this fubjeft has been falfely 
 attributed to Guido. This print, though flight, is performed in a fpirited 
 and mafterly ftyle, and dated 16 19. 
 
 Papillon mentions John le Clerc, who, he informs us, was of the fame 
 family with the above mentioned artift, born at Paris, and an eminent en- 
 graver on wood. He cites feveral things, as performed by this artift ; 
 among the reft, a book oi the proportions of the human figure y publiftied with 
 the royal privilege, a. d. 1593. 
 
 SEBASTIAN LE CLERC. 
 Born, 1637. Died, 1714. (^ 
 This artift was a native of France, born at Metz in Lorrain, and probably 
 of the fame family with John le Clerc, mentioned in the preceding article. 
 His genius for the arts difplayed itfelf in very early life ; and from his father 
 he learned the rtrft principles of drawing. Being dcfirous of habituating 
 himfelf to the ufeofthe graver, he executed feveral prints with that inftru- 
 ment, but foon quitted it for one better fuited to his tafte, namely, the point, 
 with which he could not only copy his defign with greater facility, but alio 
 more fpeedily ; judging from the produftions of this artift with the graver 
 only, it feems reafonable to conclude, that he would never have eftabliftied by 
 it a reputation, equal to that which he did by the point. His firft print is faid 
 to be the head of our Saviour, which bears the date 1655, confequently was 
 executed at the age of 18. Going to Paris, he was countenanced by Le 
 
 Brun, 
 
CLE [ 203 ] CLE 
 
 ^run, who advifed him to devote the whole of his tinje to the ftudy of en- 
 gravino;. Some time afterwards he was introduced to the minifter, M. 
 Colbert, and obtained an apartment in the Gobelins, and a penfion of 1800 
 livres afligned to him, on condition tliat he worked for the king, who alfo 
 honoured him with the title of his engraver j and by pope Clement XI. he 
 was created a knight of Rome. 
 
 In the year 1672, he was appointed to engrave the maufoletan, erefted by 
 the Royal Academy of Arts, in the church of L'Oratoire at Paris under the 
 direftion of LeBrun; and for it received from the Academy a penfion of 
 300 livres. The following year, he married Charlotte Jeaune, the daugh- 
 ter of Vanden Kerchove, the king's dyer at the Gobelins ; and by her he had 
 eighteen children. 
 
 As his family increafed, Le Clerc gave up the penfion, fettled upon him by 
 the king, conceiving that he could work to greater advantage upon his own 
 account. The multitude of plates, which he executed, and chiefly from 
 his own defigns, are faid to have exceeded 3000 ; and fome of them are very 
 large, confifting of a prodigious variety of figures. 
 
 He died at Paris, a. d. 17 14, aged 77 years; and was buried in the 
 church of St. Hippolite, belonging to the parifli, in which he refided. 
 ♦' Tliis excellent artift," fays Bafan, "who dcfigned with equal facility hiftori- 
 " cal fubjedls, landfcapes, and animals, pofieifed a lively and brilliant imagi- 
 " nation, which was regulated by found judgment. His compofitions are full 
 " of knowledge and variety ; and his drawing is very corr>.'ft. His manner 
 "of engraving is neat, and the touches of his point eafy and graceful. In a 
 " word, all the requifites are found in his works, which ought to render them 
 "worrliy the admiration of connoifleurs." And this high compliment is not, 
 in my opinion, greatly overftrained ; though I thinic him inferior to Callot, 
 whofe ftyle of engraving he frequently imitated, and appears to the greatefl 
 advantage, as he approaches the nearer to it. 
 
 The following are among his moft eftimable prints : 
 
 The paffion of our Saviour, on thirty-fix fmall plates, lengt!i-ways, from 
 his own compofitions. The bed impreffions are without the borders. 
 
 The miracle of the feeding five thoufand, a middling fized plate, length- 
 ways. In the firft impreffions, which are very rare, a town appears in the 
 back-ground J in place of which a miountain is fubftituted in the common 
 ones. 
 
 The elevation of the large ftones, vfed in building the front of the Louvre, 
 a large plate, length-ways. The firft impreffions are without the date, 1677, 
 which was afterwards added. 
 
 "£\\Q academy of thefciences, a middling fized plate, length-ways. The firft 
 impreffions are before the fl<eleton of the ftag and tortoife were added. Tlie 
 fecond impreffions are before the fliadow was enlarged at the bottom, towards 
 the right hand fide of the print. Both thefe impreffions are very fcarce. 
 The firft is rarely met with. This print was copied for Chambers's Dic- 
 tionary. 
 
 The monument of the king of Sweden, a large upright plate. 
 
 The monument of the chancellor Seguier, the fame. The latter is the moft 
 
 D d 2 eftimable. 
 
CLE [ 204 ] C L O 
 
 cftimable, becaufe it prooired the reception of the artift into the Royal 
 Academy of Arts 
 
 The triumphal arch of the port St. Antoine, a large plate length-ways. 
 
 The may of the Gobelins, a middling fized plate, length-ways. The firfir 
 impreflion is before the woman was introduced, who covers the wheel of the 
 coach. 
 
 The/o«r ro^^rz^f/?/, large plates, length-ways, reprefenting the taking of 
 Tournny, the taking of Dovay, the defeat of the comte de Marfjn, and the 
 Switzerland alliance. 
 
 The battles of Alexander, from Le Brun, fix fmall long plates, including 
 the title, which reprefents the pifture gallery at the Gobelins. The firft 
 impreflions of the tent of Darius, which plate makes part of this fet, is diftin- 
 guifhed by the fhoulder of the woman, who is feated in the front, being 
 without the fhadow, which was afterwards added ;, for which reafon they are. 
 called the prints with the naked fioulder. 
 
 The en t?y of Alexander into Babylon, a middling fized plate, length-ways- 
 In the firft impreflions, the face of Alexander is feen in profile ; in the fecond,. 
 it is a three quarter face, and therefore called the print with the head turned,. 
 
 Alfoa vaft number of beautiful t'z'g-«i?//^jj title pages, &c. &c. 
 
 HENRY VAN CLEVE or CLEFF. 
 Born, Died, 1589. 
 
 He is alfo called C//WK/?J-. Generally, however, his name is not written, 
 at length, but a fingular monogram, compofed of an H. a V. and a C. is 
 fubftituted in its ftead. See this monogram copied on the plate at the end 
 of the volume. The place of this artift's birth does not appear ; but he 
 refided at Antwerp; and was a painter of no fmall degree of eminence, efpe- 
 cially in landfcape ; fome few of which he alfo engraved himfelf. Thefe are 
 marked with his monogram, and the Vv-ord/a// is added to it. 
 
 MARTIN VAN CLEVE or GLEFF. 
 Flourifhed, 
 According to profefTor Chrift, this mafter adopted a very fingidar rebus, 
 by way of a mark. It was a monkey feated, with the letters V. C. upon its 
 belly. A monkey, it feems, in Flanders is called by the name of Martin. 
 The initials are then eafily decyphered. The prints alfo marked, M. C. 
 are attributed to this mafter, 
 
 G. CLOCHE. 
 
 Flouriftied, 16 16. 
 According to Abbe Marolles, this engraver fioiiriflied about the beginning 
 of the laft century, and by hrm we have engraved a view of the toum of 
 Renes. 
 
 CLAUSE or NICHOLAS CLOCK. 
 Flouriftied, 1589. 
 
 This name is affixed to a large print, length-ways, reprefenting the judg- 
 ment 
 
C L O [ 205 ] C L O 
 
 ment of Midas, from Karl Van Mandere. It is executed entirely with the 
 graver, in a coarfe, flight ftyle, fomewhat refembling that of Cornelius 
 Cort ; but by no means equal to the works of that mafter ; particularly 
 with refpsfl to the drawing, which is very defeftive in this print, efpecially 
 in the extremities of the figures. It is dated 1589. 
 
 Corn. Clock is alfo mentioned in the lift of engravers, by Evelyn i but 
 none of his works are fpecified. I am not acquainted with them. 
 
 JOHN C L O P P E R. 
 
 Flourifhed, 
 
 An obfcure engraver of no great merit, who worked, I fuppole, for the 
 bookfellers. To a very indifferent portrait of Elias Bcnoift, an ecclefiaftic, 
 executed entirely with the graver, he has affixed his name, " Joannes Clop- 
 per fculp." 
 
 PETER CLOUET or CLOWET. 
 Flourifhed, 
 
 This artlft was a native of Antwerp, where he learned the firft principles 
 of the art of engraving. From thence he went to Italy to complete his 
 ftudies, and worked at Rome, under Spierre and Bloemart. He afterwards 
 returned to Antwerp, where he died, aged 62 years. He worked entirely 
 with the graver, in a clear firm manner,. fomething refembling that of Paul 
 Pontius. His prints are ufually deficient in harmony ; and though full of 
 colour, and boldly engraved, from too equal a diftribution of the fliadows, 
 and the lights being too much fcattered, they lofe a great part of their 
 effedl. He neither drew with tafte, nor correftly. The extremities of his 
 figures are generally very defeftive. However, his prints, thofe efpecially 
 which he engraved from Rubens, are held in no fmall eftimation. 
 
 Among his beft prints the following are ufually reckoned : 
 
 The death of St. Anthony, a large upright plate, from Rubens. 
 
 The d'ejcent from the crofs, the fame from the fame. 
 
 A converfation, where Jeveral lovers are reprefented in a garden, a large 
 plate, length-ways, from the fame. 
 
 A land/cape, with a cottage ; and the fnow is reprefented falling, a large 
 plate, length- ways, from the fame, belonging to a let of fix : the other five 
 were engraved by S. Bollwert. 
 
 A holy family, a middling fized upright plate, from Vandyck. 
 
 Th.e battle of Jofjua. againfi the Amalekites-, a large print, on- two plates, 
 from William Courtois. 
 
 He alfo engraved from feveral other mafters. 
 
 t> 
 
 ■ ALBERT CLOUET or CLOWET. 
 
 Flourifhed, 1672. 
 
 He was nephew to the preceding artift, and went to Italy to improve 
 himfelf in his ftudies under C. Bloemart. He refided fume time at Rome, 
 where he engraved feveral of the portraits for the Lives of the Painters by 
 Bellori. His principal employment feems to have been in the portrait line. 
 
 We 
 
COB [ 206 ] C O C 
 
 We have, however, fome other fubjefts by him ; among the reft, part of the 
 fet of prints, engraved from the pidtures of Pietro Berretino da Cortona, in 
 the palace of the duke of Tufcany ; and in thefe he has imitated, with toler- 
 able fuccefs, the neat manner of Cornelius Bloemart. Speaking of his por- 
 traits, many of them are attempted in the ftyle ofMellan. At other times 
 they are more like thofe of F. de Poilly ; and fometimes bear a refemblance 
 to thofe of Nanteuil; but they by no means equal, either in drawing, effeft, 
 or mechanical execution, the works of thefe great mailers. He has fucceeded, 
 I think, the leaft in imitation of Mellan. . Among a variety of other plates 
 by him, are feveral of thofe, which were engraved for a work, entitled. 
 Effigies Cardinal, nunc viventium, publilhed at Rome by J. Rofie, 
 
 HERMAN COBLENT. 
 
 Flouriflied, 1576. 
 
 This artift was probably inftruftcd by the Collaerts in the art of engraving, 
 and their neat mamer he feems, I think, in general, to have imitated, in the 
 mechanical part of it efpecially, with no fmall fuccefs. But his drawing is by no 
 means equally commendable : the outline is often incorreft, and the extre- 
 mities of his figures are very heavy, and badly marked. His monogram is com- 
 pofedof an H. a C. and an F. joined together in the fame m.anner as ex- 
 prefied upon the plate at the end of the volume. Among other engravings 
 by this artift are the following: 
 
 The /oar Evangelijls, very fmall upright plates. 
 
 Lucrelia ftanding in an arch, the fame. 
 
 The Heathen deities, fingle figures, in arches, the fame. On fome of thefe 
 plates, that of Vulcan in particular, the monogram is reverfed. 
 
 A manjeated at a table, with a quantity of provificn, part of which is 
 Jlying away as at his command ; behind, a woman appears eating an egg, with 
 feveral other figures, a middling fized' plate, length-ways. 
 
 PIETRO PAOLO COCCETTI. 
 
 Flouriftied, 17-5. 
 Some indifferent plates of architecture, engraved by this artift, were pufc- 
 lifhcd, A. D. 1725, in quarto. 
 
 ANTHONY COCHET or COGET. 
 
 Flourilhed, 
 
 An engraver, who flouriflied in the laft century. According to Bafan, he 
 worked with the graver only ; and by him we have 'Time crowning Indufiry, 
 and punijfjing Idlenejs, a middling fized upright plate, from Rubens. He 
 alfo engraved from other mafters ; and feveral portraits j among them 
 that of David Beck, the painter, &c. 
 
 NICHOLAS COCHIN. 
 
 Flouriftied, 1660. 
 
 This artift was born at Troys in Champagne -, and was probably the dif- 
 
 ciple 
 
C O C [ 207 ] c o c 
 
 ciple of Callot, whofe ftyle of engraving he has frequently imitated very fuc- 
 cefsfuUy. He defigned alfo ; and a large part of his works, which are ex- 
 ceedingly multifarious, are from his own compofitions. His fmall figures 
 have great merit j but when he attempted to execute large ones, he 
 failed confide^ably. I fliall only mention the following by him : 
 
 Part of the l^lates for a large folio volume o^ plans and views of the camps, 
 towns, battles, idc. appertaining to the conquejls of the French army under 
 Louis XIV. publifhed by Beaulieu, 1645, &c. 
 
 Part of the plates for the entry of Louis XIV. and his queen into Paris ^ 
 The whole confifted of 22, v/hich were publifhed at Paris, 1622. 
 
 A proceffion, with the flags, trumpets, ifc. taken at the battle of Rocroy, a 
 large narrow plate from a defign of his own. 
 
 The life and paffion of Chrift, fmall plates. 
 
 The hiftory of Judith, the fame, on ten plates. 
 
 The paffage through the redjea, a middling fized plate, length-ways, from 
 his own defign. 
 
 Mojes receiving the tables of the law, the fame 
 
 The adoration of the jhepherds, the fame. 
 
 The converfton of St. Paul, the fame. 
 
 He alfo engraved from Rembrant, Callot, Del la Bella, Chauveau, &c.. 
 
 He often omitted his namej and then he ufually fubftitutes the initials, 
 " N. C. fecit." 
 
 NOEL or NATALES R. COCHIN. 
 
 Flourifhed, 1691. 
 
 He was probably of the fame family with the preceding artift, and en- 
 graved fomewhat in the fame flyle j but not with equal fuccefs. We have a 
 great number of coarfe dark etchings by this artift; among the refl, St. An- 
 thony rejloring a foot to a boy, which had been cut off", a middling fized upright 
 plate. A holy family, from Titian, and feveral of the plates for the volume of 
 prints, from feleft piftures, with a dilTertation upon them by Carolina Ca- 
 therina Patin, daughter of the celebrated phyfician Charles Patin. The title 
 runs thus : Tabellie feleSt^ ac explicate a Carola Catherina Patina, Parijina 
 Academica. Ba.t3.v'n 1691. The fame work was alfo publifhed at Venice, 
 with an Italian tranflation of the difcourfes, the fame year. The printsj, 
 however, do no kind of honour to the artifl who engraved them. 
 
 'to' 
 
 CHARLES NICHOLAS COCHIN. 
 
 Flourifhed, 1750. ^- 
 
 By this ingenious artift, we have feveral good prints in the modern French 
 ftyle. They are very flight, in general ; and the drawing of the naked parts 
 of the human figure is rather mannered than correft. Yet his prints pofTefs 
 a certain fpirited touch, which renders them agreeable to the eye. Among 
 others by his hand are the following : 
 
 The meeting of Jacob and EJau, a middling fized upright plate, from Ix- 
 Moine. 
 
 Jacob and Laban^ the fame,, its companion, from Reftout. 
 
 Alexandar 
 
C O C [ 208 ] c o c 
 
 Alexander and Roxana, two plates, from the ftudies of Raphael, for the 
 Crozat colleftion. 
 
 He alfo engraved from a variety of other mafters. 
 
 Marie Magdalene Horthemels, the wife of Nicholas Cochin, en- 
 graved alfo ; and his fon Charles Nicholas Cochin, a very ingenious 
 defigner and engraver, is hving at prefent, and a member of the Royal Aca- 
 ■demy of Arts at Paris. 
 
 MICHAEL COCK. See Coxie. 
 
 JEROMCOCK, 
 
 Flourifhed, 1550. 
 
 This induftrious man is better known as a printfeller and publiflier, than as 
 an engraver. However, we have a fufficient number of prints, which are the 
 produftions of his own point j and the chief among them are ruuis and ancient 
 rewainSy in and about Rome, and a fet of land/capes after old Brughel. He 
 was born at Antwerp, where he refided and carried on a great commerce 
 in prints. According to Florentle Comte, he engraved in that city the /even 
 liberal arts. His etchings are very flight, executed in a poor fcratchy flyle, 
 and without efFedtj his name is frequently reverfed upon the plate ; he figns 
 them" H. Cock fecit," and ufually adds the date, as 1550, 1551, &c. 
 
 He alio engraved from Michael Coxie, Martin Hemfkirk, and other 
 mailers. 
 
 JOHN CLAUSE DE COCK. 
 
 Flourifhed, 
 By this artift, who appears to have been a painter, we have a flight 
 etching in a free mafterly flyle. It reprefents the martyrdom of a faint, 
 whofe hands are firft cut off. His name is affixed, Joan. Claus. de Cock fecit. 
 
 H C O C K. 
 
 Flourifhed, 1559. 
 He was a Dutchman, and, according to Virtue's Catalogue publifhed by 
 the Hon. Mr. Walpole, engraved an oval portrait of the queen of Scots, 
 from a genuine pifture ; but, adds he, it is not certain, that he was 
 in England. This print is dated 1559 : he might be a relation of the above 
 artift. 
 
 THOMAS COCKSON. 
 
 Flourifhed, i6jo. 
 
 This artift, apparendy an Englifhman, engraved a great variety of por- 
 traits, entirely with the graver, in a neat, ftiff ftyle, which feem to prove, that 
 he had much more induftry than genius. Hefomctimes ufed a mark, com- 
 pofed of a T. and a C. joined together, in the manner as exprelTed upon the 
 
 plate 
 
C O E [ 209 ] C O E 
 
 plate at the end of the volume. Among the prints executed by him are 
 the following : 
 
 King James the Firjl fitting in parliament, awholefheet print. 
 
 King Charles the Fir ft fitting in •parliament, the fame. 
 
 Princefs Elizabeth, daughter to James the Firft. 
 
 Charles earl of Nottingham, on horfeback. 
 
 Francis fFhite, &c. 
 
 PETER C O E C K. 
 
 Born, Died, 1550. 
 
 This artift was born at Aloft in Flanders, and became a painter of fome emi- 
 nence, as well as an architedt. To perfeft himfelf in his ftudies, he went to 
 Italy. Prior to his return to Flanders he made a voyage to Turkey, where 
 he drew whatever he found remarkable concerning the manners and cuftoms 
 of the Turks. Thefe he cut on feven wooden blocks, divided into as many 
 compartments, which being joined together make a very large long print, 
 refembling a frieze. On a tablet, belonging to the firft block, is written in 
 bad French, les moeiirs et fachom de faire de Turcz, avecq les Regions y ap- 
 pertenantes, ont eft aii vif contrefaicetz par Pierre Coeck d' Aloft, luy eft ant en 
 liirque, I an de Jefu Chrift MDXXXIII. le.quel auffy de Ja main propre a 
 pourtraiof ce^ Figures duyfantes a Vimpreffion dy'celles. That is, the man- 
 ner and cuftoms .of the Turks, with the countries belonging to them, were 
 drawn from nature by Peter Coeck of Aloft, when he was in Turkey, the 
 year of Jelus Chrift 1533 ; who alfo with his own hand executed thefe prints 
 according to the drawings he had made. And upon a tablet in the laft block 
 is this infcription : Marie ver Hulft, vefiie du di£f Pierre d' Aloft, trefpaffe en 
 Van MDL. a faiSl iniprinier les din Figures, foubz grace et privilege d'l'im- 
 perialle majefte en Van MCCCCCLIII. In Englifti : Mary Verhulft widow 
 of the faid Peter d' Aloft, who died in the year 1550, caufed thefe figures 
 to be printed under the grace and privilege of his imperial majefty 1553, 
 This large print contains a vaft number of figures, all executed with great 
 care, but not much tafte. The work is, however, very curious -, and 
 doubtlefs at that time was very eftimable. 
 
 JAMES COELMANS. 
 Born, 1670. Died, 
 
 This artift was born at Antwerp about the year 1670, and was the difciplc 
 of Cornelius Vermulen. M. de Boyer, comte d'Aguilles, and counfellor 
 of the parliament at Aix in Provence, employed this artift, conjointly with 
 Sebaftian Barras, to engrave his coUcftion of pittures by the great mafters. 
 The fet of engravings was finiflied, a, d. 1709, but did not appear till 1744, 
 This is Coelmans' largcft and beft work. He executed his plates chiefly 
 with the graver, in a dark, heavy ftyle! His lights are ufually fudden and 
 iinharmonized, and his drawing, with refpeft to the naked parts of the human 
 figure, is particularly defeftive. I think the murder of the innocents, from 
 Claude Spierre, and the fall cf the giants, with ViHoiy crowning!) avid, from 
 Nicholas Pouffin, may be reckoned among his beft prints for the above 
 mentioned colledion. 
 
 VOL. I. E e L A U- 
 
C O E [ 210 ] COL 
 
 > LAUVERS COENRADT. 
 
 Flourilhed, 
 
 This artift engraved part of the portraits for the coUeftion of cardinals, 
 publifhed by RofTi j but thefe plates do him no great credit. 
 
 C O G E T. See Cochet. 
 
 S. C O I G N A R D. 
 
 Flourilhed, 1702. 
 
 The name of an obfcure and indifferent engraver, affixed to the following 
 prints: the portrait of Sir Ch-rijiopher Wren^ in oflavo ; "John Dry den 
 the poet, a bad copy of the print from Knellcr by Edelink. The latter is 
 dated 1702. 
 
 STEPHEN COLBENSCHLAG, or COLBENIUS. 
 
 Flouriflied, 
 
 This artiftj who fiourifhed at the commencement of the laft century, was 
 a native of Germany ; but he refided at Rome, where he engraved feveral 
 plates from Dominichino and other mailers. The mark attributed to him 
 is compofed of tliree letters joined together, namely, an E. a C. and an L. 
 The firft is the initial of his baptifmal name, when written in the French 
 ftyle Etienne. I lliall only notice, 
 
 A defcent from the crofs, a middling fized upright plate, from Annibalc 
 Carracci. 
 
 The adoration of the fhepherds, from Dominichino, a middling fized up- 
 right plate. 
 
 HUMPHRY COLE. 
 
 Flouriflied, 1572. 
 
 This artift was born in the north of England, and is fuppofed to have 
 been brother to Peter Cole the painter, mentioned by Meres, in his IVit's 
 Common-wealth, a. d. 1572. He belonged to the mint in the Tower ; and 
 the Hon. Mr. Walpole fuppofes him to be one of the engravers, employed 
 ^by archbilliop Parker ; for he engraved a large map andfrontifpiece, in which 
 is reprefented a portrait of ^leen Elizabeth, and the earl of Leiceftcr as 
 Jofhua, and lord Burleigh as David, accompanying her. Both of diem for 
 the folio edition of the bible, known by the name of Parker's Bible. It was 
 publiflied, A. D. 1572. 
 
 J. C O L E. 
 
 Flouriflied, 1720. 
 A very indifferent engraver, employed principally by the bookfellers, 
 and upon worlis of the commoneft kind. One of the bell prints that I recoUedt 
 
 to 
 
COL [ 211 ] COL 
 
 to have feen by him, is a view of the Royal George, a large plate, Jength- 
 ways, frortiT. Bafton. It is executed entirely with the graver, and chiefly 
 with a fingle ftroke : what little hatching is introduced is crofled fquarely 
 upon the firft ftroke. It is highly probable, that the following engravers 
 were of the fame family, namely, 
 
 B. Cole, by whom, among other things, is the portrait of Mrs. Behn ; and 
 N. P. Cole, who engraved the portrait of James Puckle, &c. 
 
 FRANCOIS COLIGNON. 
 
 Flourillied, 1646. 
 Apparently a Frenchman by birth; but he was eftablifhed at Rome, where 
 he carried on a confiderable commerce in prints. His great excellency lay 
 in views of buildings, gardens, &c. with fmall figures, which he executed in 
 a free, fpirited ftyle, and at times he refembles Callot, De la Bella, and 
 Ifrael Silveftre; from all of which mafters he engraved. He did many of 
 the plates for the coUeftion of all the principal cities and towns in Europe j 
 alfo fome of thofe for the great colleftion of plans and views publiflied under 
 the dire6lion of M. de Bcaulieu. He alfo engraved many plates from com- 
 pofitions of his own. 
 
 ADRIAN COLLAERT. 
 
 Flourifhed, 1550. 
 
 An artift of great merit, born at Antwerp. After having learned in his own 
 country the firft principles of engraving, he went to Italy, where he refided 
 fome time to perfeft himfelf in drawing. He worked entirely with the graver, 
 in a firm, neat ftyle, but rather ftiff and dry. The vaft number of plates 
 executed by his hand, fufficiently evince the facility with which he engraved ; 
 and though exceedingly neat, yet they are feldom highly finifhed. 
 His maffes of lights are rarely well managed, or fl<;ilfully blended j and from 
 their being too much fcattered, and equally powerful on all parts, they 
 impoverifh, and in fome inftances, entirely deftroy the effeft. To makeup 
 for thefe deficiencies, which was rather the fault of the time than of the artift, 
 he drew admirably. The heads of his figures are, frequently, beautiful and 
 charafteriftic, and the other extremities very correftly marked. I fhall only 
 notice the following prints by his hand : 
 
 The Ifraelitijlj women finging theffalm of fraife for the defiruBion of the 
 Egyptian hoji in the Red Sea, a middling fized plate length-ways, from J. 
 Straden. 
 
 St. Martin dividing his clbak between two beggars, a middling- fized up- 
 right plate, from the fame mafter. 
 
 Great part of the plates for a fet of prints, reprefenting the life and paffmi 
 of Chri[i, which confifts of 50, from Martin de Vos. 
 
 A/et of hermit ejfes, engraved conjointly with his fon John CoUaert. 
 
 The twelve months, in circles, from Hans, or John Bol. 
 
 E e 2 The 
 
COL [ iiz ] COL 
 
 The twelve }f!onthSy from Jofle Momper; thefe Callot copied. 
 
 He alfo engraved from a variety of other mafters, and fometimes ufed the 
 marks which are copied on the plate at the end of the volume, compofed 
 of an A. and a C. 
 
 HANS or JOHN COLLAERT. 
 
 Flouriflied, 1600. 
 
 This excellent artift was fon to the foregoing. He drew and engraved 
 cxaftly in the ftyle of his father ; and was, in every refpefb, equal to him in 
 merit. He muft have been very old when he died ; for his prints are 
 dated from 1555 to 1622. He aflifted his father in all his great works, and 
 engraved befides a prodigious number of plates of various fubjedls. I fliall 
 only notice the following : 
 
 Mojes ftriking the rock, a large print, length-ways, from Lambert Lom- 
 bard. A great number of fmall figures are introduced into this print ; and 
 they are admirably well executed : the heads are fine, and the drawing very 
 correfl. This I confider as one of his beft prints. It was publilTied by 
 JeromCock, 1555, and is marked " Hans Collaert fee." 
 
 Time and 'Truth, a. fmall upright plate, from J. Straden : this is very 
 neatly engraved. 
 
 The prints for the Mijfal of Moretus, from the defigns of Rubens. 
 
 Part of the plates for the Life of Chrifl, from Martin de Vos, mentioned 
 above in the lift of his father's works. 
 
 A fet of twenty middling fized plates, length-ways, entitled, nova reper- 
 TA, from the defigns of J. Straden. They reprcfent in a fort of emblema- 
 tical manner, the modern inventions : as, ■printing, the ufeof guns, the compafs, 
 
 &c. 
 
 He alfo engraved a great number of hijiorical fuljecls, as well facred as 
 prophane, titles to books, &c. from Martin Hemflcirk, JoflTe Momper, Henry 
 Goltzius, and other mafters. He fometimes marked his plates with the 
 initials of his name only: as, H. C F. the F. as ufual ftanding for fecit. 
 
 Charles Collaert appears to have been of the fame family with the 
 preceding artift, and publifhed many of the plates, engraved by the father 
 and fon j but I do not recoUedl that he engraved himfelf. 
 
 Mr. Evelyn, upon what authority I know not, mentions the name of 
 Collaert without any diftiniStion detween the father, fon, or relation ; and fays 
 he " graved Jome things rarely infieel," 
 
 COLLET. 
 
 Flouriflied, 1770. 
 He engraved part of a fet of plates of ornaments for goldfmiths and jewellers, 
 from the defigns of Gilles Legate, which were publiflied at Paris. They are 
 very neatly executed with the graver. 
 
 JOHNCOLLET. 
 
 Flouriflied, 1760. 
 
 He was a painter of ludicrous fubjeds. His works are well known. He 
 
 was 
 
COL [ 213 ] COL 
 
 was a very ingenious, fenfible man ; but extxemely fhy. He etched two 
 plates ; one reprefencing antiquarians /melling to the chamber-pot of queen 
 Boadicea-y and the other a monkey pointing to a very dark piSiure of Mo/es 
 flriking the rock, in ridicule of the admirers of Rembrandt Gerretz, wliofe 
 works were then much in fafhion. This has fince his death been attributed 
 to Hogarth, partly owing to the head of a connoifleur in a tyc wig, which 
 was etched by Dawes, a pupil of that mafter. A little before Mr. Collet's 
 death he retired to Chelfea, having by the deceafe of a relation inherited a 
 comfortable annuity. Mr. GroiTc obligingly favoured me with this account 
 of Mr. Collet and his etchings. 
 
 RICHARD COLLINS. 
 
 Flourifhed, 1676. 
 
 A ver)' indifferent engraver, who refided at Antwerp, towards the con- 
 clufion of the lad century, by wliorn we have Efther before king Abafuerus, a 
 large plate, length-ways, from Rubens : Panneels alfo copied the fame pic- 
 ture. Several portraits in a neat, laboured ftyle ; and fome antique ftatues, 
 from the drawings of Sandrart, Sec. To the portrait of Anna Adelhildis 
 uxor principis de la Tour et Tafjis, he fignshis nzme, Richard Collins, chalco- 
 graphus Regis, and adds, advivum del. etfculp. Bruxella 1682. Mr. Wal- 
 pole mentions Richard Collins jun. a name affixed to a print, engraved 
 for the life of Francis Peck the antiquary, 
 
 JOHN COLLINS. 
 
 Flouriflied, 1682. 
 What countryman this engraver was I cannot difcover; but I think it 
 appears, that he refided in England. By him we have fome very indifferent 
 copies from the grote'fque figures, publifhed by the Bonnarts in France, 
 called Signior Scaramouch and his company of comedians. They are middling 
 fized upright plates, a fmgle figure on each. We have alfo fome portraits 
 by him, equally indifferent. Among them, the head of Keay Nabe Naia 
 lui-praia, principal ambaffador from the Sultan Abdulcahar, king of Suro- 
 fcan, printed from N.Yates, dated 1682. Add to thefe the funeral procej- 
 fion of George duke of Albemarle. There are alio fome etchings by him. 
 
 M. C O L M. 
 
 Flourifhed, 
 A name affixed to a fmall head of queen Elizabeth in an oval, engraved for 
 the Genealogy of the Kings of England from the Conqueft, quarto. 
 
 COS M 10 COLOMBINI. 
 Flouriffied, J754. 
 A modern Italian artifl:, who engraved fom^e of the plates for the Mufeo 
 Fiorentino, &c. 
 
 A. D. 
 
Q O h f 214 1 CON 
 
 A, D. C O L O N I A, 
 
 Flourifhed, 
 
 recomment" '' '" ' ' -- ._ __ 
 
 tlounlhed, 
 This name is affixed to a flight incorreft etching, which has nothing 
 icommend it, reprefenting JpoUo with the Mitjcs ; a fmall upright plate. 
 
 MICHAEL COLYN. 
 Flourifhed, 
 This artift, who is faid to have been a native of Antwerp, engraved the 
 Change at Amjierdam, &c. 
 
 J O V A N C O M I N. 
 
 Flourifhed, 
 This name is affixed to fome plates of antique ftatueSt executed entirely 
 with the graver, in a very ftiff, taftelefs ftyle. The originals, from whence 
 thefe prints were taken, are in the Guiftinian gallery. 
 
 CAMMILLO CONGIO. 
 
 Flourifhed, 
 This engraver flouriflied the beginning of the lafl centuiy; and by him we 
 have a o-reat variety of engravings from Tempefta, Andrea D'Ancona, Ber- 
 nard Caftelli, Gafper Celio, and other mafters. His plates are ufually 
 marked with two C's, the top of one joined to the bottom of the other, in the 
 manner expreffed upon die plate at the end of the volume -, or in this 
 manner: C. C. F. the F. ftandingfor f^^cit. 
 
 CORNELIUS CONI. NCK. 
 Flouriflied, 
 An artift of great merit, by him we have the portrait of Jdrianus Tetrodius 
 of Haerlem, a fmall upright plate from Grebber, executed with the graver in 
 a neat pleafmg ftyle, well drawn, and the effeft is clear and good. 
 
 SOLOMON CONINCK, or KONNINCK. 
 
 Born, 1609. Died, 
 This artift was a native of Amfterdam. He firft ftudied under Francois 
 Fernando, and afterwards became the difciplc of Nicholas Moyaert. He 
 excelled in hiftorical painting, and we have by him feveral etchings from 
 his own compofitions, in imitation of the ftyle of Rembrandt. 
 
 ABRAHAM CONRAD. 
 
 Flouriflied, 
 This engraver, according to Bafan, was a native of Holland, and flou- 
 riflied towards the end of the laft century. He was chiefly employed in 
 cn2;raving portraits, which he performed with great fuccefs ; and fometimes 
 
 from 
 
CON [ 215 ] COO 
 
 from his own defigns. His works prove him to have been a man of great 
 ability. I fliall only mention the portrait of Jacob. Friglandus, in which he 
 has finely imitated the ftyle of Lucas Vofi:erman, and that of Godefroid Hot- 
 ton. A half figure, from H. Merman. In finifhing the face he has fcratched 
 the copper with the point of the graver, in a manner bearing fome flight 
 refemblance to that adopted by Worlidge. 
 
 GIOVANNI BATISTA CONSTANTINI. 
 Flourilhed, 161 9. 
 
 From the appearance of this artift's works, I ihould fuppofe he was a 
 painter, for he etched in a flight, free ftyle, fomething refembling that of 
 Guido, but not (o correft or mafterly. I have feen by him, a fmall Bacchanal 
 furrounded with a grape vine in the fafhion of a border, a circular plate, from 
 Guido. It is dated 16 19, and the name by miftake is written Cojiantino ; to 
 It he adds the word Roma, probably he refidcd in that city. 
 
 PETER COOL. 
 
 Flouriflied, 
 
 This name is affixed to a middling fized upright print, reprefenting 
 Chriji cairyhig his crqfs, with St. Veronica, and Jeveral other figures, from 
 Martin de Vos. It is executed with the graver in a ftiff, coarfe ftyle i and 
 the drawing is exceedingly defeftive. 
 
 PETER COMBES. 
 
 Flourifhed, 
 An engraver in mezzotinto, by whom we have a fmall whole length por- 
 trait o( Mafler Charles More, /on to the biJJjop of Ely, This print poflcffes a 
 very fmall ftiare of merit. 
 
 RICHARD COOPER. 
 
 Flourifhed, 1730. 
 This artift, who was a painter, refided at Edinburgh. He engraved the 
 portrait of William Carftares, and of Andrea Allan the painter, after W. 
 Robinfon. 
 
 RICHARD COOPER. 
 
 Flourifhed, 1762. 
 
 This artift refided at London, and engraved portraits. Among others, are 
 ihtfive children of Charles t^ie Firft, with the great dog, from Vandyck ; alfo 
 the portrait oi Taylor, the oculijl. 
 
 Edward Cooper, the printfeller, is alfo thought to have engraved ; but 
 I do not recoiled his name, as an engraver, to any of the plates publiflied 
 by him. 
 
 R. C O R_ 
 
COR [ 216 ] COR 
 
 C. CORBUTT. 
 
 Flouriftied, 1760. 
 A modern mezzotinto fcraper, who refidcd at London. By him we have 
 feveral portraits from different matters ; among the reft, that of Anne Baf- 
 tard, of Kitely in Devonfhire. 
 
 R. C O Rdt ER. 
 
 Flourifned, 1647. 
 This engraver, a native of Abbeville in Picardy is mentioned by Florent 
 le Comte, who attributes to him the engraving of a writing hook, for Petre, 
 the writing-mafter at Paris; and another for Louis Barbedor. He alfo en- 
 graved a map of the fort of Breft. I fuppofe he was little more than a 
 writing engraver 5 but I never faw any of his performances. 
 
 FRANCESCO CORDUBA. 
 
 Flourifhed, 
 This artift, who adds Eques, or Knight to his name, imitated the ftyle of 
 Callot, We have engraved by him from drawings of his own, a fet of mid- 
 dling fized upright plates of the /(?;/K/i?/«j which are in the gardens at Rome-, 
 and he has introduced many little figures. Thefe plates are llightly etched, 
 and with fome fpirit. He figns his name Eqiies Franc. Corduba del etjculp. 
 
 CHRISTOFANO CORIOLANO. 
 
 Flourifhed, 
 This artift, according to M. Heineken, was a native of Nuremberg, and 
 an engraver on wood ; but none of his woi-ks are fpecified. 
 
 BARTOLOMEO CORIOLANO. 
 
 Flourifhed, 1637. 
 This artift was the fon of Chriftopher Coriolanus, mentioned in the pre- 
 ceding article, and was alfo an engraver on wood. He was born at 
 Bologna in Italy, as appears from the infcription at the bottom of his prints. 
 It feems that he was honoured with a title; for he adds the word Eques, or 
 Knight, to his name ; and according to Papiilon, he pretended to have been 
 a defcendant from Caius Martius Coriolanus, the great Roman general. He 
 learned the art of defign in the famous academy of Bologna, founded by the 
 Carraccii ; and he applied his ftudies to engraving on wood in chiaro-fcuro. 
 In general, he ufed no more than two blocks of wood; on the firft he cut 
 not only the outline, but the darker fhadows, in "imitation of the hatchings 
 with a pen ; and the fecond block ferved for the demy tint : and with thele 
 two blocks fo judicioudy managed he produced a pleafing efFeft. We fee by 
 the bold fpirited works of this mafter, that he drew admirably well. His 
 heads are finely charafterifed ; and the other extremities of his figures are 
 
 3 marked 
 
COR [ 217 ] COR 
 
 marked in a mafterly ftyle. I can only mention the following' prints by this 
 artill : 
 
 St. Jerom, a half figure, a fmall upright print from Guido. Tliis print is- 
 engi-aved on three blocI<s of wood; the firftfor the outline and dark fhadows; 
 the fecond for the middle fhadows ; and the laft for the lightell tints. It is 
 infcribed, " Barthol. Coriolanus Eques fculpfit, Bonon. 1637." 
 
 The fall of the giants, a large upright print, on four feparate fliects, wliich. 
 pafte together. 
 
 Two female figures from Guido, marked, Romre 1627. 
 
 Teresia Maria Coriolanio, the daughter of this artifl:, painted and 
 engraved alio for her amufement. 
 
 D 
 
 GIOVANNA BATISTA CORIOLANO. 
 
 Flourifhed, 1639. 
 
 This artifl was brother to Bartholomew Coriolanus, mentioned in the 
 preceding article. He was born at Bologna, and, after being inftrudted in 
 the firft principles of defign, became the difciple of Valifco, a painter of 
 fome eminence. As a painter, I believe, he never acquired any great de- 
 gree of reputation. He engraved a variety of prints both on v/ood and 
 copoer; but the form.er, in my opinion, are greatly fuperior to the latter. 
 
 I fhall mention the following only by this artifl: : Some heads cut on 
 wood, in a bold, free, fpirited ftyle ; among the reft, the portrait of For- 
 tuniiis Licetus Gemvenfts, dated 1689. Chrijl crowned ix:ith thorns, a mid- 
 dling fized upright copper plate, from Ludovico Carracci, a flight, bold 
 etching. He alfo engraved from Guercino, and other great mafters. 
 
 Joachim Theodorvs Coriolanus, the name latinifed of an artift, per- 
 haps of the fame family with the preceding. According to Papillon, he 
 engraved on wood, and flouriihed in the year 1600 ; and marked his prints 
 with thefe initials, I. T. C. F. B. for " Joachim Theodorus Coriolanus 
 fecit Bafileas;" but that author has not fpecified any of his works. 
 
 JOHN BAPTIST C O R N E I L L F,. 
 Born, 1636. Died, 1695. 
 This artift was born at Paris, a. d. 1636, and inftrudlcd in the principles, 
 of painting by his father, Michael Corneille, under whom he attained to a 
 confiderable degree of perfeftion. He alio etched feveral very fpirited 
 plates, and finilhed them with the graver, in a ftyle far fuperior to what one 
 ufually meets with from the hand of the painter. Among others, is a figure. 
 i^{ Mercury flying in the air, from a compofition of his own. This print is 
 in the Cabinet des Beaux Artes, publifhed at Paris 1690. by Perault. Cor- 
 neille died A. D. 1695, aged 59. 
 
 MICHAEL CORNEILLE. 
 
 Born, 1642. Died, 1708. 
 This great artift, whofe works do not appear to me to be fo well known or 
 cfteemed, as they juftly deferve, was a painter, brother to John Baptift Cor- 
 voL. I. F f nsilJe_, 
 
COR [ 218 ] COR 
 
 neille, mentioned in the preceding article, and his father's pupil. He went 
 V to Italy to complete his ftudies, and perfeft himfelf in the art of defign. 
 
 ^ He underftood the management of light and fhadowjfo as to produce a pow- 
 
 erful and pleafing etfedl: ; and though he chiefly excelled in hiftory, he alfo 
 fucceeded greatly in landfcape. I fliall confine my oblervations to his etch- 
 fe inps only ; and beg the indulgence of criticifing a little upon the four fol- 
 
 lowing ones. They are middling fized plates, length-ways, and rcprefent, 
 I. The Deity appearing to Abraham. 1. yibraham journeying ivith Lot. 3. Abra- 
 ham overcoming the army of the confederate kings. 4. Abraham fetting out 
 with hisfon IJaac to facrijice him. They are etched in a fine, bold, free, 
 ftyle ; the compofitions are full of grandeur ; the heads are peculiarly cha- 
 radleriftic ; the extremities, like thofe of Raphael, are finely drawn, and the 
 draperies difpofed with the greateft tafte. One may fee how clofely he has 
 ftudied the celebrated Italian painters, and admire the good ufe he has made 
 of thofe ftudies. The figure of Abraham, in the laft, has much of the ftyle of 
 Polidoro Carravagio in it 5 and all the naked figures, in the third, are drawn 
 in the manner of the Carraccii. He died at Paris, a. d, 170S, aged 66. 
 I fliall mention befides, by this artift, 
 
 A holy family, with Elizabeth and St. John in a landfcape^ a fmall plate, 
 length-ways, from Raphael. 
 
 St. Andrew kneeling before the crofs, a beautiful fmall upright plate, from 
 a compofition of his own. 
 
 St. Francis interceding with Chrifi for the redemption of mankind, a mid- 
 dling fized upright plate, from the fame. 
 'I' Notre Dame des Anges called la Portioncule, a middling fized upright plate. 
 
 ^ 
 
 LAMBERT CORNELIS. 
 
 Flouriflied, 
 
 This engraver worked, I believe, chiefly for the bookfellers ; and his em- 
 ployment feems to have been principally in the portrait line. We have by 
 him, among others, the portrait of Tycho Brahe, the aftronomer. 
 
 C O R N H E R T. See Cuerenhert. 
 
 CORNISH. 
 
 Flourifhed, 
 An obfcure engraver, by whom, among other things, we have the portrait 
 of Dr. Charles Roje, a flight etching in quarto. 
 
 VINCENT CORONELLI. 
 Born, Died, 1718. 
 
 This artift was a native of Venice, where he engraved fome maps, which 
 are dated 1697. 
 
 I P. C O R O- 
 
COR [ 219 ] COR 
 
 P. CORONELLI. 
 
 Flourifhed, 17 16. 
 This artlflr, who probably wa» of the fame family with the preceding, en- 
 graved the plates for a work, entitled, Roma Antica Moderna del P. Coronell 
 cojmografo Publico ad ufo de faoi Argonauti in Venexia, 17 16. They are 
 poor, flight, indifferent etchings, confilling of views of buildings y &c. fmall 
 plates, length-ways. 
 
 C O R R E G I O. See Allegri. 
 
 JEROM CORRIDOR L 
 
 Flourifhed, 
 
 A native of Modena, and refided at Rome, where he publiflied many 
 fine prints. He is fpoken of with great commendation in the Abe- 
 cedario. And it feems, that his great talents loft him his life ; for being 
 pufhed into the Tyber by fome envious perfon, he was unfortunately 
 drowned. He is mentioned as an engraver; but I do not recoUeft to 
 have feen any of his works. 
 
 NICOLO CORSI. 
 
 Flourifhed, 1503. 
 
 He was a native of Genoa, and a painter of fome eminence. To him is 
 attributed the engraving of a portrait of Francejco MazzuolUt called Par- 
 migiano. 
 
 M. Antonio Corsi, is the name of a modern engraver, who flourifhed 
 1760, and executed fome of the plates for the Mufeo Fiorentino. 
 
 CORNELIUS CORT. 
 Born, 1536. Died,. 1578. .. 
 
 Thisjuftly celebrated artift was born at Hoorn in Holland, a. d. 1536. 
 After having learned thefirft principles of drawing and engraving, (perhaps 
 from Cuerenhert) he went to Italy to complete his ftudies, and vifited all the 
 places, famous for the works of the great matters. At Venice he was 
 courteoufly received by Titian ; and engraved feveral plates from the 
 pictures of that admirable painter. He at laft fettled at Rome, where he 
 died 157S, aged 42. 
 
 This artift worked entirely with the graver, in a bold, open, flight fbyle. 
 His back-grounds efpecially, if they be landfcapes, are executed with much 
 tafte and freedom, and evidently fhow the great command he had of that 
 inftrument. But there is a drynefs and ftifFnefs, in general, about his figures, 
 particularly thofe that are covered with drapery, which frequently, joined with 
 a want of harmony, produces an unpleafing efFefb. His drawing is ufually 
 correct and mafterly; fometimes, indeed, the outlines are hard and 
 the extremities marked in a negligent, flovenly manner. But in his beft 
 prims, thefe faults are by no means confpicuous. Balan fays of him, that he 
 was " the beft engraver with the burin or graver onlv, that Holland ever pro- 
 
 F f 2 ' " duced. 
 
 ,.);., 
 
COR [ 22D ] COR 
 
 ^' ducetl . We find in his prints," adds he, " corrciStnefs of drawing, and an ex- 
 " quiiite tafte." This compliment perhaps, by fome connoiffeurs, may be 
 thoiiglit to be a little overftrained ; but that he was an artift of great merit, 
 miift be allowed by all, v/ho are acquainted with his works, though he was 
 not always equally happy in the execution of them. Bafan with great jufrice, 
 w y^ .^ praifes the talte and lightneis of touch, with which he engraved landfcapes, 
 
 and that without the affifcance of the point. It is no fmall honour to this 
 artiil:, that Agoftino Carracci was his fcholar, and imitated his ftyle of en- 
 graving, rather than that of any -other raafter. I fliall mention by him the 
 fl-w following prints only, his engravings being very numerous (151 accord- 
 ing to Abbe Marolles) and by no raeaiis uncommon. 
 
 Paradife, a large upright plate, from Titiano, dated 1566. 
 ' St. Jerom, a fmall upright plate, from the fame mafter, dated the fame. 
 
 The difcovery of the incontinency of Califia, a large upright plate, from the 
 fame, dated .the fame. 
 
 Prometheus chained to the rock: this figure is finely dra^vn ; a middling 
 fixed upright plate, from the fame mafter, and dated the fame. 
 
 T\\tjevcn penitents. Thefe are feven large landfcapes, with fmall figures 
 of the Saints, Mary Magdalen, St. Anthony, &c. Six of them are upright 
 plates, and the feventh, length-ways, from Jerom Mutian, dated from 1575 
 Jk 101573. 
 
 A holy family, zvith St. ferom Jlanding in front., and Maiy Magdalen kiffmg 
 the feet of the infant Chrift, a large upright plate from Corregio. Agof- 
 tino engraved the fame fubjedli and both are dated 1586. They are not 
 eafily diftinguifhed from each other. 
 
 Tlie adoration of the fhepherds, from Polydore, a large plate, length-ways. 
 
 A holy famiJy, with St. John holding a bird, a middhng fized upright 
 plate from Frederico Baroccio, a very fine print, dated 1577. 
 
 The adoration ofthefJiepherds, a middling fized upright plate, from M. R. 
 Senenfis, dated 1568. 
 
 K faint reading, holding a lily, reprefented in a landfcape, a middling fized 
 upright plate, from Bartolomeo Spranger. The back ground to this plate 
 is remarkably fine. It is dated 1 573. 
 
 Tiie transfiguration, from Raphael, a large upright plate. In this print the 
 artift has greatly fitiled ; the chara61:er and expreflion of the heads, fo admir- 
 able in the pifture, are quite loft in the engraving. 
 
 The lafl [upper, a large upright plate, from Tadeo Zuccaro. 
 
 T\\t laflfupper, the fame, from Livio de Forli, called Livio Agrefti, dated 
 1578. 
 
 Cbrifi praying in the garden, a middling fized upright plate, without the 
 name of the painter or the engraver. This print is diftinguifhed by a fmall 
 inftrument at the bottom of the plate, near the feet of one of the difciples, 
 which is ufually taken for a lamp ; and for this caufe the engrav- 
 ing has been attributed to an old mafter, who flourifhed 1509, and ufed a 
 mark fomething refembling it. See this mark copied on the plate at the end 
 of the volume. He alfo engraved from Michael Angelo, Andrea del Sarto, 
 <•*• M. Heemfkerck, Franc. Floris, James Stradan, Marcello Venufti, and other 
 
 mafters. 
 
COR [ 221 ] COS 
 
 mafters. Thofe from Heemflcerck appear to have been his firfl works, and 
 executed before he left Holland. "They are libUjuhjens, and very indiner- 
 ently executed. 
 
 GIACOMO CORTE^I, called BOURGUIGNON. 
 
 Born, 162 1. Died, 1676. 
 
 This admirable and well known artift was born at St. Hippolito, in Franche 
 Compte. His great excellence confiiled in ^?S\vxinQ hiftorical JuLjeSfs, and 
 battles., particularly in the laPc. He had occupied a poll in the army him- 
 felf ; and from being an eye witnefs of feveral atlions, he compofcd thofe 
 fubjedts with great fire and fpirit. In Italy, where he went whilfl: young, 
 he formed an acquaintance with Guido and Albano, and profited not a little 
 from their inftruftions. He was exceedingly expeditious in the execution 
 of his piftures ; and it is faid, tliat he never found it ncceiTary to make a 
 ficetch of tlie fubjefthe meant to paint before-hand ; but drew it at once upon 
 the canvafs, and proceeded to the finilliing of it. He entered into religio'JS 
 orders, and became a jefuit. He died at Rome, a. d. 1676, aged <5 years. 
 By this artift we have fome fmall etchings oi battles, very flight, but pro- 
 digioufly free and mafterly. The mafles of light and iliadow are finely pre- 
 ferved in them, lb as to produce a powerful and ftriking effeft. Pie was 
 not equally fuccefsful in drawing of the naked parts of the human figure, 
 wherever we find them reprefented by him they are inccrreft. 
 
 GUGLIELMO CORTERT. 
 
 Born, Died, 1679. 
 
 This artift, who was brother to the preceding mafter, was fcholar to Pietro 
 da Cortona. He is fpoken of alfo, as a painter, with commendation. He 
 died at Rome, a. d. 1679, two years after his brother. We have but one en- 
 graving by him, which reprefents Tobias burying the dead, from a defia-n of 
 his own. 
 
 JOHN AUGUSTUS CORVINUS. 
 Flourifhed, 
 
 A modern German engraver of views, buildings, &c. which he executed 
 in a ftyle fufficiently neat, but ftiff" and without tafte. Among other things 
 by him, area fet of ornaments for ceilings, from the defigns of Carlo Maria 
 Pozzi, in large folio. He engraved moft of the plates for the work, entitkd, 
 Reprejentatio Belli objucceffionemin Regno Hijpanico, &c. a large folio volume, 
 publiftied at Augfburg. And great part of the plates for a work, con- 
 taining T7>k;j of churches, &c. at Vienna, which was alfo publiftied atAu'^f- 
 burg by John Andrea Peeffel, 1724, are by him. 
 
 LOUISCOSSIN. 
 Flourifned, 1690. 
 This engraver appears to liave been a native of France. He refided at 
 
 Paris. 
 
COS [ 222 ] COS 
 
 Paris, and called himfelf engraver to the king. He worked entirely with 
 the graver in a poor, taftelefs ftyle. In drawing and efFeft he is alfo exceed- 
 ingly deficient. Among other things by him, is a figure reprefenting Sculp- 
 ture, in i\\t cabinet des B^aux y/r/^^, publiflicd at Paris, a. d. 1690. He alia 
 engraved fome few portraits, which are however of but little value. 
 
 LAURENCE JOHNSON COSTER. 
 Born, Died, 1441. 
 
 I fliall by no means enter into the long and unfatisfaftory difpute concern- 
 ing this artift, or whether fuch an artift really exifted or not. The Dutch. 
 have laid claim to the invention of engraving on wood, and the ftill nobler 
 art of printing, whicli appears immediately to have followed. And accord- 
 ing to them, the following trivial accident gave birth to both. Cofter one? 
 day walking in a wood, near the city of Haerlem, where he was born, 
 amufed himfelf with cutting letters upon the bark of a tree, which for 
 fancy fake being imprefled upon paper, he printed one or two lines, as a 
 fpecimen, for his children. He then proceeded to cut letters in wood, and. 
 joined them together with thread ; and by degrees produced a book, en- 
 titled. Speculum Sahationis, which he ornamented with vignettes, cut iiv 
 wood. There are alfo fome rude portraits attributed to this doubtful artift j 
 but as eveiy one may not poflefs Baron Heineken's Idea Generale d'une Col- 
 leliion d'EJiampes, wherein a full account is given of this man, and the- 
 works attributed to him, (which, indeed, the author looks upon as entirely 
 fabulous) I will tranfcribe his lift. 
 
 A fmall huji of a man, with a cap, near two inches high, by one inch 
 wide, marked ilaurcnce 31ftffOftt> fuppofed to be the portait of Cofter. 
 
 A bufl of an old man in profile, two inches high, by one inch and three 
 quarters wide, marked at bottom, l^altlmrt fecU Oa !^arlcim. 
 
 Another buft, the face turned to the left, marked Jrt SDaBtn fiac- 
 
 Another buft, a three quarter face, marked on the back-ground towards the 
 left with an L. and below ^ttgo Blatob' fot 1) =ILiD. 
 
 Another, marked 3an Uan l^cmfctt S)tilDEV Ij l^arletii. 
 
 Another, marked 910 £Di)ati0 »»«lt!Cr l^adcm. 
 
 Another, of which the mark is not plain, but appears to be, J. v. Mer- 
 cken. 
 
 In the royal library at St. James's is a Virgin, with the inftruments of Chrift's 
 Sufferings, attributed alfo to Cofter. 
 
 I ftiall have occafion to fpeak of this man again, in the EfTay on the rife 
 and progrcfs of engraving on wood, which will be given in the ftcond volume. 
 
 D. COSTER. 
 
 Flourifhed, 
 The name of an obfcure engraver, alHxcd to the portrait of Franc. Hals 
 the painter, from Vandyck. 
 
 J A C O P O 
 
COT [ 223 ] C O U 
 
 JACOPO COTTA. 
 
 Flourifhed, 
 
 This name is affixed to an etching which I have before me, very badly 
 executed, and exceedingly defeftive in the drawing. The fubjedl, 1 believe, 
 is the meeting of IJaac and Rebecca. Two men are unloading a horfe in the 
 front : it is a middling fized plate, length-ways, from Storer. 
 
 PETER COTTAR T. 
 
 Flourifhed, 
 
 This artift was an architeft, and flourifhed in the feventeenth century. 
 By him we have feme rough etchings of vajes and ornaments^ See the mo- 
 nogram, with which he ufually marked his engravings, on the plate at the 
 end of the volume. 
 
 J. D E CO U R B E S. 
 
 Flourifhed, 
 
 An artifl of no great merit, chiefly employed for the bookfellers. By his 
 hand, among others, we have the portrait of Sir Philip Sidney., a fmall 
 o6lavo oval plate. Mary countejs of Pembroke, a fmall oftavo. As he does 
 not cite the name of the painter, and adds the letter F. for fecit to his 
 name, it is probable, that he engraved them from defigns of his own. 
 
 C O U C H E T. See Coget. 
 
 ANNE PHILBERT COULET. 
 
 Flourifhed, 1760. 
 
 This lady is mentioned by Bafan, as refiding at Paris. By her hand wc 
 have feveral very pretty landfcapes, well etched and retouched with the 
 graver, in a flyle that does her honour : among the reft, 
 
 The/«/> afternoon, a landfcape, ornamented with figures, from Vernet, a 
 middling fized plate, length-ways. 
 
 The hafpy pajfage, and its companion, the departure of the boat, two fea 
 views, the fame from the fame. 
 
 The Florentine fifhermen, and the Neapolitan fiJJjennen, companions, 
 middling fized upriglit plates, from the fame. 
 
 C O U R T O I S. See Cortesi. 
 
 P. F. C O U R T O I S. 
 
 Flourifhed, 1750. 
 A young engraver, and native of France ; but he never reached any great 
 excellence. We have feveral prints by him after .<;'. Aubin, and other matters. 
 
 J. C O U S E. 
 
C O U [ 224 ] c o u 
 
 J. C O U S E. 
 
 Flourilhed, 1750. 
 
 This artift was, I preftime, a native of England, though his works are 
 but little known. He engraved a neat half fheet view, length-ways, of 
 Berkley caftle-, from a drav/ing by the coimtefs of Berkley, and fome other 
 plates, which prove him to have been no indifferent artill. 
 
 ELIZABETH COUSINET. 
 
 Flourifhed, 1760. 
 
 This lady was the wife of Lempreur, an engraver of great merit, honoured 
 with the title of engraver to the king, and member of the Royal Aca- 
 demy of Arts at Paris. By Madame Coufinet, we have feveral prints, that 
 do her no difcredit. Among others, 
 
 'X\i^ pyramid of Sextus, and its companion, the columns ofCampo-Vacino, 
 two middling fizcd plates, length-ways, ornamented with figures, from J. 
 Paolo Panini. The departure of Jacob, ^ fmall upright plate, from Bou- 
 . cher, &c. 
 
 H. C O U S S I N. 
 
 Flourilhed, 1760. 
 
 A modern engraver, who refided at Aix in Provence, where he etched 
 feveral plates from Puget, Rembrant and other maftcrs. 
 
 John Coussin, a painter and defigner of fome eminence, and native of 
 France, is faid by Papillon to have engraved on wood ; but the matter is 
 very uncertain, though it be allowed, that many of his defigns are cut on 
 wood by the arcifts in that line then living. 
 
 JOHN C O U V A Y. 
 
 Flouriflied, 
 
 This artift was a rrative of France, and flourilhed towards the conclufioH 
 of the laft century. He worked chiefly, if not entirely, with the graver, in 
 a coarfebold ftyle, founded apparently on that of Vilemena. His works are 
 night and heav)'. They manifeft a great command of hand ; but little 
 judgment in foftening the fliadows, harmonizing the lights, or keeping the 
 diftanccs back, in order to relieve the front and principal figures. His draw- 
 ing of the naked parts of the human figure is often incorreft, and the extre- 
 mities are ufually heavy, and badly marked. Among his moft cfteemed 
 prints are the following. 
 
 Kfarnt tempted by thefleflj, has recourfe to the crucifix, half figures, a fmall 
 upright plate, from Guercino : a night-piece, and the candle is overturned 
 upon the table. 
 
 The martyrdom of St. Bartholoineiv, a middling fized upright plate from 
 Nicholas PoufTin. Mitellus engraved the fame fubjcd, under the name of 
 the martyrdom of St. Erafmus. 
 
cox [ 325 ] ^ <^ Y 
 
 A fet of fmall upright plates, entitled Les tableaux de la Pemtevce, fj-om 
 the defigns of T. Chauveau. 
 
 Mary queen of Scotland-, a half figure, feated, and the execution feen 
 through the window. He alfo engraved from Raphael, Annibale Carracci, 
 Guido, Bourdon, Le Sueur, and other mafters, 
 
 MICHAEL C O X I S. 
 Bom, 1497- Died, 159a. 
 This artift was born at Mechlin, and learned the firft principles of paint- 
 ing in his own country; going to Rome, he became the fcholar of Ra-. 
 phael, and acquired to himfelf a tolerable fhare of reputation. Many of 
 the old engravers worked from his defigns. There are a fet of fixty-eight 
 prints, reprefenting the hiftory of the Arabs, di2LX.tdi 1567, which are marked with 
 a curious monogram, compofed of a C. an M. an L. and an F. placed 
 above the M. in the manner reprefented on the plate at the end of the 
 volume. The defigns for thefe plates are generally attributed to Coxis ; and 
 it is thought that he alfo engraved them. Michael Coxis died, a. d. 1592, 
 aged 95 years. 
 
 NOEL COYPEL. 
 
 Born, 1628. Died, 1707. 
 This artifl: was born in Lower Normandy; but difcoveringan early incli- 
 nation for the arts, he ftudied under a painter of no great reputation at 
 Orleans, named Poncet; from thence he went to Paris, to perfeft himfelf in 
 drawing and painting, and became the difcipleof Charles Errard. His pic- 
 tures manifeft a fertility of invention, fome grace in the compofitions, and a 
 tolerable good tone of colouring. He drew the human figure with a great 
 degree of correftnefs, but in a mannered ftyle ; and the extremities are not 
 always fufficiently determined. He died at Paris, where he refidcd, a. d. 
 1707, aged 79 years. By him we have a holy family, which he etched 
 with alterations, three times on three feparate plates. 
 
 ANTHONY COYPEL. 
 
 Born, 1 66 1. Died, 1722. 
 
 This artifl was the fon and fcholar of the preceding. He was born at 
 Paris 1661 ; and his father being nominated direcftor of the academy eila- 
 blilhed by the king of France at Rome, he accompanied him thither, and em- 
 ployed his time in ftudying the works of Raphael, Michael Angclo, and 
 Annibale Carracci, with great affiduity. The improvement he made during 
 his refidence in Italy, was fo great, that at his return to Paris, his merit was 
 generally acknowledged, and he was ranked among the firft clafs of hiftorical 
 painters. He died 1722, aged 61 years. We have feveral excellent etchincrs 
 hy his hand, very highly finifiied, efpecially when confidered as the works o^i 
 a painter. The figures in them are corre<Stly drawn, and in a mafterly fi^yle. 
 The charadler and exprefiion of the heads are admirable, and the general 
 
 VOL. I, G g efftcl: 
 
COY [ 226 3 c o z 
 
 efFeft finely harmonized. I fiiall mention the following only from his own 
 compofitions. 
 
 An ecce homo, a fmall upright plate. 
 
 'Judith, the fame. 
 
 Saint Cecilia, the fame. 
 
 The. head of Democritus, the jfame. 
 
 Two portraits of Li? Voifin, one large and the other finall. 
 
 Bacchus and Ariadne, a large plate, length-ways. This was finiflied witli 
 the graver by Gerard Audran ; and is a moft admirable print. 
 
 Galateuytht fame, finifhtd by Charles Simonneau. 
 
 NOEL NICHOLAS COY PEL. 
 
 Born, 1692. Died, 1735. 
 
 He was brother to Anthony Coypel, and born at Paris. He learned the firffi- 
 principles of painting from his father, and f>erfefled his fludies without going 
 to Italy. He was alio a much efteemed hiftorical painter, and died at Paris 
 1735, aged 43 years. We have fome pretty etchings by him j but not 
 equal to thofe by his brother. They are as follow, frojii his own compo^ 
 fitions : 
 
 Saint Thereje ivith many angels, a fnall oval plate. 
 
 The triumph of Amphitrite, a fmall plate length-ways. 
 
 Kwoman fleeping under a canopy, furprifed by afatyr, the fame- 
 
 A woman careffing a pigeon, the fame. 
 
 CHARLES COYPEL. 
 Born, 1694. Died, 1752. 
 He was the fon of Anthony Coypel, and born at Paris. He was the pupil 
 ef his father; and his works are fpoken of with great commendation. He 
 alfo pofleflTed great tafte for the Belles Lettres; and diftinguifhed himfelf 
 by feveral eftimable writings, which manifefted at once his delicacy and 
 good tafte. He was made, firft painter to the king of France, and died 
 A. D. 1752, aged 58 years. According to Bafan, he alfo etched feveral 
 plates from his own compofitions. 
 
 FRANCESCO C O Z Z A.. 
 Born, Diedj. 1664. 
 
 A native of Palermo in Sicily, where he received his firft inftrudtions in- 
 the art of painting. Going afterwards to Rome, he became the fcholar 
 of Dominichino ; and the progrefs he made under the inftruclions of that 
 mafter was fuch, as did honour to both. He excelled in hiftorical fubjefts, 
 and painted much in frefco. He died, a. d. 1664. We have fome few 
 etchings by him ; among others, 
 
 St. Peter s contrition, which, though (lightly executed,, is well drawn and 
 fliows the hand of the mafter: it is a fnall upright plate, marked, " Fra. 
 Cozza inc. ex." And the Reman charity, a fmall plate, length-ways, half 
 figures only. 
 
 C R A C H E. 
 
C R A. [ 227 ] C R. A 
 
 C R A C H E. 
 
 Flonriflied, 
 According to Papillon, this is the name of an engraver on wood. Thar 
 ■writer mentions ibme cavalcades as executed by him. 
 
 C R A L I N G E. 
 
 Flouriflied, 
 
 An obfcure engraver, by whom we have the portrait of Menno Smonis, a 
 whole length. 
 
 LUCA CRANACH, or KRANACH. 
 Born, 1470. Died, 1553. 
 This artifl; was a painter of portraits, hiftory, and poetical fubjefts, 
 born at Cranach in Weftphalia. Under whom he ftudied does not 
 appear ; but the reputation he acquired was fuch, as recommended him to 
 the fivour of the ele6lor of Saxony, and he was many years employed in 
 painting for that prince. Hedied, a.d. 1553, aged 83. I (hall fpeak of 
 him only as an engraver ; and therefore the following obfcrvations are founded 
 upon his prints alone. He poflefTed far more fertility of invention than 
 judgment ; and being led away by the livelinefs of his imagination, did 
 not pay fufficient attention to the choice of what was beautiful, but contented 
 himfelf with the firft forms that offered, and followed the ftiff, Gothic tafte, 
 which prevailed in his country at that time, without any attempt to improve it. 
 His manner of drawing is rather dry and taftelefs, than abfolutely incorredt j 
 and the heads which he has given to his figures, have both charafter 
 and expreffion, though they are not marked with precifion, or in a 
 pleafing ftyle ; the hands and feet indeed are frequently very defective ; 
 and a total ignorance of the diftribution of light and fhadow deftroys 
 the general efFeft, and renders it confufed and unpleafing. Mr. Pilkington, 
 looking on the dark fide only of the performances of this arcift, feems to 
 wonder, that he fliould have any modern admirers. But let any unpreju- 
 diced perfon examine carefully the Life of Chriji by this artift, which confifts 
 of fourteen middhng fized upright prints, and I humbly conceive the many 
 beauties of compofition, charafter and expreffion, he will difcover in thofe 
 engravings, will amply repay the labour, and convince the examiner, that 
 Cranach, with all his faults, was a man of great ability. Lucas Cranach left 
 a fon of the fame name, a painter of portraits ; but it does not appear that 
 he ever engraved. He fometimes marked his plates with the initials of his 
 name, thus, L. C. orL. V. C. or the L. and the C. joined together cypher 
 ways J but more frequently with a dragon, holding a ring in its mouth, with 
 or without the arms of Saxony, to denote his being painter to the elector, the 
 dragon being the creft to the arms; and fometimes with the arms, creft, and 
 the initial letters alfo. See the mai'ks copied on the piate at the end of tiie 
 volume. I fhall only mention tlie following few prints, fronn the numerous 
 engravings by this artift i and. First, thofe on wood, 
 
 Adam and Eve in Paradife, a large upright plate. 
 
 Chriji and the twelve apojUes^ middling fized upright prints. 
 
 G g 2 1 he 
 
C R E [ 228 ] C R E. 
 
 The/ame, fmall uprights. 
 
 The paj/ion of Chrijl, Imaller than that above-mentioned, fourteen prints. 
 
 The martyr dcm of St. John. 
 
 A man in armour dying, and three naked --juomen Jlanding by bhn, dated 1506. 
 
 Chrifi and the ivoman of Samaria, a middling fized upright print. 
 
 The ^iTp/r/'OTo/Ci'r//?, a large print length -ways, the Deity appears above, 
 and a kneeling figure is I'cen on each fide. 
 
 A large hunting-piece, length- ways, on two blocks. 
 
 A large tournament, length -ways. 
 
 Several other tournaments, procejicns, portraits, &c. 
 
 Secondly, a claro-fcuro, faid to be the only one executed by this artift, 
 namely, S. Cbrifiopber carrying the infant Chriji over the river. It is exe- 
 cuted on two blocks, the fij-lt for the outline and dark fliadows, and the 
 fecond for the demy tints and lights. 
 
 Thirdly, thofe on copper; but I fliall only mention the following, they 
 being greatly inferior, in every refpeft, to his prints on wood : 
 
 A naked woman lying dozen, with a child afleep before her ; and a naked man 
 appears in the back ground, a middling fized upright plate, dated 1509. I 
 take this fubje(5t to be Adam and Eve after their fall, 
 
 GARY CREED. 
 
 Flourifhed, 1730. 
 
 He etched a fet of plates from the Jlatues and bufls at Wilton Houfe. 
 
 They are flight, but yet poflcfs great merit. I have not been able to meet 
 
 with any fatisfaftory account of this artift j but I fuppofe, that he was a native 
 
 of England. 
 
 RIDOLFO CREIN. 
 Flourivhed, 
 
 This artift is cited in the lift of engravers, at the end of the Abecedario ; 
 and the word Tirugino is added to his name. His works are not mentioned, 
 nor have 1 feen any of them. 
 
 ANTONIO C R E M O N I E N S I S. 
 
 Flouriihed, 
 
 By this anift we have a flight fpirited engraving on wood, reprefenting 
 Mutius Sctevola burning his hand, in the prejence cf Pcjfenna. It is a very 
 fmall upright print, nearly fquare, and executed on a fingle block, without 
 any crofs hatching. 
 
 L. C R E P Y. 
 Flouriihed, 
 A very indifferent engraver, who apparently fiourifhed at the beginning of 
 the prefent century. Among other things by him, are the following : a fmall 
 and bad copy of Alexander entering the tent of Darius, from Lc Brun, or 
 rather from the print, engraved after the picture of Le Brun, by Girard Ede- 
 Jink. The portrait of A. IVateau, the painter, a fmall upright plate. To 
 
 both 
 
C R E [ 229 ] C R I 
 
 both thefe prints he figns his name, " L. Crepy fillus fculp." Probably his 
 father was alfo an engraver, and he puts the word^lius for diftinftion fake. 
 
 GIUSEPPE MARIA CRESPI. 
 Born, 1665. Died, 1747. 
 
 This eminent painter was born at Bologna; and after having fuccefsfuUy 
 fludied under feveral eftimable mafters, entered into the fervice of the great 
 duke of TufcanVj to whom his merit had beenmadeknown. The piftures, which 
 he executed for that prince, gave much fatisfa£tion to him ; and they con- 
 tributed, in no fmall degree, to raife the reputation of Crcfpi with the public. 
 He received great prefents from the duke, and was honoured with his pro- 
 tedlion, and the title of his painter. The harmony and force of the colouring, 
 the eleganceof the compoficions, and the correftnefs of defign, which appears 
 in his works, are fpoken of by thofe acquainted with them with great com- 
 mendation. He died at Bologna, a. d. 1747, aged 82 years. 
 
 He etched feveral plates, among the reft, 
 
 The adventures of Bertholde and Bertholdino, a fet of fmall upright plates, 
 from his own compofitions. 
 
 The reJurreBion of our Saviour y a middling fized upright plate, the fame.. 
 
 C R E S P Y. 
 
 Flouriflied, 
 
 A very indifferent engraver, v.-ho, according to Bafan, died towards the 
 beginning of the prefent century. He engraved among other things, a 
 defcent from the crofs, a large upright plate, from Carlo Cignani. 
 
 PAUL CREUTZBERGER. 
 
 Flouriflied, 
 
 According to profcfTor Chrift and Papillon, this is the name of an engraver 
 on wood, who marked his prints v/ith a P. and a C. joined together in form 
 of a cypher. See this mark copied on the plate at the end of the volumie. 
 I am not acquainted with his works, nor are any of them fpecified by tlie 
 above author. 
 
 S. JOHN C R I S O S T^M U S. 
 
 Flouriflied, 
 
 A name affixed to a fmall plate length-ways, well executed, and in the ftyle 
 of Aldegrever, reprefenting a back figure of a woman lying down, and the 
 back-ground is a landfcape. It is indeed very doubtful whether this name 
 was intended for that of the engraver or not. 
 
 o 
 
 BARTHOLOMEO CRIVELARI. 
 
 Flouriflied, ._ •' 
 A modern Venetian artifl: ; but of no great eminence. By him, among 
 other things, we have a fmall upright plate, reprefentir^g ^faint carried up 
 to Heaven, from M. Bartoloni. 
 
 T E O- 
 
C R O [ 230 ] C R U 
 
 TEODORO DAL LA CROCE. Se Cruys. 
 
 URSULA DE LA CROIX. 
 Flourifhed, 1700. 
 
 This ingenious lady, with Jane de la Croix, her fifter, etched feveral of 
 the plates oi gems, which were drawn by Elizabeth Sophia Cheron, their 
 aunt. They are neatly executed in a free, fpirited ftyle. 
 
 HUBERT DECROOCK. 
 Flouriflied, 
 The name of a very ancient engraver on wood. It is affixed at full 
 length, with the monogram alfo, compofed of an H. a D. and a G. at the 
 bottom of a large folio print, reprefenting the 'Trinity. Chrift as dead is lying 
 upon the lap of the Deity, and the Holy Spirit appears in the air above. It is 
 very neatly cut, but ftiff to a great degree. Albert Durer engraved the fame 
 fubjeft ; but the print by him is fo much fuperior in freedom and exprelTion 
 to this, which has all the feivility of a copy, that one does not hefitate to 
 pronounce it fo, though in point of antiquity it appears coeval, at leaft, 
 with that of Albert. This print is in the collection of Dr. Monro. See 
 the monogram, ufed by this engraver, upon the plate at the end of the 
 volume. The baptiiinal name on the print is written 10uljVCCl)t, which I fup- 
 pofe, is the fame as Hubert. 
 
 MARTIN GOTTFRIED CROPHIUS 
 
 Flouriflied, 
 
 An engraver of no great merit, by whom, among other things, we have an 
 emblematical i\y\)]zdi, from John Daniel Herz, a middling fized upright pUte. 
 
 THOMAS CROSS. 
 
 Flourifhed, 1648. 
 
 A laborious artift poflefled of no great fhare of tafle or genius. He 
 worked chiefly, if not entirely with the graver, in a ftiff, unpleafing flyle. 
 he confined himfelf to portraits, and frontifpieces for books. Thefe according 
 to the cuftom of the time, were generally engraved from drawings of his 
 own ; and which as far as one can judge from the engravings, were equally 
 indifferent. We have by him the frouii/piece to an oftavo book, publifhed 
 at London 1648, entitled, a Voyage through Rome; alfo, among others, the 
 following portraits : Richard Brotonlowe, in quarto ; James Burroughs, A 
 gofpcl miniftcr, in quarto, dated 1648 ; John Richard/on, billiop of Armagh, 
 1654, Sec. 
 
 C R U C H E. 
 
 Flourifhed, 1550. 
 
 The name of an engraver on wood, who flourifhed in France toward^ the 
 I middle 
 
C R U [ 231 ] C R U 
 
 middle of the fixtcenth century, where he performed fevcral works. " I 
 have," fays Papillon, " by him ^.plan of the ci(j/ 0/ Paris, which," continues 
 he, " I believe, was engraved fur an ancient edition of the Gcot'rnphie of 
 Bdle Forrefl," 
 
 LOUIS C R U G E R. See Kruc. 
 
 THEODORE C R U G E- R. 
 
 Flouriihed, 16 17. 
 
 This artift was a German by birth; but he refided chiefly in Italy, and: 
 imitated the ftyle of Francefco Vilemena. His mode of engraving was in a. 
 bold ftyle, widi the graver only, and it (hews that he had great command of 
 that inftrument; but he did not poflefs much tafte or judgment to direft him 
 in the profecution of his ftudies. The outlines of his figures are hard and 
 incorred, the heads badly drawn, and the other extremities entirely negle(5led. 
 He does nor appear to have had, even a diftant idea of harmonizing the lights 
 with the fhadows : hence his prints are touUy deftitute of effeft. His chief 
 work was. 
 
 The life of St. John the Baptifl, from Andrea del Sarto, on twelve mid- 
 dling fized upright plates, with the portrait of the painter. Some of thefe 
 prints are dated 1617.. 
 
 The lafifuffer, a large plate,. length-ways, from the fame. 
 
 We have fome portraits by him, from Gabriel Wayer, dated 1614: to- 
 thefe his name is figned, " Ditrich Cruger." 
 
 He alfo- engraved from Andrea D'Ancona, Lanfranchi, and other maftsrs. 
 See his cypher compofed of a. T. and a C. joined together,, on the plate at the 
 end of the volume.. 
 
 MATTHIAS CRUGER. 
 Flouriftied, 16 17. 
 
 He was brother to the preceding artift; and flouriflied about the fame 
 time. He engraved fome plates from the chevalier Borghefe, Guido, and 
 other mafters; and fome alfo from his own compofitions. See his manner 
 of marking his prints on the plate, at the end of the volume.. 
 
 L. C R U Y L. 
 
 Flourifhed, 1667. 
 
 This artift refided at Rome, where he drew a connderable number of 
 views, which he occafionally enriched with cattle and figures, in a very fpi- 
 rited, pleafing ftyle. The chief of thefe were engraved by Julius Tefta; 
 but we have fome fine etchings of his own : namely. 
 
 Several views of the Pantheon at Ro9ne, znd other ruins ; fmall plates^ 
 length-ways. 
 
 Several archite£lal views, with ruins, Src. fmall plates, length-ways, 
 JTia|ked, L. Crvyl inv. et fee. Rome, 1667. 
 
 T H E O- 
 
C R U [ 232 ] CUE 
 
 THEODORE VER CRUYS, or DELLA CROCE. 
 
 Flouriflied, 
 
 This engraver was a native of Holland, according to the author of the 
 Abecedario ; but he refided chiefly in Italy, and, among other things, en- 
 oraved part of the plates from the piftures in the Florentine gallery ; fomc 
 large views of flnpping, on two plates each, from Salvator Rofa, Sec. Alfo 
 feveral portraits from various mafters. The prints by this artift do not 
 difcover any extraordinary marks of genius. They are etched and re- 
 touched with the graver. I fuppofe he flouriflied towards the commencement 
 of the prefcnt century. 
 
 DIRICK, or THEODORE VAN CUERENHERT. 
 Born, 1522. Died, 1590. 
 
 This extraordinary man was a native of Amfl:erdam. It appears, that 
 early in life he travelled into Spain and Portugal; but the motives of his 
 journey are not afcertained. He was a man of fcience, and, according to re- 
 port, a good poet. The fifl;er arts, at firft: he confidered as an amufement 
 only ; but, in the end, he was, it feems, obliged to have recourfe to engraving 
 alone for his fupport. And though the different ftudies, in which he em- 
 ployed his time, prevented his attachment to this profefTion being fo clofc as 
 it ought to have been, yet, at leaft, the marks of genius are difcoverable in 
 his works. They are flight, and haftily executed with the graver alone ; but 
 in an open, carelefs flyle ; fo as greatly to refemble defigns made with a pen. 
 His drawing is by no means corredl; yet it is certain, that he knew more 
 than his hurry would let him exprefs ; but the extremities of his figures he 
 has, in general, negligently pafl"ed over. It is true, the compofitions he 
 worked from were fuch, as could not well recommend themfelves : yet a 
 little more pains would, at leaft, have fecured more credit to himfelf. 
 
 He was eftablifhed at Haerlem ; and there purfuing his favourite fl:udies in 
 literature, he learned Latin, and was madefccretary to that town, from whence 
 he was fent feveral times as ambafl^ador to the prince of Orange, to whom he 
 addreJTed a famous manifeflo, which that prince publifiied, a. d 1566. 
 
 Had he fl:opped here, it had been well; but direfting his thoughts into a 
 difi^erent channel, he undertook an argument as dangerous as it was abfurd. 
 He maintained, that all religious communications were corrupted, and that, 
 without a fupernatural miffion, accompanied with miracles, no perfon had a 
 right to adminifter in any religious ofBce ; and he pronounced that man to be 
 unworthy the name of a Chriftian, who would enter any place of public 
 worfliip. This he not only advanced in words, but flrove to fhew the fin- 
 cerity of his belief by pradiice; and for that reafon, would not communicate 
 with either proteftant or papifl. His works were publiflied in three volumes, 
 folio, A. D. 1630. And though he was feveral times imprifoned, and, atlaff, 
 fentenced to banifliment, yet he does not appear to have altered his fenti- 
 ments. He died at Dergoude, a. d. 1590, aged 68 years. It is no fmall 
 addition to the honour of this Angular man, that he was the inftruftor of that 
 juftly celebrated artift, Henry Goltzius. 
 
 Cuerenhert 
 
C U L I 233 ] C U N 
 
 Cuerenhert worked conjointly with the Galles, and other artills, from 
 the defigns of Martin Hemfkerck. The fubjefts are from the Old and New 
 Teftament, and con fill chiefly of nniddling fized plates, length-ways. He 
 alfo engraved feveral fubjeds from Franc. Floris. His mark7 which he fre- 
 quently fubftituted for his name, compofed of a D. a V. and a C. is copied 
 on the plate at the end of the volume. 
 
 HANS or JOHN CULENBACK, or CULMBACK. 
 
 Flourifhedj 1 5 1 7 . 
 This artift is faid to have been a difciple of Albert Durer ; and engraved 
 both on wood and copper. He marked his plates, H. V. C. or I. C. and 
 ufually put the date. Among the few prints we have by this artift, is the 
 following: 2.Joidier armed converfing with a country woman, dated 15 17, 
 and marked H. V. C. 
 
 WILLIAM C U N Y N G H A M, M. D. 
 
 Flourifhed, 1559. 
 He was a phyfician, who refided at the city of Norwich in Norfolk, and 
 was alfo an author, as well as an engraver. He publifhed a book, entitled, 
 A Cofmographical Glafs, in which are rminy p'riuts, with a large map of Nor- 
 to/c^, engraved by his own hand. It was printed in folio, a. d. 1559, 
 and dedicated to lord Dudley, afterwards earl of Leicefter. 
 
 DOMINECO CUNEGO. 
 
 Flourifhed, 1760. • 
 
 This engraver, who appears to have been a native of Italy, refided, I 
 believe, in England, and engraved fome of the plates for Mr. Boydell's 
 colle6iion. He never exceeded mediocrity. I have feen by him a fmall 
 print upright arched at the top, reprefenting St. Gaetano Jurrounded with 
 rt«_^f/^, from Soljmene. It is executed entirely with the graver, in a clear, 
 neat ftyle, but without much tafte, and marked " Dom'^"^ Cunego del et 
 fculp, Verone." 
 
 C. C U N G L 
 
 Flourifhed, 
 The name of an obfcure and indifferent engraver, afHxed to a fmall odavo 
 frc7ttifpiecQ, confifting of three emblematical figures. It is executed in .1 
 manner fufRciently neat, but without the kafl degree of tafte or corredlnfefs. 
 
 CAMILLIUS CUNGIUS. 
 Flouriflied, 1642.^'- 
 A name afExed to a portrait of Tajfo the poet. This artift alio engraved 
 fome of the ceilings and antiquities for the defcription of the Barbarinean 
 Palace, publidiedat Rome, a. d. 1642. 
 
 VOL. I. H h CURE. 
 
CUR r 254 ] C U S 
 
 CURE. 
 
 Flouriflied, 
 The name of an engraver, fpoken of by Ames, in his catalogue of EngliQi 
 heads ; but I am not acquainted with his works. 
 
 DENIS CUREMBERG. 
 
 Flourifhed, 
 The name of an artift, who according to Florent le Comte, engraved fome 
 plates from the defigns of Michael Angelo Buonaroti. 
 
 FRANCESCO CURT I. 
 Flourifhed, 1670. 
 This artift was a native of Bologna, and flouriflied towards the conclufion 
 of the laft century. He worked chiefly with the graver, for we rarely find, 
 that he called in the affiftance of the point. His manner is founded upon that of 
 Cherubin Albert ; and his execution, in general, is neater; but in corredtnefs 
 of outline, charafter or tafte, he by no means equalled that great artift. In 
 drawing efpecially Curti is very defedlive : the extremities of his figures are 
 heavy, and badly marked. By him we have, among others, the following : 
 The Virgin teaching the infant Qorift to read, from Guercino, a fmall upright 
 plate, half figures only. The marriage of St. Catherine, a very fmall upright 
 plate, from Denis Calvaert. Fenus coming to the forge of Vulcan,, the fame, 
 from Carracci. A drawing book, from the defigns of Guercino. Hercules 
 and the Hydra, a fmall plate, length-ways, from the fame. A boy fleeping, 
 fromGuido, a fmall upright oval : this plate is etched, and retouched with 
 the graver. 
 
 BERNADINO CURTI, or CURTIS. 
 
 Flouriftaed, 1645. 
 This artift, probably a relation of Francefco Curti, mentioned in the pre- 
 ceding article, was alfo a native of Italy. He worlced occafionally with 
 the graver only, and at times with the point and graver ; but his produdlions 
 are by no means eftimable ; the principal part of which confifts of por- 
 traits. Among his other fubjefts, is a middling fized plate, length-ways, re- 
 prefenting an emblematical Jubjeif, from Luc Fcrrar. See the mark which this 
 artift fubftitutcs for his name ; on the plate at the end of the volume. 
 
 "dOMENICO CUSTOS, or CUSTODIS. 
 
 Flourifhed, 1600. 
 
 He was born at Augfburg in Germany, and learned, as it fhould feem, the 
 
 principles of engraving from Peter Cuftos, his father, who followed that pro- 
 
 fefiion. He worked entirely with the graver, in a very neatftyle ; but there 
 
 is a ftifFnefs, and want of tafte in his prints, which gives them a laboured, rather 
 
 2 than 
 
c u s [ 235 ] c u s 
 
 than a pleafing appearance. His drawing is not corredb, and the outlines of his 
 figures are hard and dry. The lights are left too equally uncovered, fo that 
 the harmony of the effeft is entirely deftroyed. Florent le Comte informs us, 
 that " Dominique Cuftodis, who he falfely fays was a native of Antwerp, a 
 grave des portrait dans le gout de Van Dyck, engraved portraits in the tafte of 
 Vandyck. But, I profefs, 1 do not underftand his meaning; nor can I con- 
 ceive the leaftrefemblance, in any refpeft, between the ftiff portraits of Cuftos, 
 and thofe fo highly and fo juftly efteemed of Vandyck, which generally 
 fpeaking, are flight etchings. 
 
 The greateft work by Cuftos is, I believe, the effigies of the German einpe- 
 Tors. Thefe are large whole length figures in folio, and they were publilhed 
 A. D 1 601. Befides which we have by him. 
 
 The portraits of the Fuggera family. 
 
 The portraits o( heroes and great men. 
 
 Sty crz\ female faints, half lengths, from Frantz Afpruck. 
 
 He alfo engraved from Jofeph Hentz, M. Kayer, Rottenhamer, and other 
 mafters. His mark is compofed of a D. joined to a C. and an A. and an 
 F. alfo joined together ; the A. ftanding for Augfburg, the name of which in 
 Latin is Augufta; and an F. for fecit. See thefe marks on the plate at the 
 end of the volume, . 
 
 DAVID CUSTOS, or CUSTODIS. 
 
 Flourifhed, 
 
 This artift was probably nearly related to the preceding ; but he feems 
 chiefly to have applied himfelf to landlcapes and fmall figures, which he 
 etched in a coarfe, rough ftyle ; they are, however, by no means devoid of 
 merit, which would have been more confpicuous, had his judgment led him 
 to make in general, a better choice of nature, we have by him, and I believe, 
 from his own defigns, 
 
 A fet of fmall landfcapes, length-ways ; Views in the lo:s} co-jntries. 
 
 Abrifder Landfchafft, a large map. 
 
 A fmall landfcape, length- ways, in the front of which he has introduced 
 fome boors, playing at nine-pins : this is one of his beft prints. 
 
 RAPHAEL CUSTOS, or CUSTODIS. 
 
 Flourifhed, 
 This artift was eftabliflied at Antwerp, about the commencement of this 
 century, ?.nd there are fome few engravings by his hand. 
 
 H h a * A B R A, 
 
DA [ ^3^ 1 DAL 
 
 D. 
 
 ABRAHAM DA. 
 
 Flourifhed, 
 
 This artift appears to have been a defigner, as well as an engraver. We 
 have by him the I aft /upper, a fmall plate, length-ways, neatly executed with 
 the graver, in the ftyle of De Brye. This print is by no means devoid of 
 merit : it is marked " Abraham Da fecit." 
 
 DADO. 
 
 Flourifhed, 
 I much doubt the exiftence of fuch an artift. The prints marked with a 
 die are attributed to him, which in my opinion, belong rather to Bartolomeo 
 Beham i and my reafons for thinking fo are given in the account of that artift. 
 
 M. DAIGREMONT. 
 
 Flouriftied, 1670. 
 
 This artift, who was by no means a man of fuperior talents, refided at 
 
 Paris, and affifted J. Berain in the books of ornaments, which he publifhed 
 
 in that city. He alfo engraved feveral plates in the large folio coUeftion 
 
 of vieivs cf Verjailles. 
 
 CORNELIUS VAN DALEN. 
 Flouriftied, 1640. 
 This artift is called the younger, becaufe he generally adds the word junior 
 to his name. For what reafon this diftindion was made I know not. It 
 does not appear, that his father was an engraver, though perhaps of the fame 
 bapiifnial name. He was a native of Holland j but under what mafter he 
 learned the art of engravingis uncertain. It is difficult to form a properjudg- 
 mcnt of his merit j for fometimes his prints refemble thofe of Cornelius Vif- 
 cher, of Lucas Vorfterman, of P. Pontius, of Bolfwert, and other mafters. 
 A fet of antique ftatues, engraved by him, are in a bold, free ftyle, as if 
 founded upon that of Goltzius ; others again feem imitations of that of 
 Francis Poilly. In all thefe different manners he has fucceeded j and they 
 plainly manifeft the great command he had with his graver j for he worked 
 with that inftrument only. He engraved a great variety of portraits, fome of 
 which are very valuable, and form the beft, as well as the larger part of his 
 
 works. 
 
DAL [ 237 ] DAN 
 
 •\vorks. He did not fucceed fo well in drawing the naked parts of the hu- 
 man figure i his outlines are heavy, and frequently incorrect, and the extre- 
 mities, the feet efpecially, are feldom well marked. 
 
 I Ihall only mention. the following by this mafter : 
 
 The four fathers of the churchy a middling fized upright plate, from Ru- 
 bens. This print bears great refemblance to the (lyle of P. Pontius. 
 
 The Graces embdlifhing a. flatue of Nature, a large upright print, on two 
 plates, from the fame. In the execution of this print, he feems to have had 
 an eye to the neater works of S. Bolfwert. 
 
 h fhepherd crowning a fhepherdefs, a fmall plate, length-ways, from J. 
 Cafteleyn. Here he has followed the ftyle of Cornelius Viircher j but more 
 particularly fo in many of his portraits. 
 
 The Virgin prefenting the b.reafi fo the infant Chrijl, a middlino- fized 
 upright plate, from Flinck. 
 
 Venus and Love, the fame from the fame. 
 
 Among his portraits I Ihali mention the following : 
 
 Bocace and Aretin, two middling fized upright plates, for the collecbion 
 of prints, entitled the Cabinet de Reynft. Thefe have been attributed to 
 C. Viflcher. 
 
 Charles II. in armour, a half flieet print, much efteemed. 
 
 Ja7nes II. when duke of York, from Simon L-uttichuys, the fame. 
 
 Henry duke of Gloucefler, the fame, from the fame. 
 
 Andreas Rivetus and Fred. Sfanheim, from Van Negre, dated 1644. Thefe 
 two laft portraits are engraved in the ftyle of Lucas Vorfterman. 
 
 A. DALLE. 
 
 Flourifhed, 1686. 
 The name of an obfcure and very indifferent engraver. I found it affixed 
 to a fpecies of triumphal proceffions, on a great number of plates, entitled, 
 Givochi Fejlivi e militari, publilhed at Venice 1686. They are coarfe, 
 flight, incorreft etchings, and have nothing but the fingularity of the defign 
 to recommend them. The initials A. D. are joined together in a fort of a 
 cypher ; but the family name is written at length, A. Dalle viafculf. 
 
 G I L L E S L E "d A M E. 
 
 Flouriflied, 
 This engraver is mentioned by Florent le Comte, who informs us, that he 
 imitated the ftyle of Melan ; but with no great fuccefs. His beft works were 
 Jubjeiis of devotion and madonas. 
 
 LUCAS D A M M A Z E. See Jacobs. 
 
 CORNELIUS DANCKERS. 
 
 Flourifhed, 
 This artift was aprintfeller, eftablilhed at Antwerp. He flourifhed towards 
 
 the 
 
DAN [ 23« ] DAN 
 
 the commencement of the laft century, and engraved a variety of fmall plates, 
 which are by no means deftitute of merit ; among others, we have by him 
 ao etching of Meleager, who is prefenting the boafi head to Jtalanta, from 
 R. Picon, a fmall upright plate ; alfo a fet of prints reprefenting the ruins of 
 Rome; and a fet of prints reprefenting thcfajjion of Cbrijl, dec. 
 
 DANCKER DANCKERS. 
 
 Flouriflied, 1660. > 
 
 He was fon to Cornelius Danckers, mentioned In the preceding article, 
 and refided alfo at Antwerp, -where it is probable he was born. He not 
 only etched, but frequently worked with the graver alfo, and we have a 
 great number of prints by his hand; particularly landfcapes, from Berg- 
 hem, in which he attempted to imitate the ftyle of that mafter ; but by crolTing 
 his firft ftrokes with a fquare fecond, the effeft is rendered heavy and un- 
 pleafing. The figures and cattle arc fometimes prodigioufly incorrect ; and 
 thefpirit of Berghem is often much loft in the imitation. His beft work, in 
 my opinion, is a fet of large land/cafes, lengthways, from Wouvermans. 
 Thefe are bold, free etchings, in a mafterly ftyle. I fhall mention 
 
 A fet of latidjcapes, middling fized plates, length-ways, from Berghem. 
 
 Another fet oi landfcapes length-ways, fmaller, from the fame mafter. 
 
 He alfo engraved from Peter Nolpe, Titian, Gerrard Scghers, P. de, JodC 
 the younger, &c. 
 
 JOHN DANCKERS, 
 
 Flouriflied, 1660. 
 This artift, it is highly probable, was of die fame family with the pre- 
 ceding. He refided at Amfterdam, where he died; but he was not, I believe, 
 born there; for his brother Henry, of whom we fliall fpeak in the next 
 article, declares himfelfto be a native of the Hague. He was an hiftorical 
 painter of no great eminence. By him we have a flight, incorreft etching re- 
 prefenting Venus lying upon a couch, from Titian, figned " Joh. Danckers 
 fculp. aqua forti, 1657." 
 
 HENRY DANCKERS. 
 
 Flouriflied, 1670. 
 
 He was brother to John Danckers, mentioned in the preceding article, 
 and inftrufted in the art of engraving ; but the perfuafion of his brother John, 
 joined perhaps with his own natural inclination, occafioned him to quit that 
 profefiion, and take up the pallet and pencils. He excelled in landfcape, arid 
 went into Italy to perfect his ftudies, where he rem.ained fome time. From 
 thence he came into England, and was patronized by Charles II. who em- 
 ployed him to draw views .of the royal palaces, and i\\e.fea ports of England 
 and Wales. Thefe drawings are dated 167B and 1679. He alfo made 
 feveral defigns for Hollar to engrave. At the time of the difcovery of the 
 popifli plot, beinghimfelf a Roman catholic, he left England, and returned 
 to Amfterdam, where ]ie died foon after. We have engraved by him the 
 following portrait: 
 
 Charles 
 
DAN [ 239 ] D A R 
 
 Charles the Second, a middling fized upright plate, from Adrian Hanner- 
 man. He has figned his name, " Hen. Danckers Haga Batavus fculp." 
 
 Justus Danckers is alfo mentioned by M. Heineken as an engraver, but 
 I am not acquainted with his works. 
 
 LEON D A N E T. See D'avon. 
 
 JOHN D A N E T. See Duvet; 
 
 DANGERS. 
 
 Flourifhed, 1700. 
 
 He was the difciple of G. Chateau, by whom he was inftrufted in the firft 
 principles of engraving; but from adiOike to the profellion, or the more 
 powerful motives of religion, he foon quitted it and embraced an ecclefiaftic 
 life. I am not acquainted with the works of this artift. 
 
 P. D A N N O O T. 
 
 Flourilhed, 
 
 This engraver flourifhed towards the conclufion of the laft century. He 
 engraved a head of Chriji from P. P. Rubens, a fmall upright plate ; alfo the 
 portrait of Pere Majirille. 
 
 D A N Z E L. 
 
 Flourifhed, 
 
 A modern French engraver, who was probably a pupil of DauIIe's ; at 
 leaft, he imitated the manner of engraving, adopted by that artift. By him 
 we have the two children of Rubens in their infancy from a picture painted by 
 Rubens, a middling fized upright plate. This pifture was alfo engraved 
 by Daulle. 
 
 PHILIP DA Q^U I N. 
 
 Flourifhed, 
 
 The name of an engraver, mentioned by Florent le Comte ; but none of 
 his works are fpecified. I am not acquainted with them. 
 
 PETER DARET. 
 
 Flourifhed, 1641. 
 
 This artlfl: was a native of France, born at Paris, where he learned the 
 firft principles of the art of engraving; and afterwards he went to Italy to 
 complete his ftudies, where he worked a confiderable time. At his return 
 he eftablifhed himfelf at Paris, and died at a very advanced age. He 
 wjs not only a defigner and an engraver, but an author. For Florent le 
 
 Comte 
 
D A R [ 240 ] D A ir 
 
 Comte informs uS; that hecompofed a Life of Raphael, the celebrated pain- 
 ter, which he caufed to be printed, a. d. 1650. His works are chiefly per- 
 formed with the graver, without any other affiftance ; and though fome of them 
 are aot devoid of merit, yet they have not a fufficient fhare to place them in 
 any high degree of eftimation. The mechanical part of his engrtiving is cold 
 and filvery, the effeft.Eatand unharmonized, and the drawing of the naked 
 parts of his figures is frequently incorreft and heavy, efpeciatly upon the ex- 
 tremities. His works are very confiderable, and amount to upwards of ^96 
 prints. I {hall only mention the following. ---''. 
 
 The meeting of Elizabeth and the Virgin Mary, a middling fized plate, 
 length-ways, from M. Coroeille. 
 
 A holy family, with an angel frejenting fruit to the infant Jejus, a middling 
 fized upright plate, from Simon Vouet. 
 
 A Madcna giving fuck to the infant Chrifl, the fame, from Annibale Car- 
 racci. 
 
 St. Johnjeated in the dejerl, holding a lamb upon his lap. The lame, from 
 Guide. 
 
 St. Peter delivered from frif on, a large upright plate, from Dominichino. 
 Mariette alfo engraved a plate from the fame picture. 
 
 Upwards of 100 Imall plates for a work, entitled. La Doctrine des Mceurs, 
 by Mr. JLe Roy de Gomberville, from the defignsof Otho Yatnius, printed 
 at Paris 1646, 
 
 A variety of other fubjefts from his own defigns, many portraits, &c. 
 
 He alfo engraved fromPolydoro, Vandyck, Champagne, Stella, LaHyre, 
 Le Sueur, Le Brun, &c. See the mark, attributed to this matter, on the 
 plate at the end of the volume. 
 
 D A R G E N V I L L E. See Dezalier. 
 
 JAMES DASSONVILLE. 
 Flourifhed, 
 This artift, who appears to have been a native of France, etched feveral 
 plates in the ftyle of Oftade, which, though not equal to the engravings by 
 that mafter in fpirit or efFeft, are notwithftanding poflefled of very great 
 merit. He has fucceedcd beft in the heads of his figures; the other extre- 
 mities are often much neglefted. 
 
 LOUISA DE MONTIGNI DAULOEUR. 
 
 ,CVE 
 Flourilhed, f- 
 
 i frorr 
 
 This lady, the wife of M. Daulceur, etched feveral plates from the defigns 
 of Boucher, Pierre, Cochin, &c. 1 '' 
 
 JOHN D A U L L E. . 
 
 Born, Died, 17*63. 
 
 This artift, I have been informed, was born at Abbeville in Picardy. He 
 
 refiided 
 
D A V [ 241 ] D A V 
 
 refided at Paris, where he died 1763. He worked entirely with the graver ; 
 and his performances llifficiently manifeft the great command he had of that 
 inftrument. His ftrokes are laid with much freedom, yet witj-ioutany affeda- 
 rion. They are very clear, and produce apleaiing, harmonized effeft. Had his 
 knowledge in drawing been equal to his management of the mechanical part 
 of his engravings they would have ranked with the firft performances the world 
 ever produced. But in this great requifite, he was exceedingly defeflive. 
 His portraits, which are the leaft exceptionable part of his works, are juftly 
 held in the higheft eftimation. The following by him are ranked among 
 his bed prints. 
 
 The ^(os Ego, or Neptune calming the tempeji, as defcribed in the firft 
 book of Virgil's iEneid, a large plate, length-ways, from Rubens, 
 
 Mary Magdalen in the defert, reading a book, a middling fized plate, length- 
 ways, from Corregio, for the colleflion of prints from the Drefden gallery. 
 
 Diogenes with his lanthorn, a fmall upright plate, from Jofeph Ribera, 
 called Spagnoletto, for the fame volume. 
 
 The triumph of Venus, a middling fized upright oval, from Boucher. 
 
 The tiao children of Rubens, from a pifture painted by that mailer, a 
 fmall upright plate. 
 
 The portrait of Peter Mignard, and of the countefs of Feuquieres, his 
 daughter, two middling fized upright plates, from P. Mignard. 
 
 Gendron, the famous oculift, a middling fized upright plate, after Rigaud. 
 
 Maupertuis, the fame, from Tourniere. 
 
 "John Mariette, the engraver and printfellcr, the fame, from Pefne. 
 
 Mademoifelle PeliJJier, the fame, from Drouais. 
 
 He alfo engraved a variety of other prints, from feveral matters. 
 
 LEON D A V E N. 
 
 Flour iflied, 1547. 
 
 This eminent engraver, who ufed the mark L. D. is by fome called Louis 
 Danet. He was apparently a native of France. The principal part of his 
 works are engraved from the piflures of Francefco Primaticcio of Bologna, 
 and efpecially thofe executed by that artift in the royal palace at Fontain- 
 bleau. His plates are chiefly etched in a very coarfe, yet fpirited manner, 
 fingular enough, but not without merit. The lights are Icept broad and 
 clear ; but the mafles of fhadow are too equally powerful to produce any 
 ftriking effeft. His outlines are made by dark ftrokes in a ftiff, taftelefs 
 manner, which render them hard and difgufting. The heads, with the other 
 extremities and the naked parts of the figures, are incorreftly drawn. I 
 fhall only mention a few prints by this artift, as his works are not very un- 
 common, all from Primaticcio. 
 
 Jupiter and Eurcpa, a^middling fized plate, nearly fquare. 
 
 Afacrifice to Priapus, the fame. 
 
 Cupid blinded, and moufifed upon an afs ; and t'JtJO fatyrs, with a man 
 walking before them, blowin^a trumpet. 
 
 VOL, I. jj - I i Diana 
 
D A , V [ 242 ] D A V 
 
 Diana repofing after the chafe ^ a middling fized plate, lengch-ways. 
 
 The death of Meleager, a fmall upright oval plate. 
 
 A man -playing upon a harp., "j}ith fame figures dancing, a large plate, length- 
 ways. 
 
 Thefe are all marked with the initialsL. D. for the name of the engraver ; 
 and befzdes, we often read upon them, " Bologna invent ;" and " A. 
 FontanaBleo. Bol. ''which is the word Bologna abbreviated put inftead of the 
 painter's name, he being a native of Bologna. The other words evidently 
 mean Fontainbleau, where the piftures were preferved. 
 
 CHARLES DAVID. 
 
 Flourilhed, 1640. 
 
 He was a native of France, and refided at Paris. From whom he learned 
 the art of engraving does not appear. His ftyle of mechanical execution feems 
 to have been founded on an examination of the works of feveral artifts, rather 
 than adireft imitation of any one in particular. He worked entirely with the 
 graver, in a clear neat manner 5 but with great freedom of hand, he often 
 rendered the effeft of his prints lefs pleafing, than it would otherwife have 
 been, by croffing his fecond llrokes too fquarely upon the firft. He cer- 
 tainly drew the human figure with a confiderable degree of correctnefs ; but 
 he was apt to overcharge his outline, and mark the appearance of the 
 mufcles too powerfully. The extremities cfpeciallv are, in general, rather 
 heavy and defeftive. His lights, a fault ufual with the engravers of that age, 
 are too much fcattered, and too equally powerful. His beft prints are 
 defervedly held in great eftimation. I fhall mention the following only : 
 
 The labours of Hercules, twelve middling fized plates, length-ways, from 
 Franc. Floris 
 
 The cries of Rome , middling fized upright plates, copied from Villamena fo 
 cxaftly, that tiiey would eafily deceive one, if feen feparate from the origi- 
 nals. He has alfo added the mark of that artift. 
 
 The Virgin and Child furrounded by angels, a fmall upright plate, from 
 Champagne. 
 
 A man with afnail upon his finger, accompanied by a goat, with a crown of 
 flails upon his head. Adifj jull of Jnails is feen Hpon a table; a fmall up- 
 right plate from Callot. This print is very rare. 
 
 A fctof landfcapes, from Paul and Matthew Brill. 
 
 He alfo engiaved from Camillio Procaccini, Tempefta, Albert Durcr, 
 Simon Vouet, Vignion, Brebictte, &c. and he frequently fubftituted the 
 initials of his name, when he did not write it at full length, C. D. F. the F. 
 (landing as ufual (or fecit. 
 
 JEROM DAVID. 
 Flourifhed, 1 640. 
 He was brother to the preceding arcift ; and alio engraved a great number 
 ef prints, portraits efpecially, in a ftyle fomething refembling that of his 
 I brother. 
 
D A V { 243 j DAY 
 
 brother, but not with equal freedom and correftnefs. I Ihall mention by this 
 artifl: the following prints only : 
 
 The heads of the philofophers, on 36 phtcs from defigns of his own. Thefc 
 are executed with the graver, in a coarfe, dark ftyle. 
 
 Chriji carrying the crofs, a large plate, length-ways, from Hercul. Fer- 
 rariers, dated 1630. The naked parts and extremities of the figures are vtry 
 defeftive. 
 
 An Ecce homo, a fmall upright plate, from Guercino. 
 
 The Virgin of the rofary, a fmall upright plate, from Guido, dated 1633. 
 
 The Virgin and Child, a fmall circular plate, from the fame mafter. 
 
 The ajjiimption of the Virgin, from Camillio Procaccini. 
 
 Among his portraits are the following : 
 
 Charles the Firft on horfehack, a large half fheet print. 
 
 Henrietta Maria, queen to Charles the Firjl, alfo on horfeback. 
 
 He ufually figned his prints " H. David," the H. and D. being joined 
 together cypher-ways j and fome times the H. and the D. in a cypher alone, 
 in the manner reprefented on the plate of monograms, at the end of the 
 volume. The H. ftands for Hieronymus, which in Latin fignifies Jerom. The 
 author of the Series of Engravers, publifhed at Cambridge, not attending to 
 this circumftance, has made two artifts, the one H. David, the other Jerom 
 David J whereas, in fad:, they are both one and the fame perfon. 
 
 LOUIS DAVID. 
 
 Flourifhed, 1667. 
 
 This engraver, according to profeffbr ChrifV, refided at Venice; and the 
 prints, marked L. D. publilTied at that place, about the year 1667, belong 
 to him. I fhall only mention by this artift, the de/cent frotn the crofs,^ 
 fmall upright plate, engraved in a neat ftyle, refembling that of Lucas van 
 Leyden ; but the drawing is exceedingly defedtive. This print is marked 
 with the L. and D. joined together, in the manner reprefented on the plate 
 at the end of the volume. 
 
 CLAUDE DAVID. 
 Flourifhed, 
 This artift was a native of Burgundy, and is mentioned as an engraver by 
 Vertue, who informs us, that he publiflied a print from a model o{ the fountain, 
 ornamented with the Jiatues of queen Anne, the duke of Marlborough on horfe- 
 hack, and fever al river gods, which was propofed to have been erefted at the 
 Conduit in Cheapfide, Under the print is written, Opis Equitii Claudii David 
 (omitatus Burgundia. 
 
 JEROM DAVIDLO. 
 
 Flouriftied, 
 
 This artift is mentioned by profefibr Chrift as an engraver; and thofe 
 prints are attributed to him, which are marked with an H. .a D, reverfed, 
 
 I i 2 and 
 
D A V [ 244 ] DAW 
 
 and an F. See this mark copied on the plate at the end of the volume. I 
 own, it appears to me more lilce H. C. F. and may perhaps ftand for Hans, 
 or John Collaert fecit. I have feen a fmall upright print, reprefenting a 
 tn^n in armour, holding a flag, which is all graved in imitation of Albert 
 Durer, but very indifferently executed. It is marked H. D. the H. and 
 D. being joined together, and dated 15 17. Perhaps this may be by the above 
 m after. 
 
 EDWARD L E DAVIS. 
 Flourifhed, 
 
 Le Davis was of Welch extraftion, and fliowing fome inclination for the 
 arts, he was put as an apprentice to Loggan the engraver, with whom it ap- 
 pears, however, he did not ftay long ; for being maltreated by his miftrefs, 
 who obliged him to wear a livery, and follow her as a fervant, he ran away, 
 and went to France, where he became a dealer in pidtures ; by which occupa- 
 tion he acquired an eafy fortune. At his return, he drew and engraved fcvcral 
 portraits, and fome other fubjeds. They have, however, very little merit 
 to recommend them in any refpecl. I fliall only mention the following : 
 
 Charles the Second Jeated: the face was afterward taken out, and king Wil- 
 liam the Third fubftituted in its place. 
 
 Catherine, queen of England, a large whole length, from John Baptift Car- 
 pers. 
 
 James, duke of 2'ork. 
 
 The dutchefs of Portfmouth, from Lcly. 
 
 An ecce homo, from Carracci, laid to be very fcarce. 
 
 A man laughing, holding a fool's cap, only part of the figure feen ; marked 
 •' Edward le Davis Londini fculp." 
 
 We have aifo by him, fome loofe etchings from Algardi, very indifferently 
 executed. 
 
 DAWES, 
 
 Flouriflied, 1760. 
 He was a pupil of Hogarth's, and painted humorous fubjedls. He alfo 
 etched a few plates; among them, Kidgell with a pair of tongs taking paper 
 from a jakes ; the reformers of manners throwing down the hafkets of fume 
 indujiriotis fruit women, in the fore-ground is reprefented an old foldier in the 
 flocks. This artift died a few years fince. Mr. GrofTe obligingly favoured 
 me with this account of him. 
 
 THOMAS DAWKS. 
 Flourifhed, 1679. 
 I have feen a large engraving, with a printed defcription, of the murder of 
 Sir Edmond Bury Godfrey, very badly executed in every refpeft ; and, at the 
 bottom, this infcription, " Printed for Thomas Dawks, the defigner of thefc 
 " Emblems, 1679 -," and he very probably was the engraver alfo. 
 
 C. DECKER. 
 
DEC [ 245 ] DEL 
 
 C. DECKER. 
 Flourifhed, 
 
 This artid, who, according to. profeffor Chriftj.refid'ed at Nurembero-, was 
 a dcfigner as well as an engraver. Indeed he feems chiefly to have worked 
 from his own compofuions. I fliould fufpccl, that he was the difciple of 
 Roman de Hooghe, wliofe ftyle of defigning and engraving he fcems to have 
 clofcly copied. The figures, of which he ufually introduces many into his 
 compofitions,. are by no means devoid of merit. They frequently manifeft 
 a tolerable degree of taftc, and knowledge of defign ; but his manner of en- 
 graving, or rather etching, is coarfe, and hard, with dark outlines on the 
 lights, are alio greatly fcattered, witliout t';e leaft attention paid to the 
 chiaro-lcuro J by which means the effedl is harih, confukd, and difo-ufting. 
 Allowance made for thefe faults, Decker will appear to be a man of o-enius. 
 
 By him we have the large folio plates (into which he has introduced a vail 
 multitude of fmall figures) for Athanafii Kercheri Turris Babel. 
 
 A great variety of bouk plates, 3.ndJmall/ubjeSSy &c. 
 
 He ufually marked his plates with his name ; when he did not, he fub- 
 ftituted the initials, C. D. fometimes feparate, and fometimes joined too-ether 
 in the manner expreffed on the plate at the end of the volume. 
 
 PAUL DECKER. 
 
 Flourifned, 1740. 
 A modern engraver, probably of the fame family with the preceding artifb,, 
 and alfo eftablillicd at Nuremberg. By him we have fome engravings ; but 
 I am not acquainted v/ith them. 
 
 I. DE Decker, a name affixed to a fmall copy of the treaty of Munjler, ori- 
 ginally engraved by Suyderhoef, from Terburg. 1 le has attempted to copy 
 the ftyle of Suyderhoef; but with no great fuccefs. 
 
 L C. D E H N E. 
 
 Flouriflied, 17:13. 
 
 By this engraver, who refided at Brandenburg in Germany, v/e havT up- 
 wards of 200 plates q1 mafquerade figures, reprefenting, in the moft ridiculous, 
 manner, the gods, goddefles, demi-gods, heroes, heroines, &c. of anti- 
 quity, in folio. They are executed with the graver, in a ftyle, that does 
 no fort of credit to the artift. He alfo engraved feveral plates of portraits for 
 the work entitled Jcoiies Bibliopolarum et 'Typographoriim, in folioj publifhed; 
 at Nuremberg. 
 
 D E L A U N A Y. See Launay. 
 
 FRANCIS DEL A RAM. 
 
 Flourifhed, 1620. 
 
 This artift was cotempory with Elftracke and the Pafles. Whofe difciple 
 he was does not appear ; but he engraved in the ftiff, formal manner, which 
 prevailed too generally at that time, exceedingly neat, but devoid of all tafte 
 
 or 
 
DEL [ 246 ] DEL 
 
 or exprefTion. He affefted much to crofs his firft ftrokes fquareljMvith the 
 fecond. He drew very indifferently ; his outlines are hard and incorreft j and 
 Jiis draperies are heavy and the folds badly exprefled. His portraits are the 
 beft part of his works j but even thofe are rather valuable for their fcarcity, 
 than for their merit. I fhall only mention the following prints by him 
 from his own defigns : 
 
 Nero C/efar, or riionarchie depraved, London, 1627. A frontifpiece. 
 
 The frontifpiece to the Seven Golden Candlefticks, 1624. 
 
 The frontifpiece for (f-yther's Preparation to the Pfalter, ornamented with 
 emblematical figures. This I confidcr as one of his beft prints. It is dated 
 4 6 1 9. 
 
 Add the following portraits, namely : 
 
 James the Firft, as large as nature, an upright whole ftieet print. 
 
 i^een Mary, a fmall upright print. 
 
 iihieen Elizabeth, the fame. 
 
 Hen. Percy, earl of Northumberland, dztcd 161 9. 
 
 Frances, diichejs of Richmond and Lenox. ' 
 
 i>ir 'Thomas Grefham, Sec. 
 
 A. D E L F O S, 
 
 Flouriflied, 1760. 
 A modern engraver, who refidcd in Holland, where he engraved a land- 
 Jcape and ?ifea port, two large plates, length-ways, from Berchem ; alfo feveral 
 prints from D. Teniers, &c. 
 
 WILLLA.M JAMES DELFT, or VAN DELPHUS. 
 
 Flourifhed, 1640. 
 
 This excellent engraver, a native of Holland, was born at Delft foon after 
 the commencement of the laft century. He drew and painted portraits with 
 great taftc, and in a ftyle that acquired him confiderable reputation ; but as an 
 engraver of portraits, he is more generally known ; and in that light only I 
 fhall confiderliim. He worked entirely with the graver; and handled that 
 inftrumcnt with the greateft facility. He drew correftly, and his beft prints 
 are very finely finiflied. Confidering the great number of plates, which were 
 completed by the graver of this artift, it is not reafonable to fuppofe they 
 ftiould be all alike, or equal in merit. Accordingly I ftiall diftinguilh two 
 manners, in which he engraved, and produced many excellent plates in both : 
 Firft, a bold, powerful, open ftyle, produdlive of a fine effeft ; and as a 
 fuecimen of it, I would refer the reader to the portrait oi Hugo Grotius, dated 
 1652. Secondly, a neat and much more finiftied manner, as we find in the 
 admirable ])ortrait of Michael Miravelt, a near relation to the engraver, from 
 a pifture of Vandyck. He ufually figned his name at length j when he 
 omitted to do fo, he fubftituted the letters G. V. D. or a cypher coinpofed 
 of a G. and a D, which is copied on the plate at the end of the volume. 
 
 Delft engraved feveral Englifh portraits ; but it does not by any means 
 appear, that he was ever in England. He ftyles himfelf the king's engraver. 
 I fhall mention the following portraits only by this artift : 
 
 Charles the Firjl of England, a middling fized upright print. 
 
 Henriette 
 
DEL [ 247 ] DEN 
 
 Henriette Maria, queen to Charles the Firjl, the fame. 
 
 George Villars, duke ofBuckingham, a large half fhcec after Miravelt. 
 
 Elizabeth, queen of Bohemia, a large upright plate. 
 
 Three princes cf Orange, namely, JVilliam, Maurice, and Frederic Henry, 
 large heads, upright plates. 
 
 Hans des Ries, an upright oval, from M. Miravelt. 
 
 Jacobus Triglandus, profeflbr in the academy of Leyden, dated 1636, a: 
 fmall upright plate. 
 
 Abraham van der Meer, the fame. 
 
 John Olden Barnevelt, the fame^ 
 
 He alfo engraved a number of portraits from Michael and John Mira- 
 velt, Ant. Vanden Venne, David Mytins, Henry Merman, C. Vandervoort,. 
 Peter Moreels, R. van Voert, and other matters. 
 
 D E L U A BELLA. See Bella. 
 
 CATERIN DELLIO. 
 
 Flourifhed, 1 6 1 1 . 
 
 This artift worked entirely with the graver, and adopted a neat ftyle, feme- 
 thing refembling that of Agoftino Veneziano. He engraved the figures for 
 a large folio volume of Anatomy, publifhed at Venice, a. d. 161 1, The 
 drawing of thefe figures is by no means incorreft, and the anatomical mark^ 
 ings are well exprefled. 
 
 D E L P H I N. See Dolfin. 
 
 JOHN ADAM DELSENBACH. 
 
 Flourifhed, 1721. 
 
 A modern engraver, who apparently refided at Vienna, where he en- 
 graved part of the plates for the Hijlory of Architetlure, with viezvs of the mofi 
 famous buildings in the world, defigned by John Henhard Fifchers, a large 
 folio volume, publifhed at Vienna, 1721 ; alfo part of the plates for the 
 work entitled, Views of the Principal Buildings in the City and Suburbs of 
 Vienna, in folio. They are neatly engraved, but m a very ftiff flyle. We may 
 add to thefe by him, feveral portraits for the work entitled Icones Biblio^o- 
 larum et ?3'/'0|;.^<3/'^or«;«, publiflied at Nuremberg. 
 
 JOHN DEMER. 
 
 Flourilhed, 1621. 
 This name is given by Florent le Comte, as of an engraver; and we 
 have by him, according to the fame author, a print of a little infant walking, 
 
 FRANCESCO DENANTO. 
 
 Flourifhed, 
 By this artift we have a very large upright print, cut on wood, in a very, 
 flight but fpirited ftyle. It reprefents Chriji heaUng the lame man -, and the 
 engraver has introduced many figures, which are executed with great tafte, 
 
 The^ 
 
DEN [ 248 J D E R 
 
 The heads are well charadlcrifed, and very expreffive. Part of the back- 
 ground is performed in a very fingular manner : fmall round holes, clofe to 
 each other, were punched into the block of wood, wliich in the imipreffion, 
 make a multitude of white fpots ; and the effeft of them is by no means un- 
 pleafant. On a ftone at the bottom is the following infcription, Franctfcus 
 Denanto de Saiaudiaf, 
 
 D E N I S O T. 
 
 Flourifhcd, 
 
 A name mentioned, as an engraver, by IVTr. Evelyn, without the lead re- 
 ference to any of his works. I am not acquainted with them. 
 
 MICHAEL DENTISLER. 
 
 Flourifhed, 
 
 This name is mentioned by Florent le ComtCj as an engraver Ql embroi- 
 deries, and other ornamental works. 
 
 D E O D A T E. 
 
 Flouriflied, 
 
 A name affixed to a portrait of Sir Theodore Mayerne, phyfician to James 
 the Firft and Charles the Firft. The Hon. Mr. Walpole adds, that an 
 Italian, called Deodate, was phyfician to Prince Henry, and perhaps the 
 engraver of this print. 
 
 D E ROY. See Roy. 
 
 N. D E R S O N. 
 
 Flourifhed, 1625. 
 
 By this artift we have an engraving of the fumptuous front of the church 
 ef Notre Dame de Reims. It is a very Laborious performance, neatly etched, 
 and finifhed with the graver. The figures which he has introduced are very 
 fpirited ; and the ftyle, in which they are executed, refembles that of Callot. 
 This print does honour to the engraver, who figns his name, N. Derjoriy 
 Rcim.fe.Jculp. It is dated 1625. 
 
 NICHOLAS DERUSE. 
 
 Flouriflied, 
 
 Florent le Comte mentions this artift, as chiefly excelling in engraving 
 ornaments and foliage, for goldfmiths and jewellers, &c. 
 
 CLAUDE DERVET. 
 
 Flouriflied, 
 This artift was a painter, born at Nancy in Lorrain, and flouriflied in the 
 
 laft 
 
D E S [ 249 ] D E U 
 
 laft century. He was the difciple of Claude Henriet. Being a native of 
 the fame city with Callot, an acquaintance- was formed between thefe two 
 artifts, and they lived in friendfliip with each other, Dervet etched feveral 
 plates in a ftyle greatly refembling that of Callot. 
 
 D E S B O I S. See Bois. ' 
 
 D E S CHAMPS. See Champs. 
 
 D E S G O D E T Z. See Godetz. 
 
 D E S M A R T E A U. See Marteau. 
 
 D E S PLACES. See Places. 
 
 D E S P E R I N I. See Perini. 
 
 D E S R O C H E R S. See Rochers. 
 
 D E U T E C U M. See Duetecum. 
 
 NICHOLAS MANUEL DEUTSCH. 
 
 Flouriflied; 1 5 1 8 . 
 
 This ancient artift was a native of Berne in Switzerland ; and is fpoken of 
 as a celebrated painter in his rime. He cut on wood feveral of his own de- 
 figns, in a bold, free, but flight ftyle ; and the naked parts of his figures are 
 fometimes incorreft. He marked his prints with an N. an M. and a D. 
 joined together, and a dagger underneath the letters, in the manner repre- 
 fented on the plate of monograms at the end of the volume. I Ihall only 
 mention the two following prints by this mafter : 
 
 A figure of a woman Jlauding, a middling fized upright print. He 
 has added. Von Bernn to the initials of his name, and the dagger. 
 
 Several ivcmen figures in a cowpofition, a middling fized print, length-ways. 
 To the initials of the name and the dagger is added the date, 15 18. This 
 is one of his neateft, and I think beft engravings. 
 
 RODOLPHE MANUEL DEUTSCH. 
 
 Flouriflied, 1548. 
 
 There are feme prints marked with an R. an H. an M. and a D. joined 
 together in a cypher, in the manner exprefl^ed upon the plate at the end of 
 the volume, attributed by profeffbr Chrift to this artift, who flouriflied about 
 the year 1548, and was an engraver on wood. The prints executed by 
 him are cut in a bold, fpirited manner, which prove him to have been 
 an artift of confiderable merit. The fame author fuppofes him to have 
 
 VOL. I. K k worked 
 
DEW [ 250 ] D I A 
 
 worked conjointly with Hans or John Holbein ; and this conjefture arifes 
 from the initials H. H. being often found upon the prints, marked with 
 the cypher above-mentioned. Moft of the engravings by this artift were 
 publifhed, a. d. 1548. Among other things by him, I have feen fome 
 animals, fmall prints length-ways. Alfo, (hree figures converfing, with a 
 land/cape back-ground^ a fmall fquare plate. See the mark of this en- 
 graver copied upon the plate at the end of the volume. 
 
 D E W A E L. See Wael. 
 
 D E WIT. See Wit. 
 
 ANTOINE JOSEPH DEZALIER DARGENVILLE. 
 
 Flourifhed, 1740. 
 A modern connoifleur, and a man of letters. By him we have an Abridg- 
 ment of the Lives of the Painters. He etched feveral/;Ka//_/«i^ViJ7j-, and 
 land/capes y from his own compofitions. 
 
 GIOSEFFO DIAMENTINL 
 Flourilhed, 17 10. 
 
 A modern Italian painter, who refided at Venice. He flourifhed at the 
 commencement of the prefent century, and etched feveral fubjefts from his 
 own compofitions, which, according to Bafan, fhow more indications of ge- 
 nius, and fertility of invention, than correftnefs of drawing. I have feen fo 
 few of the works by this artift, that I cannot form a decifive judgment, 
 but from the kvf I have feen, I think much more favourably of him than 
 that author feems to do with refpeft to his knowledge of drawing. The fol- 
 lowing engravings are by him : 
 
 Four emblematical fubjeSfs, fmall upright plates. 
 
 Two emblematical Jubje£ls , large fquare plates. 
 
 Two other emblematical JubjeBs, one a large hexagon plate ; the other an 
 oval. 
 
 Thefe, in my opinion, are etched in a free, maflerly ftyle, with a fine point ; 
 the defigns are fpirited ; the aftions of the figures are often very graceful, 
 and the heads and other extremities of them drawn in a fuperior ftyle. They 
 are marked, Eques Diamatitinus in. f. Hence it appears, that he was 
 honoured with a title. 
 
 » 
 
 H. F. D I A M E R. 
 
 Flourifhed, 
 An artift of merit, who etched a fet of prints for a Dutch bible, in o£tavo, 
 in the ftyle of Le Clcrc. He alfo engraved fome few portraits j among the 
 reft, that of dubert Mirceus, from Anthony Vandyck. 
 
 J. DICK- 
 
Die [ 251 ] DIE 
 
 J. DICKSON. 
 
 Flourtfhed, 1660. 
 This artift, it feems, refided at Oxford, where he engraved among other 
 things, according to the Hon. Mr. Walpole, the head of Edward P any, 
 epiJcDpi Laonenfis, dated 1660. I have never feen this print, but in another 
 account of it f find the name written Ed. Parry, bipop of Killalje. 
 
 ABRAHAM DIEPENBECK. 
 Born, 1607. Died, 1675. 
 
 This well known artift, was at firfl a painter on glafs ; and though he 
 excelled his cotempories in that art, yet difgufted by a variety of accidents, 
 he quitted it, and turned his thoughts to painting in oil. He had ftudied 
 in Italy, and now became the fcholar of Peter Paul Rubens j and under the 
 direftion of that mafter, made great improvement. 
 
 Diepenbeck was a man of genius. He pofleffed great fertility of inven- 
 tion, and no fmall knowledge of drawing ; and it is obferved, that had he 
 taken time to correfl his firfl: ideas, he would doubtlefs have produced fuch 
 works, as might have ranked him among the iirft artifts ; but beino- 
 greatly employed in making drawings for prints, and books of prints, he 
 hurried his compofitions, without attending to the propriety of his choice. 
 He died 1678, aged 68. 
 
 He is faid to have engraved feveral devotional JuhjeSls with great fuccefs. 
 
 ADRIAN VAN DIE ST. 
 Born, 1655. Died, 1704. 
 
 This artifl was born at the Hague, a. d. 1655. He refided chiefly in 
 England, and painted landfcapes with great fuccefs. He ftudied much from 
 nature, in the weftern parts of the kingdom 5 and had he met with encou- 
 ragement equal to his genius, he would probably have arrived at a very fu- 
 perior degree of excellence. But being often obliged to paint piiSlures at 
 low prices, he hurried them over, without beftowing fufRcient ftudy upon 
 them : and this is the reafon wliy his works are lb very unequal. He died, 
 A. D. 1704, aged 49. 
 
 We have etched by this mafter, in a very Hight, but mafterly ftyle, feveral 
 fets of fmall land/capes, fome of them upright, and fome of them length- 
 ways. 
 
 F. A. D I E T E L. 
 
 Flouriftied, 
 This artift, aflifted by another, who figns his name Chr. Dietel, and was 
 very probably his brother, engraved conjointly a fet of fountains and theatrical 
 Jcenes at Rome ; though it appears from the fignature at the bottom of the 
 plate, that they refided at Vienna. 
 
 CHRISTIAN WILLIAM ERNEST DIETRICH, or DIETRICY. 
 
 Born, 17 1 2. Died, 
 A modern artift, who was born at Weimar, and refided chiefly at Drefden, 
 
 K k 2 where 
 
DIE [ 252 ] D I T 
 
 where he was profeflbr of the Academy of Arts. He was a painter of very 
 extenfive abilities, and fucceeded both in hiftory and landfcape. We have 
 by him a great number of fmall fubjefts, to the amount of 150 or more, 
 which he engraved from his own compofitions, in the ftyle, fays Bafan, of 
 Oftade, of Lairefle, and of Salvator Rofa. Sixty of thefe etchings are ex- 
 ceedingly rare. I Ihall only mention the following print by this mafter : A 
 Jatyr entertained by a f enfant and his family. This is a very neat etching, 
 finely drawn,, and executed in a mafterly manner : it is dated 1739. 
 
 VANDER DIETTERLIN. 
 
 Flourifhed, 
 
 The name of an engraver, mentioned by Florent le Comte, by whom we 
 have,, according to that author, feme embroideries, and other ornamental 
 works. 
 
 J. C, D I E T Z S C H. 
 
 Flourifhed, 
 
 He etched feveral fets of fmall land/capes, length-ways, in imitation of 
 the ftyle of Waterloo ; they are executed in a more determined manner, 
 but by no means equal in fimplicity, or refemblance of nature, to thofe of 
 that mafter. They poffefs, however, a very confiderable fhare of merit. 
 
 J. DIEU DE SAINT JOHN. 
 
 Flouriflied, 
 This artift is mentioned by Florent le Comte, as one of the firft en- 
 gravers o{ figures a la mode, or the different modes and dreffes in fafhion. 
 His prints are hardly worth enumerating. 
 
 F. D I O D A T E. 
 
 Flourifhed, 
 
 A name affixed to the portrait oi JJhrandu-s de DiemerbreeckyprofclTor of 
 anatomy. This print, however, does no great credit to the engraver. I fuf- 
 pe£l this artift to be the fame with liim before mentioned, under the name of 
 Deodatc. 
 
 D. D I R I C K S E N. 
 Floiiirifhetl, 
 
 This artift refided at Hamburgh, and feems to have been chiefTy employ- 
 ed by the bookfellers. He engraved portraits in a neat pleafing ftyle, 
 greatly refembling that of the Paffes. Among other prints, by him is that of 
 Hadrianus a Minjicht, a fmall upright oval plate, with an orrumental bor- 
 der, and ibme Latin verfes underneath the head> 
 
 JOHNDITMER. 
 
 Flouriflied, 1574. 
 By this engraver we have, among other things, a middling fized upright 
 2 plate^ 
 
D I X [ :^5S ] DOE 
 
 plate, nearly fquare, reprefenting a figure of Chriji, feated in the clouds, 
 with the fymbolical animals, reprefenting the Evangelifts, and angels bearing 
 thecrofs, crown of thorns, &c. It is executed in a ftyle greatly refembling 
 that of Cornelius Cort ; but coarfer, and by no means fo well drawn, as the 
 works of that mafter generally are. 
 
 J. DIXON, 
 
 Flourifhed, 1770. 
 
 A modern engraver of mezzotinto, by whom we have feveral portraits from 
 Sir Jofhua Reynolds, and other mafters j among themj that of Anabella 
 Bunbury, with the emblems of Juno, dated 177 1. 
 
 WILLIAM DOBSON. 
 Born, 161 1. Died, 1647, 
 
 Amidft all the difadvantages of life, the genius of this artifl made its ap- 
 pearance; and his inclination led him to portrait painting. Vandyck, found him 
 working in a garret, and was fo pleafed with his performances, that he took 
 him under his patronage, and introduced him to Charles the Firft, who ho- 
 noured him with the flattering appellation of the Englifli Tintoret. At the 
 deceafe of Vandyck, Dobfon was appointed ferjeant painter to the king, and 
 groom of the privy chamber. No man ever had a fairer opportunity than 
 this artift, of acquiring an eafy fortune; but leading a diflblute life, he ruined 
 his conftitution, and fpent all his fubftance. He was imprifoned for debt, 
 and died in London, in which city he was born, foon after bis releafe, a. d, 
 1647, aged 37 years only. 
 
 By this artift, it is faid, we have his own portrait, a fmall half fheet print, 
 very rudely etched, and In a ftyle greatly inferior to what one would have ex- 
 pefted from him ; efpecially, as he had the fpirited etchings of his tutor 
 Vandyck for examples. Bafan, I apprehend, never faw this engraving, other- 
 wife he would hardly have faid it was digne de Van-Dyck^ or worthy of Van- 
 dyck. This portrait, though attributed to Doblbn, was, I believe, certainly 
 etched by Mr. Evelyn ; accordingly I have referred to it ia the account of 
 that artift, and there given my reafons for fuppofing fo. 
 
 D O D D. 
 
 Flouriflied, 1760. ■ 
 
 The name of an Englifti artift, affixed to the portraits of Leveridge the 
 aftor, and o( Buckherfe, the noted boxer. 
 
 ANTHONY VANDER DOES. 
 Flouriftied, 1649. 
 
 I fuppofe this engraver was of the fame family with die Vander Does, who 
 were painters, and natives of Amfterdam. His chief employment feems to 
 ha.ve been in the portrait line -, and if he was not a difciple of Paul Pontius,, 
 
 at 
 
DOE [ 254 ] DOE 
 
 at leaft he imitated his ftyle. And though he never equalled that mafter, 
 yet his beft engravings are by no means devoid of merit. 
 
 I ftiall only mention the following prints from the works of this artift : 
 Part of the plates belonging to a work, entitled, Por/rai/j des Hommes 
 illujlres dans 17 Steele, publiflied at Amfterdam. Some of them are dated 
 
 1649. 
 
 Ferdinand, Cardinal-Infant of Spain, and Governor of the Low Countries, on 
 horjeback. In the back- ground is the reprefentation of the battle of Nort- 
 lingen, in which this prince, alTifted by the king of Hungary, obtained a 
 vidtory over tlie Swedifli army, a. d. 1634. ; a middling fized upright plate, 
 from Diepenbeck. By fome connoilfcurs this compofition is attributed to 
 Rubens. 
 
 A Magdalen, half figure, a fmall upright plate, from Vandyck. 
 
 A Madona and child, a fmall upright plate, from Erafmus Quillinus. 
 
 K holy family with an angel warming the linen for the child, a fmall up- 
 right plate, from the fame mafter. One can hardly be perfuaded, that a man, 
 in his fober fenfes, would have employed the angel in fo ludicrous a manner ; 
 but it is not uncommon, in the compofitions of the Dutch and Flem.ifh 
 mafters to meet with xk\^{^ Jerious burlefques, if I may be allowed the term. 
 We fhall not, however, wonder at fuch imall abfurdities in painting, if we give 
 credit to the following anecdote of a Dutch tragic writer, who, according to 
 M. du Bos, in his Refleftions upon Poetry and Painting, has reprefented 
 Scipio, the great Roman general, fitting in his tent, and very gravely fmoak- 
 ing a pipe of tobacco, with a pot of ale by his fide; whilft he is meditating 
 upon the event of the battle of Zama, which he was to fight with Hannibal, 
 the enfuing morning, and on which the fate of Carthage depended. 
 
 JACOB VANDER DOES. 
 Born, 1623. Died, 1673. 
 
 This artift was a native of Amfterdam, and a difciple of Nicholas Moyert. 
 He went to Italy to improve himfelf in the art of painting, and refided there 
 fome time. He excelled in landfcapes and cattle, and hnitated the ftyle of 
 Bambochio. Being a man of a melancholy turn of mind, and crofs temper, 
 he incurred the hatred or contempt of all his acquaintance. Karel du Jarden, 
 at laft, became his only companion ; whofe friendfhip for him was fuch, that 
 he put up with his croffhefs, rather than forfake him. This unfortunate man 
 died at Amfterdam, a. d. 1673, aged 50 --ears. 
 
 We have feveral fmall landfcapes etched by this artift from compofitions 
 of his own, which are ornamented with animals. They are in a (light, free, 
 mafterly ftyle. 
 
 This mafter is frequently confounded with his fon, who was alfo named 
 Jacob Vander Does. He was a hiftorical painter, and never engraved. 
 
 SIMON VANDER DOES. 
 
 Born, 1653. Died, 1717. 
 This artift was the fon and pupil of Jacob Vander Does, mentioned in the 
 
 preceding 
 
DOE [ 255 ] D O I. 
 
 preceding article. He imitated his father's manner, and acquired a con- 
 fiderable fhare of reputation. He was in England, where he abode but one 
 year ; perhaps he did not meet with fufficient encouragement. On his 
 return to Holland, he fettled at the Hague, where, though he was in a 
 very advantageous way of bufineis, his circumftances were conftantly low, 
 from the extravagancies of his wife. He died, a. d. 1717, aged 64 years. 
 We have etched by this artift a few fmall land/capes, with animals, from his. 
 own compofitions. 
 
 J. DOESBURGH. 
 
 Flourifhed, 
 
 A very indifferent engraver, who worked chiefly, if not entirely, for the 
 bookfellers. He executed feveral plates of the old Roman cufioms, in a flight, 
 poor ftyle, etched and finifhed with the graver. Alio Van Trump, the Dutch 
 admiral, engaging with the Englifi fleet, a fmall plate, length-ways. 
 
 JOHN A DOETECHUM, or DOETECOM. 
 
 Flourifhed, 
 This artifl, with Baptista a Doetechum, who, I fuppofe, was his bro- 
 ther, executed conjointly a work of confiderable magnitude, in which are re- 
 prefented the various habits and manners of the Indians. Both thefe artifls 
 worked with the graver only, in a flifF, open flyle, without efFedl; and 
 the drawing of the naked parts of the human figure is very indifferent oa 
 the plates of both. Thefe engravers are often confounded with the 
 Duetecums ; and perhaps they were of the fame family, the name being fpelt 
 with with an O. inftead of the E. However, their flyles of engraving are 
 manifef'tly very different. Thefe artifls worked entirely with the graver, 
 and the Duetecums ufually etched their plates in a flight manner. But of 
 this matter I fpeak very diffidently. See Duetecum. 
 
 BARTHOLOMEW DOLENDO. 
 
 Flourifhed, 1590. 
 
 This engraver, who was a native of Germany, flourifhed at the conclufion 
 of the fixteenth century. He worked entirely with the graver in an open, 
 flight ftyle. He was probably one of the fcholars of Henry Goltzius. Gerard 
 Douw learned the firii principles of drawing from this artift, who might pro- 
 bably have more judgment than execution in that art; for the outlined, and 
 markings of the naked parts of the figures, upon his plates, are by no means 
 correft. See the cypher compofed of a B. and a D. which he frequently 
 ufed, when he did not put his name at length, on the plate at the end of 
 the volume. The following prints are by this mafter : 
 
 A Dutch merry-making, a middling fized plate length-ways, probably from 
 a defign of his own. 
 
 Adam. 
 
D O L [ 256 ] D O L 
 
 Adam and Eve receiving the forbidden fruit, a middling fized upright 
 plate, from Carl van Mander. 
 
 A holy family, a Imall plate, length-ways, from Michael Coexy. 
 
 St. John preaching in the defer t, a middling fized plate, length-ways, with- 
 out the painters name 
 
 Pyramus and 'Thifbe, a middling fized upright plate, from Crifpen Vander 
 Borclit. 
 
 He alfo copied fome of the plates of Lucas Jacobs of Leyden, and en- 
 graved feveral others from Spranger and other mafters. 
 
 ZACHARY DOLENDO. 
 
 Flouriihed, 1581. 
 
 This artifl: was probably of the fame family with the preceding, if not 
 his brother, he imitated his ftyle of engraving ; but was greatly his fuperior 
 in tarte and correftnefs of drawing. We have fome portraits by this mafter, 
 which are equal in neatnefs to any by Jerom Wierix. He often ufed a cy- 
 pher, compofedof a Z. and a D. joined together, in the manner expreflTed 
 upon the plate at the end of the volume. I fhall mention the following 
 prints by this engraver, which will fufficiently prove his great merit. 
 
 Jdam and Eve embracing each other, whiljl Eve receives the apple from the 
 ferpent, a fmall upright print, from Spranger, 
 
 Andromeda naked, chained to a rock, a well drawn-figure ; the head and 
 other extremities are marked in a fine ftyle j a very fmall upright, perhaps 
 from a delign of his own. 
 
 The continence of Scipio, a fmall circular plate, from A. Bloemart. 
 
 Afet of the Pagan gods and goddejfes, copied fmall from the prints of Henry 
 Goltzius. 
 
 St. Martin dividing his cloak between two beggars, a fmall upright plate, 
 from Spranger. 
 
 I Ihall only take notice of the following portrait, which I think a very 
 fine one by this artift, namely, 
 
 William, prince of Orange, a half figure in armour, a fmall upright plate, 
 without arfy painter's name : It is dated 1 5 8 1 . 
 
 OLIVER D O L F I N, or D O F I N. 
 Born, Died, 1693. 
 
 This artift was, I believe, a native of France ; but he refided at Bologna, 
 where he etched a great number of plates, from the Carraccii, and other great 
 mafters. He died about the year 1693. 
 
 WILLIAM DOLLE. 
 Flouriflied, 1630. 
 
 This artift worked chiefly, if not entirely with the graver, in a very poor, 
 ftifF ftyle; and his employment was in the portrait line for the book- 
 fellers. His plates, in general, appear to be engraved from defigns of his 
 own, which, as far as we can judge from the prints, were equally indifferent. 
 However, antiquity or fcarcity frequently llampsa value upon things, totally 
 
 deftitute 
 
D O L [ 257 ] DOR 
 
 deftitute of merit in themfelves. By hiin we have the following portraitSjj 
 among many others : 
 
 Sir Henry Wootton, a fmall upright print. 
 
 Mark Franke, mafter of Pembroke Hall, Cambridge ; a fmall half Iheet 
 print. 
 
 George Villars, duke of Buckingham, the fame. 
 
 Robert, earl of Effex, &c. 
 
 JOHN DOLIVAR. 
 
 Flourifhed, 1680. 
 
 This artift wa^ a native of France, and a defigner as well as an engraver. 
 His works are ufually, fays Bafan, placed with thofe of Chauveau and Le 
 Pautre, but in fertility of genius he never equalled either of thofe mafters. 
 Some of the plates (or Berlin's Ornaments ire by him; and one of tht Ceilings 
 in the Cabinet des Beaux Artes, publiilied at Paris by Perauk, 1690. 
 
 DOMINICO FIORENTINO. See Barbiere. 
 
 c :s: S A R D O M I N I C U S. 
 
 Flourilhedj 16 14. 
 
 This name is affixed to a fet ol ornaments, neatly engraved from the inven- 
 tion of Lud. Seal. They are middling fized upright plates, and ufually 
 marked, " Cass. Dom. inc. 16 14." 
 
 JOHN DONALDSON. 
 
 Flourifhed, 
 
 A modern artift by whom we have feveral fmall upright etchings of beggars, 
 from Rembrant, by no means badly executed. 
 
 W. DONNE. 
 
 Flourifhed, 
 
 An obfcure engraver, by whom, among other things, we have a fmall 
 plate, length-ways, from Elflieimer, reprefenting Venus and Cupid in a land- 
 scape, with feveral other diftant figures. This is a flight fcratchy etching, 
 badly drawn, and without effed. 
 
 S. D O N N E T. 
 
 Flourifhed, 
 An obfcure engraver, who apparently worked for the bookfellers only. 
 He executed his plates with the graver, in a heavy, ftiff flyle, without tafle or 
 correftnefs. Among other things by him, is a fmall print, length -ways, re- 
 prefenting a manjeated reading a book, which is upon a table before him. 
 
 DORS. 
 
 Flourifhed, 
 
 The name of an engraver, mentioned by Evelyn, without any reference to 
 VOL. I. • L 1 his 
 
D O O [ 258 ] DOR 
 
 h/s works. Perhaps his name fhould have been written Durr, of whom an 
 account will be found below. 
 
 P. VAN DOORT. 
 
 Flourilhed, 
 
 This artift, a man of no great merit, worked entirely with the graver, in a 
 ftyle refembling that of Cornelius Cort ; but without tafte or corrednefs of 
 dcfign. The heads and other extremities of his figures are peculiarly repre- 
 henfible. We have by him a fmall upright Ao/y /3»?//y, where Elizabeth is 
 giving an apple to the infant Chrift, and St. John is feated near them, from 
 Bernard PaiTarus. 
 
 D O R B A Y. 
 
 Flourifhed, 1690. 
 
 This artift appears to have been a native of France. Among other 
 things engraved by him, are fome o( the plans and views of the royal palaces 
 in France; and they are executed in a very neat pleafing ftyle. He adds to- 
 his name, del. et fculp. 
 
 MICHAEL DORIGNY. 
 
 Born, 1617. Died, 1665. 
 
 This artift was born at St. Quentin in France; and difcovering an early 
 inclination for the arts, he was placed as a difciple under Simon Vouet, a 
 painter, at that time in great repute, and whofe daughter he married. Do- 
 rigny copied the manner of his mafter; and was himfelf a painter of fome note ; 
 but he is much better known as an engraver. He performed his plates chiefly 
 with the point, in a bold, powerful ftyle ; the lights are broad and mafly, ef- 
 pecially upon the figures. But the marking of the folds of the draperies, and 
 the ftiadows upon the outlines of the flefti, are frequently fo extravagantly 
 dark, that they form a harfti, difagreeable efFefb, and fometimes deftroy the 
 harmony of the engraving entirely. He certainly underftood the human fi- 
 gure ; and in fome few inftances, we find it corredly drawn. But, in gene- 
 ral, from the manner which he had conrrafted in copying the ftyle of Vouet, 
 rather than the fimple forms of nature, his outlines are affeded, and the ex- 
 tremities of his figures too much negledled. 
 
 He was made profeflbr of the Royal Academy of Painting at Paris, where 
 he died, a. d. 1665, aged 4S. According to Abbe Marolles, his works con- 
 fift of 105 prints. I ftiall only mention the following: 
 
 The adoration of the Ma^i, a very large print, length- ways, on four plates, 
 in the manner of a frieze, from a pi/ture painted by Simon Vouet, dated 
 1638. 
 
 The nativity of Chrifl, a large upright plate, from the fame mafter. 
 
 Venus at her toilet, a middling fized plate, length-ways, from the fame. 
 ^ Venus, Hope, and Love, plucking the feathers from the wings of 'Time, 
 the fame, from the fame. 
 
 Mercury and the graces, the fame from the fame. 
 , Tht rape of Europa, the. {-ime. 
 
 Some flight Bacchanalian JubjeHs, from his own compofitions. He alfo en- 
 graved from Lc Sueur, Sar;ifin and other mafters. 
 
 LOUIS 
 
DOR [ 259 ] DOR 
 
 •LOUIS D O R I G N Y. 
 
 Born, 1654. Died, 1742. 
 
 This artiftwasfon to Michael Dorigny, mentioned in the former article- 
 After having learned the firft principles of defign from his father, he became 
 the pupil of Le Brun ; and when he had finifhed his ftudies under that mafter. 
 he went to Italy, where he took up his refidence. He is greatly commended 
 for the fertility of his invention, the grandeur of his compofition, and the 
 harmony of his colouring. He is alfo laid to have drawn the human figure 
 ver^corredly. He died, a. d. 1742, aged 88 years. By the hand of this 
 artift we have feveral etchings ; among others, the following ; 
 
 A fet of thirty-two fmall upright plates, comprehending the title, from his 
 own compofitions ; which were engraved for an Italian edition of the Penjees 
 Chretiennes, by Pere Bouhours. 
 
 Five emblems of Horace, fmall plates nearly fquare, the fame. 
 
 The landing of the Saracens at Port D'OJlie, amiddling fizcd plate, length- 
 ways, from Raphael. 
 
 SIR NICHOLAS DORTGNY, Kkjcht. 
 Born, 1657. Died, 1746. 
 This artift was the fon of Michael Dorigny, and brother to Louis, mention- 
 ed in the preceding article. He was born at Paris ; and his father dying whilft 
 he was young, he was brought up to the law. But at the age of 30 he quitted 
 that profefiion, and ftudied drawing for a year very afiiduoufly. Intend- 
 ing to engage in the arts, he went to his brother, who refided at Rome, in 
 order to learn the principles of painting. After fome praftice in that art, 
 being advifed by him, he took up the point; and, in the courfe of 
 feveral years, produced a number of different etchings. He ftrove to imitate 
 the ftyle of Girard Audran ; and after ten years purfuit, finding he could 
 by no means fucceed in his attempt, fo well as he expefted, he refumed the 
 pencil. But beingof a very eafy difpofition, he was foon perfuaded to lay it 
 down again ; and having received fome inftrudtions, with refpedt to the 
 handling of the graver with more freedom, to harmonize the roughnefs of 
 the etching, he began again to engrave ; and the feven planets from Raphael, 
 it feems, were his firft produftions. Some time after, he finiftied the tranf- 
 figuration, from the fame mafter. His reputation was now increafed ; and he 
 was invited into England, in order to engrave the cartoons, then at Hamp- 
 ton-Court. He arrived June i7ii,butdid not begin to work upon them 
 till the year following, the intermediate time being fpent in raifing a fund 
 for the payment. At firft it was propofed, that they fliould be done at the 
 queen's expence, in order to be given away, as prefents to the nobility, fo- 
 reign princes, minifters, Sec. and the lord treafurer Oxford exerted himfelf 
 greatly in the caufe of the artift. But he demanding the fum of four or five 
 thoufand pounds, the plan was rendered abortive. He had, however, an 
 apartment affigned him in Hampton Court, with requifite perquifires. The 
 work, at laft, was undertaken by fubfcription, at four guineas each fer. 
 Dorigny fent for Dupuis and Dubofc from Paris to affift him j but from 
 
 L 1 2 fome 
 
DOR [ 260 ] DOR 
 
 fome difFerence, wliich happened between them they both left him, about two 
 years and a half after their arrival, before the work was half completed. 
 April I, A. D. 1719, heprefented tokingGeorge theFiriltwo coniplete fets ; 
 and a fct a piece to the prince and princefs. The king give him a purfe with 
 a hundred guineas ; and the prince, a gold medal. The duke of Devon- 
 fhire, who had alTifted him with the loan of 400I. remitted the intereft of it 
 for four years J and in the year following, 1720, procured him the honour 
 of knighthood from the king. 
 
 During his refidence in England, he painted fome few portraits ; but with 
 no great fuccefs. His eyes failing him, he returned to Paris, where, a. d. 
 1725, he was made a member of the Royal Academy of Painting, and died 
 1746, aged 89. 
 
 If the great excellence of an engraver confifts in divefting himfelf of all 
 mannerof hisown, and tranfcribing faithfully on copper the ftyle of the mafter, 
 whofepiclure he copies ; and if he ought to be confidered as faulty, in pro- 
 portion as he recedes from this rule, Dorigny will fall under very heavy con- 
 demnation. He drew in an incorre6l affefted manner. The naked parts of 
 his figures are often falfely marked ; and the extremities in particular are de- 
 feflive. His draperies are coarfe, the folds ftifF and hard, executed without 
 being properly harmonized, or well formed. And a manner of his own per- 
 vades all his prints ; for the ftyle of the painter is conftantly loft in that of the 
 engraver. Buthefeems never to have failed more, than when he worked from the 
 paintings of Raphael. The fweet fimplicity, and ehaftnefs of outline, which are 
 the great charafleriftics of that admirable artift, required mucli morejudgment 
 and attention, than Dorigny pofleffed, to exprefs them properly. But, with 
 all thefe faults, the prints of Dorigny are the beft copies we have from feveral 
 of the pictures of Raphael, and other great mafters. Bafan fpeaks of him in 
 the following manner j and a little partiality to a countryman may be well 
 excufed : " We have many excellent prints by his hand, in which one juftly 
 " admires the good tafte of his drawing, and the intelligent and pifturefque 
 " manner, which he acquired by the judicious refleftions he made upon the 
 " works of the great mafters, during the refidence of 22 years in Italy." We 
 have by him, among others, the following prints : 
 
 St. Peter curing the lame man at the gate of the temple, a large upright plate> 
 from Civoli. This I take to be one of his firft engravings. It is a dark, 
 heavy print, executed exadlly in the ftyle of M. Dorigny his father. 
 
 The transfiguration., from Raphael, a large upright plate. 
 
 The dejcent from the crojs, the fame, from Daniello da Voltcrra. This 
 and the following, I confider, in my own opinion, as the beft prints by this 
 mafter. 
 
 The martyrdom of St. Sehaflian, a large upright plate, arched at the lop, 
 from Dominichino. 
 
 The Trinity y the fame from Guido. 
 
 The hijlery of Cupid and P/yche, from the pidures painted by Raphael in 
 the Vatican. 
 
 The cartoonSy feven very large plates, length-ways, from the pictures of 
 Raphael, which v/ere then at Hampton Court, but at prelent at the Queen's 
 Houfe in St. James's Park- 
 He 
 
D O I [ 261 ] D O Y 
 
 He alfo engraved from Annibale Carracci, Lanfranche, Louis Dorigny^ 
 and a variety of otlier mafters. 
 
 MICHAEL DOISIER. 
 
 Flourifhedj 17 10. 
 
 This artift, if not a native of Paris, refided there about the commence-* 
 ment of the prefent century. He worked with the graver in a very neat ftyle, 
 fomething refembling that ofDrevet. The naked parts of his figures are 
 not well drawn ; the extremities in particular, are very faulty. Among 
 other prints by him are the following : 
 
 Mary Magdalen wajhing the feet of Chrifi in the houfe of Simon the Tharijee, 
 a large plate, length-ways, from Nicolas Colembel. The companion, the 
 woman taken in adultery y from die fame mailer, was engraved by Claude 
 Duflos. 
 
 The two blind men of Jericho cured, a large upright plate, from the fame. 
 
 Chrifi driving the merchandizers out of the "Temple, the lame, from the 
 fame. 
 
 The marriage of the Virgin, the fame from Jouvenet. This appears to» 
 me to be one of his bell prints. 
 
 The portrait of J. B. Colbert, marquis de Torcy, a large upright plate, 
 
 D O U E T. 
 
 Flourifhed, 
 This artift, according to Papillon, engraved on wood a fmall upright 
 print, from Andrea Del Sarto, reprelenting the Virgin with the infant Jefus, 
 
 W. D O U G H T Y. 
 
 Flourifhed, 1760. 
 This modern artift was, I believe, a native of England, and a painter. 
 He etched fome few portraits ; among others the two following : Thomas 
 Beckwithi the antiquary of York i Thomas Gay, the poet. 
 
 L E D O Y E N, 
 
 Flouriftied, 1666. 
 An indifferent artift, who refided at Paris, and was perhaps a native of that 
 place. He worked entirely with the graver, in a ftiff, taftelefs ftyle ; and his 
 employment appears to have been chiefly for the bookfellers. I have feen 
 fome ornamental frontifpieces by him ; and he engraved die plates for a work 
 in quarto, entitled. Figures des different Habits des Chanoines reguliers ert 
 ce Siecle, &c. Paris 1666 j or, the Figures of the different Habits of die re- 
 gular Canons of this Century^ 
 
 J o H ^^ 
 
D R A [ 262 ] D R E 
 
 JOHN DRAPENTIERE. 
 
 Flourifhed, 1691. 
 A very indifferent engraver of /or/r^;7j zndi frontt/pieces. He refided in 
 London ; but tiiat he was a native of England, does not appear. He 
 worked with the graver, in a ftyle fufficiently neat, but without tafte. 
 H's drawing of the human figure is below criticifnn. Among his portraits 
 are the following : Daniel Burge/s, dated 1691. Jacol? Dyer, Mr. Perkins, 
 &c. Add to thofe, a fmall fatyrical print in an oval, reprefenting a lady 
 {having a gentleman y half figures, with this infcription, Lebeaujervice. 
 
 D R E B B E R. 
 
 Flourilhcd, 1590. 
 
 This engraver is faid to have worked from the defigns of Goltzius, I am 
 not acquainted with his works ; nor are they fpccified by the authors who 
 mention him. 
 
 D R U E F K E N. 
 
 Flourifhed, 
 
 The prints cut in wood, and marked with a clufter of grapes, are by Mr. 
 Evelyn attributed to this artift ; one in particular, which rcprefcnts the king 
 of the Boors in Hungary, eaten alive by the rebels, whom he Jeduced. See tliis 
 mark on the plate at the end of the volume. 
 
 PETER DREVET, the Elder. 
 ,/ Flourifhed, 1700. 
 
 This excellent artift was a native of France. Under what mafter he learned 
 the firft principles of engraving, is uncertain. Apparently it might be Girard 
 Edelink. However, the progrefs he made in that art was fuch, as 
 raifed his reputation above any of his cotempories. The command, which 
 he had of the graver, was very great. His prints are firm, yet highly 
 finifhed. He drew well, and copied faithfully the ftyle of the maftcrs from 
 whom he worked. He confined himfclf to portraits ; and the foftncfs and 
 beauty, which appears in them, have ftamped a confiderable value upon the 
 firft imprcfTions. I fhall only mention the following, which are reckoned 
 among his moft eftcemed prints : 
 
 houis XII. a whole length figure, ftandingj a large upright plate, from 
 Hiacinthe Rigaud. 
 
 Louis XV. upon his throne, companion to the former, after the fame painter. 
 
 The prince ofCcnde, the fame, from the fame. 
 
 The comte de Thoulouje, a middling fized upright plate. This portrait was 
 twice engraved. In the oncj the hand has a glove on j in the other, the 
 glove is taken away. 
 
 Cardinal de Fleury, the fame, from the fame. 
 
 Marecha/ de yilIars,a,Hrgc upright phtc. The beft imprcfTions of this 
 
 plate. 
 
D R E [ 263 ] D R E 
 
 plate, are before tin: chanjj;e was mack in tlic infci'iption, wliicli is cafily 
 dilliiuniilliccl. 
 
 PETER D R E V E T, the Younger. 
 Born, 1697. Died, 1739. ' 
 
 This artifl:, the Ton of Peter Drevct, mentioned in the preceding article, 
 was born at Paris, a. d. 1697. He was inllriided in the art of en- 
 graving by his father, wliofe Hyle he adopted, and furpaded his tutor in 
 clearnels and deheaey of Hnilhiiig. Me did not confine liinifelf to jjortraits : 
 we Iiave feveral hiflorical jirinrs by him, whieii \n point of neatnefs and ex- 
 quifite worlcmanlhip, are fcarcely to be equaHed. 1 lis drawing, though he 
 Icrupiiloiifly copied Iiis original, apjjcars in general rather heavy j and the 
 figures, from being entirely executed with the graver, without fullieient varia- 
 tion of the Hyle, have fometiines a cold ami fdvery (lied. I lis moil elleemed 
 and bell: hillorical print is very valuable ; but tiie lirll impreinons of it arc 
 rarely to be met with : it is, 
 
 Tlie preft'>itatioii of Chrift in (be temple, a very large plate, length-ways, 
 from Louis de Bologna. The following are alfo by him. 
 
 yidam and Eve in their ftalc of dijobcdiencc, a large upright plate, from Ant. 
 Coypel. 
 
 T\w meeting of Abraham's Jcrvant with Rebecca af the zvell, the fame, from 
 the fame. 
 
 Abraham , with his /on JJaac on the altar, the fame, from the fame, dated 
 
 ^707- 
 
 Among his portraits the two following arc jufHy held in the higheft cili- 
 mation. 
 
 A/. Ihjfuet, bifijop of Meaux, a whole length figure, (landing, a middling 
 fizcd upright plate, from Rigaud : a moft admirable print. 
 
 i^nmuel Bernard, a whole length figure, futinfi; in a chair, a large upriglit 
 plate. The (irft imprefTions are, before the words Conjeiller d'UAat were in- 
 fertcd upon the plate. This print is liniflied in a very wonderful manner. 
 I fliall add the following excellent ]K)rtraits only : 
 
 Cardinal Dubois, a mitldling fizeii upright plate from the fame. 
 
 L'yJbbc Pucelle, cotinfellor of the parliament, the fame, from the fiune. 
 
 Louis XV. when youn^, conducted by Minerva to the temple of Glory, a mid- 
 dling fized upright plate, from Coypcll. 
 
 CLAUDE DREVET. 
 
 Flouri filed, 1740. 
 He was firfl: coufin to Peter Drevet, mentioned in tlie preceding article, 
 and was living at Paris, at the time Bafan publiflied his Didionary of En- 
 gravers. He chiefly confuieil iiimfelf to portraits, and worked widi great 
 fuccefs. Tiie following portraits are Ijyhini: 
 
 'I'he cardinal d' Auverge, fitting ina ihair, a middling fized upright platc> 
 after Kigaud. 
 
 2 M. dc 
 
D R O [ 264. J DUG 
 
 M. de Vint'mille, archhijhop of Paris, the fame, after the fame mafter. 
 M. le comte de Zmzindorff, the fame, from the fame. 
 
 MARTIN D R O E S H O U T. 
 Flouriflied, 
 
 One of the indifterent engravers of the laft century. He refided in 
 England, and was employed by the bookfellers. His portraits, which are the 
 beft part of his works, have nothing but their fcarcity to recommend 
 them. He engraved the head of Shak/peare, John Fox the marlyrologifty 
 'John Heivfon, bijhop of Durham, 8cc. Alio feveral of the plates for Hay- 
 wood's /i/iV^-arf/^^ of Angels ; and the death of Dido for Stapy! ton's Virgil, 
 oflravo, &c. 
 
 JOHN DROESHOUT. 
 
 Flouriflied, 1635. 
 
 Probably a relation of Martin Droefliout, mentioned in the preceding ar- 
 ticle. Like him he worked for the bookfellers, with the graver only, in a 
 ftyle that does him but little credit as an artift. We have by this engraver 
 the portrait of i?zV/&flri Elton, a head, the figure in armour, marked " John 
 " Droefliout, Lond. f." Alfo, the portrait of Joan. Danefy, affixed to his 
 Paralipyomena, publiflied in quarto, a. d. 1639. ScvtvdXfrontiJpieces, and 
 Other book plates. 
 
 D U B O I S, See Bois. 
 
 D U B O S C. See Bosc. 
 
 D U CHANGE. See Change. 
 
 GASPER DUCHE. 
 
 Flouriflied, 
 
 He refided at Rome, and probably was a painter. I have feen a landjcape 
 etched by him, in a free, flight ftyle ; but without effed:. It is marked, 
 Cajpero Diiche in.jculp. Roma. 
 
 P. DUCHESNE. 
 
 Flouriflied, 1700. 
 
 An engraver on wood of no great eminence, mentioned by Papillon. His 
 chief employment feems to have been in the ornamental line. 
 
 JOAN LE DUCQ^ 
 Born, 1636. Died, 
 He was born at the Hague, and became a difciple of Paul Potter, the ce- 
 lebrated painter of animals, whofe manner he imitated with great fuccefs. 
 In the year 1671, he was appointed director of the Academy at the Hague. 
 By hmi we have feveral etchings; among others, 9. Jet of dogs, on eight 
 plates very neatly executed, and with great fpirit. 
 
 THOMAS 
 
PUD C 265 ] DUG 
 
 THOMAS DUDLEY. 
 
 Flourifliedj 1678. 
 
 " He was a native of England, and one of the pupils of the famous Hollar, 
 whofe manner of engraving he imitated. But though he never equalled his 
 mafter in the lightnels of his point, or freedom of execution, his etchings arc 
 not without merit. His moft confiderable work was a fet of cuts for the "Life 
 of MJop, prefixed to the lafl: edition of iiis fables, publifhed by Barlow. 
 He alio etched the portrait of biJJjop Rujfel, which is fubfcribed, " Thomas 
 " Dudley, Anglus fecit, 1679." He frequently adds to his name, quondam 
 condijcipiliis IF. Hollar ; and fometimes he figned his plates with the initials 
 of his namej T. D. only. 
 
 JOHN A D U E T E C U M. 
 
 Flonrilhed, 1559. 
 
 By this engraver, conjointly with Lvcas a Duetecum, who was probably 
 his brother. We have feveral large whole fheer prints in folio, reprefenting the 
 magnificent and pompous funeral of tlie emperor Charles V. they are flight 
 coarfe etchings ; but the figures are defigned with fpirit j and fome of the 
 heads are executed in a mafterly manner. By John a Duetecum alfo is en- 
 graved an ornamental frontifpiece for a book of Pfr/pet?i»^, by John Trid- 
 manus Trifius, in folio, which print is chiefly, if not entirely, executed with 
 the graver, in a flyle which does no credit to the artift. The Doetecums, 
 mentioned as engravers in a preceding article, were probably of the fame 
 family ; but the abfurd cuftom of fpelling names fo many ways, is fre- 
 quently the caufe of much confufion. If this be true, John a Duetecum, 
 and Doetecum, will be the lame perfoni and the other two, Baptifta and 
 Lucas, his brothers. 
 
 CLAUDE D U F L O S. See Flos. 
 
 CASPAR DUGHET. 
 
 Born, 1600. Died, 1663. 
 
 This admirable artift is better known by the name of Galpar Pouiin; 
 which latter name was given him, becaufe he was the fcholar of Nicholas 
 Poufin, who married his fifl:er. According to the general report, Gafpar 
 was a native of France -, but fome authors tell us, that he was born at Rome. 
 However, his great excellence in landfcape painting is too well known, to 
 need any repetition here. His brother in law, Nicholas Poufin, frequently 
 painted the figures for him ; which he hihifelf was not fo well abie to execute. 
 We have feveral flight, but fpirited etchings of land/capes by this artift ; 
 among the reft, a fet of four fmall round plates'; and another fet of fmall 
 plates, lengtli-ways. 
 
 JOHN DUGHET. 
 
 Flouriflied, 1640. ,>' 
 
 He was the brother of Gafper Dughet, mentioned in the preceding article, 
 VOL I Mm and 
 
DUG [ 266 ] D U P 
 
 and as nearly related to the famous Nicholas Poufin, under whofe inftruftions 
 one mi^ht have expefted lie would have made great progrefs. Whether he 
 ever attained to any degree ofperfeflion in the art of painting, I cannot tell; 
 but with all the advantages he had on his fide, lie never fhone as an engraver. 
 Aanono- other etchings, from the piftures of his brother in law Poufm, are 
 the following : 
 
 The/^-j^« facrawents, from the pidures painted by that artift for the 
 Commandeur del Pozzo, which differ much from thofe in the royal colledion 
 in France : Large prints, on two plates each. Chatillon copied thefe plates 
 upon a fmailer fcale. 
 
 The judgment of Solomon, a large plate length-waysj, from die fame mailer. 
 
 Mount ParnaJfuSy the fame, from the fame.. 
 
 The I/irtb of BacchuSy the fame. 
 
 D U G Y. 
 Flourifhed, 1760. 
 By this modern artift, who is apparently a native of France, we have fome 
 flight prints, from F. Boucher and other matters. 
 
 D U H A M, E L. See Hamel. 
 
 D U J A R D I N. See Jardin. 
 
 DUNKERTON. 
 Flouriflied, 1770. 
 
 A modern aitift, who refided in London, by whofe hand we have (everal 
 portraits in mezzotinto ; among others, Mifs Honiick, from Sir Jofhua Rey- 
 nolds ; John Elliot, from Dance ; and Mi/s Bamfycld, from W. Peters. He, 
 alfo engraved from other mafters. 
 
 c 
 
 D U PIN. See Pm. 
 
 JOHN DUN ST ALL. 
 
 Flourifhed, 1660. 
 
 He was a drawing maftcr, and lived in the Strand, London. He alfo 
 engraved feveral plates, which he etched, and retouched with the gi-aver in 
 imitation of the ftyk of Hollar. His performances, however, do him no great 
 honour. The following prints are by his hand : A fet of prints reprefenting 
 birds, beafts,fiowers, fruit, flies and -worms. On the title he writes, " in- 
 " vented, etched, and graven, by John Dunftal, 1662." He likewife engraved 
 iomt frontifpieces for books, and feveral portraits ; among the laft are the fol- 
 lowing : king IVilliam and queen Mary ; Samuel Clarke, the martyrologift ; 
 Jacobus UJferius, &c. 
 
 D U PONT. See Pont. 
 
 D U PUIS. 
 
D U P [ 267 ] D U R 
 
 D U PUIS. See Puis. 
 
 J. D U R A N T. 
 
 Flouriflied, 
 He was an engraver, employed chiefly, if not entirely, by the bookiellers. 
 It was greatly the fafhion, in the laft century, to ornament books with cuts ; 
 and little attention it Teems was paid to the manner in which they were 
 defigned or engraved. Of courfe, I fhould fuppofe, very fmall prices were 
 o-iven ; fo that the artift had no inducement to lludy for improvement; fince, 
 in the firft inftance, lie had fufiicicnt employment ; and, in the fecond, little 
 hope of having his price advanced, in proportion to his merit. And this, 
 1 believe, was the caufe that fo many indifferent artifts flouriflied at that 
 time. Durant poflefled no great merit to recommend his works to the 
 notice of the coUedtors ; but worfe engravers than he may be found among 
 his cotemporaries. We have by him a variety of book plates and fome por- 
 traits ; among the laft, is that of queen Mary, from Knellcr, a middling 
 fized upright oval plate. 
 
 D U R E L L O. 
 
 Flouriflied, 1674. 
 This artifl: was, I believe a German. It is certain he refided at Vienna, 
 where he engraved fome of the portraits for the large work entitled, Hiftcria 
 di Lcpoldo CeJ'are, publiflied in that city, 1674. 
 
 ALBERTDURERo 
 
 Born, 1 47 1. Died, 1528. < 
 
 The powerful efforts of genius, however they may be retarded by com- 
 pulfion, orinterefted purfuits, or deprefled by the hand of poverty, can fel- 
 dom be totally extinguifhed in the m.ind. Like the latent flame, they are 
 ftill expanding ; and generally, at one time or other, manifeft themfelves ; 
 and fometimes indeed more powerfully, in proportion to the refifl:ance they 
 meet with. Genius is often found furrounded with all the difadvantages and 
 diicouraging circumftances of life, and too frequently unable to fupport the 
 man who is guided by her influence, This, however, was not the cafe with 
 Albert Durcr ; for though born in poverty, he followed the diftatcs of his 
 genius, and obtained in the end, what he certainly deierved, a comfortable 
 fubfillance. From his father, who was a goldfmith at Nuremberg, he learned 
 the firft principles of engraving; but afterwards he ftudied under Michael 
 Wolgemuth, who not only engraved on wood and copper but is faid to have 
 praftifed etching with great fuccefs, and was an artift of no mean abi- 
 lities. It was Albert's defire to have placed himfelf with Martin Schoen, 
 whofe reputation was, at that time, very confiderable ; but he was pre- 
 vented by the death of that matter. He ftudied liowever from his prints ; 
 many of which he copied, as well as fome of thofe of Ifrael van Mccheln. But 
 he fcems evidently to have preferred the tirft, and upon them he formed, 
 that ftyle of engraving, which he ever after praftifed. His firft print, or, at 
 
 M m 2 leaft. 
 
D U R '[ ,268 ] D U R 
 
 leaft, the firft that is dated, is mai:ked with the^ year 1497 ; at which 
 time he mufl have been 26 years of age. And, if we may believe Sandrart, 
 he did not begin to paint till fome time after ; 1504 being the earJicfl: date 
 that writer had ever {trn upon any of his jiidures* 
 
 To free himfelf from t!ie noife and impertinence of his wife, who was a 
 very great fiirev.', he travelled into the Low Countries, v/here he conrrafted 
 an acqiiaintancewith his cotemporary, Lucas Jacobs ofLeyden; and a ftricl 
 friendship continued between thefe excellent artifts till the death of Albert 
 Durer. Being perfuaded to return to Nuremberg, on promife of his wife's 
 amendment, he complied witli the requeft of his friends ; but he foon felt 
 the ill effefts of his goodnature ; and, though a man of moft excellent tem- 
 per, fhe broke his heart by her ill treatment. He died at Nuremberg, die 
 place of his birth, a. d. i528,agal 57 years. 
 
 He was honoured with a feat among the magi Urates of the city of Nurem- 
 berg} and the emperor Maximilian gave him an armorial bearing. 
 
 The following ftory is related by Vafari, and others after him, that on 
 feeino- fome of his wood cuts, copied by Marc Antonio at Venice, he fet out 
 for that city, and complained to the fenate of the damage he fuftained. But 
 the only redrefs he could obtain was, that Marc Antonio fhould not in future 
 counterfeit the mark of Albert Durer. The truth of this relation indeed is 
 not greatly depended upon. 
 
 Albert Durer was a manof univerfal genius. He underftood the arts in all 
 tlieir various branches j and wrote Treatifes on Anatomy, Perfpeftive, Geome- 
 try, and Architecture bodi civil and military. As a painter, Vafari fays of him : 
 " If this exaifl and admirable artift, whofe genius was fo extenlive, had been 
 " born at Tufcany, rather than Germany, fo that he might have had an op- 
 " portunity of ftudying the beautiful pieces which are at Rome, as the reft of 
 " us have done, he would have been the beft painter in Italy, as now he is to 
 " be reckoned the moft excellent and moft celebrated genius of the Fle- 
 " mifti fchool :" which charafter he undoubtedly deferved in every refped. 
 But in order to conceive an idea, equal to the merit of this great mafter, it 
 is requifite, that without prejudice we fhould examine many of his works ; 
 and we fhall then find, that hepoflefTed aftonilhing fertility of invention. His 
 conceptions were excellent j he compofed his figures v/ith great propriety; 
 he varied the charafters and expreffions of the heads in a judicious manner; 
 and the hand of the mafter is evident in all his works. He engraved, on 
 copper, and on wood. Thefirft, a few etchings excepted, are executed with 
 the graver only, in fo neat and excellent a ftyle, that for facility of execudon, 
 and command of that inftrument, he has never been excelled. His etchings 
 are coarfe, but fpirited ; however,, they do not equal the reft of his works. 
 His engravings on wood are in a flight, bold ftyle, refembling the 
 mafterly fketches he made with the pen. He certainly underftood the 
 human figure, and often drew it very corredlly ; but his outlines are by no 
 means beautiful and flowing, or his choice of forms the moft pleafing. But 
 thefe defefts are owing to the prevailing tafte of the country where he refided, 
 and his want of thofc advantages, which Vafari has juftly mentioned. The 
 "works of Albert Durer are very numerous, and many of them exceedingly 
 2 valuable. 
 
D U R [ 269 J D U R 
 
 valuable. I can only mention fome few under the following heacfe. 
 
 First, thofe on copper, executed entirely with the graver. 
 
 Three naked women, with a globe above their heads, and an appearant-e of 
 Hell in the back-ground, a fmall upright pLite. On the globe is the date 
 1497, with thefe letters, £). ©. ^. which mean in German £>. (Bott, %\\l, 
 O I God help, or aj/ijl us. This plate was copied by Albert Durer, from 
 Ifrael van Mecheln. Originally the letters on the globe were ©. 213. jJJ. 
 <3att Bz^Utt ^Mty God keep all. There are feveral other copies of this print 
 with variations. 
 
 A My family, ^\\?ix& Jofeph is leaning on a, ftone, and three figures behind 
 kim,- one of them with a high crowned hat on, dated 1506. Captain Baillie 
 has a copy of diis print, with fome flight variation, which he fuppofes, and 
 with great reafon, was executed by Rembrant. 
 
 Adam and Eve in Paradife, and theferpent entwined round the tree, a fmall 
 upright plate, dated 1504. Jerom Wierix, a. d. 1566, at the age of 16, made 
 a very furprifing copy of this plate. I have myfelf one of the original pic- 
 tures (for AlbertDurer repeated this fubjedt feveral times) which was certainly 
 painted prior to the engraving of the print; for in the print there is a moufe, 
 playing directly before a cat, which bears fome analogy to the harmony that 
 exifted in Paradife. But in my picture, there are two frogs, inftead of the 
 moufe. The former was doubtlefs an improvement too material to have been 
 omitted, had the picture been pofterior to the print. 
 
 A nativity, called the/niall nativity, where Jofeph is feen filling a vale with 
 water at a well, a very fmall upright plate, dated 1504. 
 
 A holy family, with a monkey in the fore- ground, called the Virgin with the 
 Monkey, a fm.all upright plate. 
 
 The prodigal fon, a middling fized upright plate. Thofe impreffions, before 
 the date 15 13 v/as added to the plate, arc the moft eftimable. 
 
 St. Hubert kneeling before the crucifix, which appears upon the head of the 
 flag, a middling fized upright plate. 
 
 St. Jerom in the defert, kneeling before a crucifix, and holdins a flone in 
 his hand, the fame. 
 
 St. ferom, feated in a room, writing at a deik,.the famCj dated 1514, 
 There is a copy of this print by Jerom Wierix. 
 
 Melancholy, a fmall upright plate. This has been copied the fame lize, 
 and the fame way, the date 1514 being added. 
 
 Pandora's box, as it is falfely called. It reprefents a winged woman, 
 {landing on a globe, holding a fort of cup in her hand, a middling fized up- 
 right plate. 
 
 A man armed on horfeback followed by afpeEfre, and accompanied by Death 
 on horfeback. This print is called Death's Horfe ; the fame. The beft im- 
 preffions are before the date, 1 5 13, was added to the plate. There is a elofe 
 copy of this print, dated 1 564. 
 
 The death's head,{oci\\t6. becaufeafcuUis reprefentedona coat of arms, 
 furmounted with an helmet; a fatyr, with a young woman liftening to him, 
 are ftanding by it, a fmall upright plate. 
 
 A coat of arms y reprefenting a lion rampant,, with a cock, the fame. 
 
 The 
 
t) U R [ 270 1 D U S 
 
 The life and pajfton of Chrift, a fet of very neat ftnall upright plates. 
 The twelve apoftles, the fame. 
 ■ He alio eno-raved, among a variety of other fubje(5ls, feveral excellent 
 
 portraits. 
 
 Secondlv, among his etchings on copper are the following: 
 Chriftfeated, leaning his head upon his left hand, and a figure lying down in 
 
 the front, and pointing towards him, a fmall upright plate. 
 
 Mojes receiving the tables of the law, a very fmall upright plate, dated 
 
 The cannon, fo called becaufe a cannon is feen in the fore-ground, a fmall 
 plate, length-ways, dated 15 18. From the rough appearance of this print, 
 it has been thought by fome, though I believe without foundation, that it 
 was etched on a plate of iron. This was copied fmaller, the fame way, by 
 Jerom Hopfer. 
 
 Thirdly, his wooden cuts, among which are the following : 
 
 A fet of fifteen folio prints, the fubjefts of which are taken from the Jpo- 
 calypfe. 
 
 The life and paffion of Chrift, on thirty fix fmall upright prints. Thefe 
 are the engravings, the copying of which, according to Vafari, occafioncd the 
 difpute between Albert Durer and Marc Antonio. Certainly the latter did 
 copy them the fame fize on copper. It is equally certain, that he did not put 
 the mark of Albert Durer, but his own. 
 
 T]^Q life of the Virgin Mary, on twenty fmall folio prints ; feventeen of 
 thefe were alio copied by Marc Antonio, and with the mark of Albert Durer, 
 except upon the laft plate, to which he has put his own. 
 
 Two large prints, confifting of feveral blocks, reprcfenting the triumphs 
 cf the emperor Maximilian. 
 
 P. D U R E T. 
 
 Flouriflied, 1760. 
 
 A modern engraver, who refided at Paris, by whom we have feveral land" 
 fcapes, from Ruyfdael, Wouvermans, Venet, &c. 
 
 JOHN D U R R. 
 
 Flouriflied, 1625. 
 
 The name of a very indifferent artift, who was chiefly employed in en- 
 graving portraits, and book plates. He worked entirely with the graver, in 
 a very (light poor ftyle, without talle or correftnefs. Among otiier portraits 
 by him, is that of//. /. Ernejl, with his family ; and of J. Zitnmer, dated 
 1625. 
 
 CORNELIUS DUSART. 
 Born, 1665. Died, 1704. 
 He was born at Harlem, and became the pupil of Adrian van Oftadc. 
 He imitated the Ilyle of his maRer with no fmall fuccefs ; andhisfuhjefts were 
 alfo taken from low life. We have ftveral etchings by him, and fome few 
 
 mezzotintos : 
 
D U V [ 271 ] D Y C 
 
 mezzotintos ; and indeed fome of his etchings are helped in the fhadow with 
 a mezzotinto tool. Among others by him, are the following : 
 
 An old man playing on the violin y while a Dutch pea/ant is regaling. Marked 
 «' Corn, Duiart pinx. et fecit 1685." 
 
 A Dutch pecifant reading a paper, and holding a bottle in his right handy a 
 fmall upright print. 
 
 Thele two are mezzotintos ; the following are etchings. 
 
 Dutch boon making merry at a fair, a fi-nall plate, length-ways, dated 1685. 
 
 A 7nan -with a hurdy gurdy, playing at the door of a cottage, the fame. 
 
 ThiS fioemaker, and its companion, the village doSlor, two middling fized 
 upright plates. 
 
 The infide of a Dutch cottage ivith boors drinking, and a man playing upon 
 the violin, dated 1685 ; with verles underneath beginning thus : Rujlicus ex 
 animo,. &c» 
 
 DUVAL. See Val. 
 
 JOHN DUVET. 
 
 Flourifhed, 
 This artift flourifhed at the commencement of the fixteenth century. The 
 Gothic ftyle of his engraving has given occafion to many to fuppofe, he was 
 more ancient than he really was. In fome few inftances, his name is found 
 fubfcribed at length upon the plates ; but, in general, he fubftituted the ini- 
 tials I. D. either feparate or joined together. He is called, fays Profeflbr 
 Chrift, the mafter of the Unicorn ; becaufe it is likely, that he engraved fcveral 
 allegorical JubjeSiS, concerning the triumph of that animal. 
 
 SIR ANTHONY VAN D Y C K. 
 Born, 1599. Died, 1641. 
 
 This admirable painter was born at Antwerp. His genius led him to the 
 Iludy of the arts , he became the difciple of P. P. Rubens ; and by the rapid 
 progrefs that he made, not only acquired a laiting reputation to himfelf, but 
 was an honour to his mafter. He fucceeded both in hiftorical and portrait 
 painting; but efpecially in the latter; and his pictures are juftly held in the 
 higheft eftimation. During his refidence in England, he was honoured with 
 the order of knighthood by Charles the Firft, a. d. 1632; and he died in 
 London, a. d. 164 i, aged 42, and was buried in the cathedral church of St. 
 Paul. For his amufement he took up the point; and the etchings which 
 he produced are executed in a free, and mafterly ftyle ;thofe efpecially, which 
 are more highly finiftied, cannot be fufficiently admired. 
 
 I fliall only mention the following : 
 
 The ecce homo, a fmall upright plate, half figures, an excellent print from a 
 compofition of his own. 
 
 The portrait of Lucas Vorfierman, a fmall upright plate^ the fame. Add ta 
 thefe, 
 
 Paul Pontiusy the fame, 
 
 Jefs 
 
D Y C [ 272 3 D y c 
 
 "Jofs de Momfer, the fame. 
 Peter Sneyders, the fame. 
 
 Titian ivith his nnjirejs, who is leaning upon a box, containing afcull, half 
 figures, a fmall upright plate, from apidure painted by Titian himfelf. 
 
 DANIEL VANDEN DYCK. 
 
 Flourifhed, 
 This artifl: was a painter, who refided at Venice, during the lafl: centuiy. 
 by his hand v/e have feme few etchings, as the deification of Mneas. This is 
 very night, but fpirited. The mafles of light and Ihadow are broad and well 
 preferved ; and the naked parts of the figures correftly drawn ; excepting 
 ocly, that the extremities are rather heavy. Alfo a fpirited bajfo relievo, refemb- 
 ling a Bacchanal, a middling fized plate, length-ways, both from his owa 
 ccompofitions.. 
 
 r C H A R D S 
 
E C H [ 273 ] E D E 
 
 E. 
 
 E C H A R D T S. 
 
 Flourifhed, 
 
 The name of an obfcure and indifferent engraver, affixed to a portrait of 
 Conyers Middle ton, 
 
 EDWARD EC G MAN, or EC KM AN. 
 Flourifhed, 1621. 
 
 This artifl, who appears to have been a native of France, was a moft ex- 
 cellent engraver on wood. He copied many of Callot's prints, and even 
 imitated the free ftyle of that mafter with great fuccefs. The diftant parts of his 
 engravings are very neatly executed ; and the perfeft forms of the fmallefl 
 figures exceedingly well preferved. Among other things by liim, is the re- 
 prefentation of thcjire-work upon the river del'jirne from Callot, which Papil- 
 lon, who certainly was a good judge in this inflance, calls an admirable print ; 
 adding, that it is impofTible to find a more delicate engraving on wood. 
 
 Ecgman engraved alfo from Louis Bufink, Abraham BolTe, &c. The 
 number of his prints is faid to be 105. 
 
 GEORGE DAVID ECKSTEIN. 
 
 Flouriflied, 1721. 
 
 A very indifTerent engraver, who was apparently a native of Germany, 
 by him we have part of the portraits for a work entitled hones Bibliopola- 
 rmn et Typographonm, publifhed at Nuremberg, 1721. 
 
 GIRARD E DELING K. 
 
 Born, Died, 1707. 
 
 This admirable artift was a native of Antwerp, where, probably, he learned 
 the firfb principles of engraving. About the year 1665 he went to Paris, 
 where he refided. His great merit procured him the favour and protecftion 
 of Louis XIV. who appointed him an apartment in the Gobelins, and ho- 
 noured him with the title of Chevalier. He was alfo a member of the Royal 
 Academy of Painting and Sculpture at Paris ; and he died in that city, 
 A. D. 1707, at a very advanced age. 
 
 He worked entirely with the graver, and, I believe, never called in the 
 point to his afililance. The freedom and delicacy, with which he executed 
 his plates, cannot be too much admired. He neglected no part of his en- 
 gravings, but finiflied them with great care, and perhaps too clofe an at- 
 
 voL. I. N n ' tention 
 
E D E [ 274 ] E D E 
 
 tention to neatnefs prevented his making more variety between the dark parts 
 of the fore-sround and the diftances. He fucceeded particularly in the 
 heads of his Hgures, which are often uncommonly fine. He certainly un- 
 derftood the human figure; yet he did not draw it with that great tafte 
 and correftnefs, which is lb remarkable in die prints of Girard Audran ; 
 neither are his hands and feet marked in that mafterly manner, or with 
 equal trudi. And if we compare that excellent engraving by him, rc- 
 prefenting the Tent of Darius, from Le Brun, which he has nnifhed in fo 
 beautiful a manner, with the battles of Alexander by Audran, from the 
 fame mailer, we fliall readily agree, I believe, that the animation, cor- 
 reifbnefs, and tafte which we find in the latter, amply compenfates for 
 the want of that clearnefs and neatnefs, which appears in the execution 
 of the former. Among the moft eftimable prints by this great artift, may 
 be reckoned the following. 
 
 A battle between /■oiirhorfemen, with three figures Jlain upon the ground, a. 
 large plate length-ways, from Leonardo de Vinci. By miftake the name is 
 written at die bottom, " De la Finfe pinxit." 
 
 A holy family, with Elizabeth, St. John, and two angels, one of which is 
 Jcattering flowers , a middling fized upright plate, from the famous picfturc of 
 Raphael, in the king of France's coUeftion. The firft impreflions are before 
 the arms of M. Colbert were added at the bottom of the plate j the fecond 
 are with the arms ; and in the third the arms are taken out ; but the place 
 where diey had been inferted is very perceptible. Giacjomo Frey has made 
 a very exaft copy of this plate, of the fame fize as die original. 
 
 The cntcifxion of ChriJI, who is Jurrounded with angels, a large upright 
 print on two plates, from Le Brun. 
 
 Mary Magdalen bewailing her fins, and trampling upon the riches of the 
 world, a middling fized upright plate, from the fame painter. The fird im- 
 preflions are without the narrow border which furrounds the print. 
 
 St. Louis praying, a large upright plate, from the lame. 
 
 St. Charles Borronieus, its companion, tlie fame. 
 
 A'lo/es with the tables of the law, a half figure, engraved conjointly with 
 Nanteuil, a large upright plate, from P. Champagne. 
 
 Alexander entering into the tent of Darius, a large print length-ways, on 
 two plates, from Le Brun. This engraving belongs to the three battles, and 
 triumphal entry of Alexander into Babylon, by Girard Audran, and com- 
 jiletes the fet. The" firft impreflions have the name of Goyton the printer at 
 tlie bottom. 
 
 Alexander entering into the tent of Darius, a large print, length -ways, on 
 two plates, from Peter IVlignard. This plate was finifhed by P. Drevet. 
 
 He alfo engraved feveral admirable portraits ; among the reft the fol- 
 lowing : 
 
 Philip Champagne, the painter, (xo\x\ a picture painted by Champagne him- 
 felf, a middling fized upright plate. 
 
 M. d' Hazier , the genealogiji , from Rigaud, the fame. 
 
 Martin Vanden Bogaert, thefctdptor, the fame from the fame. 
 
 Madam Helyot, the fame. 
 
 M. Jrnauld 
 
E D E [ '275 ] EEC 
 
 M. Arnauld d'Jtidilli, a fmall upright plate, from Champagne. 
 Nathaniel Dilgerus, a fmall oval. 
 
 M. le Brun, the painter, from a piftiire painted by Le Brun himfelf. 
 He alfo engraved from Corregio, Pietro de Cortona, Guido, Rubens, Jou- 
 venet, Ant. Coypel, &c. 
 
 JOHN EDELINCK. 
 
 Flouriflied, 1679. 
 He was brother to Girard Edelinck, mentioned in the preceding ar- 
 ticle, whofe ftyle of engraving he clofely imitated; but he never equalled 
 him either in drawing or tlie execution of the mechanical part of his plates. 
 Several of the Jlatues in the garden at Verjailles are by him. They do him 
 orreat credit , though the effe6t is cold, and the extremities rather heavv. 
 But his bell performance is, I think, the deluge, a large plate length-ways, 
 dated 1681, from Alexander Turchi, called Veronefe. This engraving fo 
 nearly equals the heft works of Girard Edelinck, that it is generally 
 believed he affifted John confiderably in the execution of it. This plate 
 was engraved from the colledtion of prints, for the pidtures in the collec- 
 tion of the king of France. 
 
 *o 
 
 NICHOLAS EDELINCK. 
 Flourifhed, 1760. 
 
 He was the fon of Girard Edelinck, mentioned above. He imitated the 
 ftyle of his father; and though the plates he produced do him no difcredit, they 
 are by no means equal to what one might have expefted, from the fon of fo 
 capital an artift. He refided at Paris, a. d. 1760 ; but according to Bafin, 
 had been in Italy, and engraved at Venice a Madcna and Child, half figures, 
 a middling fized upright plate arched at top, from Corregio. Vertumnus 
 and Pomona, the fame, from J. Ranc. Several portraits for the Crozat col- 
 leftion j and other fubjefts from various mailers. 
 
 J. E D E L I N G. 
 
 Flouriflied, 
 
 This engraver was a native of Holland. The principal part of his em- 
 ployment was in the portrait line, and chiefly, I believe, for the bookfellers. 
 Among other portraits by him are the following : J. Deimerbroeck, a fmall 
 half flieet print, and Timon van Geijfel. 
 
 GERBRANT VANDEN EECKHOUT. 
 
 Born, 1621. Died, 1674. 
 
 A celebrated painter of portraits and hifl:oiy, born at Amflierdam. He was 
 thedifciple of Rembrant, and imitated the fliyleof that mafl;er fo nearly, that 
 his piftures have frequently been miftaken for the produftions of Rembrant's 
 pencil. We have by him an etching of Cornelius Tromp, a half flieet print. 
 
 Nna GEORGE 
 
E I M [ 27*6 ] ELL 
 
 GEORGE CHRISTOPHER ElMMART. 
 Floiirifhed, 1680. 
 
 This engraver ^vas a native of Ratifbon, and flouriflied towards tlie con- 
 cUifion of the lad century. He etched fome fmall plates, in a free, niafterly 
 (lyle, o^ ruinated buildiiigs, vafes with figures alfo upon them, which thougli 
 not perfcftly corrcdt in the outline^have neverthelefs great merit. He alfo 
 engraved leveral of the plates for Sandrart's Academia PiEioriie. 
 
 FRANCOIS EISEN. 
 
 Flourifhed, 1750. 
 This artill: was a native of Bru{rels, but eflablidied at Paris, where, among 
 other things, he etched a frnall upright plate from Rubens, reprefenting 
 Chrijl giving the keys to Peter. 
 
 Charles Eisen, fon to Francois, was a celebrated defigner of vignettes 
 and book-plates, of all kinds; feveral of which he etched himfelf, in a free, 
 fpiriced fbylc : perhaps he may be ftill living. 
 
 WILLIAM ELDER. 
 
 Flourifhed, 16 So. 
 
 This was one of thofe induftrious engravers, whofe labours were bcdowed 
 on the ornamenting of books with frontifpieces, portraits and other ordinary 
 decorations. Indeed many of the publications of the laft century deferved 
 no better embellifliments ; It is by no means uncommon to find fome com- 
 mendatory fcraps of poetry annexed to them, which are often as totally devoid 
 of merit, as the prints themfelves are of tafte. Engraving, among the 
 0-ixT.ter number of thefe book-plate makers, feems to have been merely 
 mechanical ; and their flifF, formal productions, convey to us the idea of 
 their havine; been executed by a machine, rather than the hand of an artift, 
 dircifled by the leafl tafle or genius. 
 
 William Elder was a Scotfman by birth; but he refided, I believe, 
 chiefly in London. Among the portraits by tliis artill, who worked chiefly, 
 if not entirely, with the graver, are the following: Ben. John/on, the poet, 
 half Iheet. kheodore de Mayerne, a finall oval. This is by far his beft print. 
 His own portrait, with a fur cap ; and the lame with a wig, &c. 
 
 OTTOMAR ELLIGER. 
 Born, 1666. Died, 1732. 
 This artift, the fon of Ottoinar Elliger, a famous flower painter of Berlin, 
 was born at Hamburgh. He learned the principles of painting from Gerard 
 dc LairefTf, and fucceeded in hiftory. His place of refidence was almofl 
 entirely at Amllerdam, where he died, a. d. 1732, aged 66. He engraved 
 feveral plates from compofitions of his own ; a great part of which were for 
 the Hijlory of the Bible, in two volumes, folio, publifhed by Mochir. The 
 firfl volume apjieared, a. d. 17C0, and the fecond, a. d. 1702. 
 
 WILLIAM 
 
ELL I zjy ] ELS 
 
 WILLIAM ELLIOT. 
 Born, Died, 1766. 
 
 This ingenious artift was an Engliiliman, and refided at London. Ke 
 excelled in landfcapes, which he engraved with much tafte. The freedom 
 of his point, in particular,, was admired; and great expecftations wera 
 juftly formed in his favour ; but he died in the prime of life, at his houfe in 
 Church-ftreet, Soho, a. d. 1766. He was a man of an amiable and behe- 
 volent difpofition, and greatly beloved- by all who knew him. His beft en- 
 gravings are from the pictures of the three Smiths, landfcape-painters, who 
 refided at Cliichcfter, and frequently worked conjointly. Among thefe is a 
 large Lindjc^pe, length-ways, in which a city appears at a great diftance ; 
 alfo a landjcape from Gafper Poufin, in which a boat is feen in the 
 front with fifliennen in it, a middling fized plate, length-ways. He 
 alfo engraved the portrait of Helena Formans, the fecond wife of Rubens,, 
 from a pifture painted by that mafter. 
 
 ADAM E L S H E 1 M E R. 
 
 ' . Born, 1574. Died, 1620. 
 
 This great artift was born at Franckfort upon the Maine, and learned the 
 firft principles of drawing and painting from Philip Uffenback, a man of no 
 great note. He afterwards completed his ftudies in Italy, where he fettled. 
 He excelled in landfcapes with fmall figures, moonlight Jcenes, and Jubje£is 
 illuminated by fire or torch light. His piflures are finilhed in a moft admir- 
 able manner. They were never large ; yet the time beftowcd upon them 
 was fuch that the prices he received though confiderably great, were ina- 
 dequate to the labour, and infufficient for the fupport of himfelf and fiimily^ 
 He was thrown into prifon for debt ; and notwithftanding the time of his 
 confinement was very fhort, it had fuch an cfiecl upon his fpirits, that it 
 broke his heart. He died, a. d. i6;o, aged 46. We have fome fmall 
 etchings by him from his own compofitions. 
 
 RENOLD, or REGINALD ELSTRACKE, 
 
 Flourifhed, 1620. 
 
 A very laborious engraver, who flourifhed foon after the beginning- of the 
 laft century, and worked chiefly for the bookfellers. His beft engravings are 
 portraits ; but thefe are very ftiff^ and deltitute of tafte, though neatl'f' exe- 
 cuted, entirely with the graver ; and I believe, ufually from his own 
 defigns. Among his portraits are the following: Sir Philip Sidney ^ faid to 
 have been engraved foon after his death. Mary, queen of Scots, one of his 
 beft prints. BAZIAlflLOGIA, or the true and lively eff.gies of all our Eng- 
 lifl} kings, from the conquefl to the prefent time, dated 16 18. He fometimes 
 fubftitutedtlie initials of his name, R. E. when he did not choofe to write 
 it at length. 
 
 o' 
 
 E M P E R E U R; 
 
E M P [ 278 ] ERR 
 
 EMPEREUR. See Lempereur. 
 
 PHILIP ENDLICH. 
 
 Flouriflied, 
 
 A Dutch engraver. He worked chiefly in the portrait line, and for the 
 bookfellers. Among other plates by him are the following portraits, J. G, 
 E. Jljlein, Peter Holleboek, ^nd John Philip, governor of the ijle of St. Martin. 
 
 ENFANT. See Lenfant, 
 
 J O S I A S ENGLISH. 
 Born, Died, 17 18. 
 
 This pcrfon, of whom I find no fatisfaftory account, refided at Mortlake, 
 in Surry, wliere he died 17 18. He etched a print from Titian, reprefenting 
 Chrift with the two difciples at Emmaus : probably a copy only from the en- 
 graving of Maflibn, well known by tlic name of the table cloth. He imitated 
 the ftyle of Hollar, but with no great fuccefs ; we have alfo by him a fet of fmall 
 upright prints, reprefenting the gods and deriiy-gods, dated 1654. See his 
 cypher, compofed of an /, an E, and an F, upon the plate at the end of the 
 volume. 
 
 CHRISTIAN ENGELBRECHT. 
 
 Flouriftied, 1721. 
 
 This engraver, with his brother Martin Engelbrecht, were eftablifhed 
 at Augfburg, where they carried on a confiderable commerce in prints. The 
 former engraved fome or7;a;«ra/rt/wori^j for jewellers and goldfmiths, con- 
 jointly with J. A. Pfeffel, from A. Morrifon ; alfo fome views for the Hijlory 
 of ArchiteElure-, publiflied by John Hernhard, in folio, 1721 ; and the latter 
 part of a fet of prints for Ovid's Metamorphojes, fmall plates, length-ways. 
 
 The latter engraved from Rugendas and other mafters, alfo part of the 
 plates for the work entitled, Reprafentatio Belliob Jucceffionem in Regno HiJ' 
 panico, in folio, are by him. 
 
 Both of them worked chiefly with the graver j but their prints are not 
 very highly efleemed. 
 
 There was a very ancient engraver named Englebrecht, mentioned by 
 Sandrart, and to whom, falfely, fome authors have attributed the engravings 
 marked with a Gothic E, which I take to be an E and S joined together ; I 
 have fpoken of thefe old prints, in the fifth chapter of the EflTay at the begin- 
 ning of the volume. 
 
 E P I S C O P I U S. See Bischop. 
 
 A P I C I E. See Lepicie. 
 
 I. E R R A R. 
 
 Flourifhed, 
 This artift engraved feveral land/capes, from Anthony Waterloo, and is 
 faid to have marked his prints with the initials, I. E. F. the F. as ufual, 
 ftanding for fecit. 
 
 a FRANCOIS 
 
E R T [ 279 ] EVE 
 
 FRANCOIS ERTINGER. 
 
 Flourifhed, i6'^o:^'^ 
 
 He was, according to fome authors, a native of Antwerp ; however, he 
 refided chiefly, I believe, at Paris, where he engraved a great variety of plates, 
 •which are not very excellent, though pofieired of fome merit. Amongft his 
 beft, I think may be reckoned the following : 
 
 Several large views of towns and land/capes with figures, from Vander- 
 meulen. He fometimes, in his landfcapes, imitated the ftyle of Callot, but 
 not with great fuccefs. 
 
 The marriage at Cana in Galilee, a large plate, length-ways, from Raymond 
 Le Page. 
 
 The hiftory of Achilles from Rubens, a fct of eight middling fized plates ; 
 fom.e upright, and fome length-ways, the fame that were afterwards engraved 
 by Baron. 
 
 Twelve prints, from the Metamorphofes of Ovid, after the miniatures of 
 de Werner. 
 
 The hiftory of the Comtes de Thoulouje, ten large plates, length- ways, from 
 Le Page. 
 
 A Bacchanalian, a large plate, length-ways, from Nicholas Poufin, dated 
 1635. 
 
 He alfo engraved a great variety of other fubjefts, from different mafters. 
 
 ESPAGNOLETTO. See Ribera. 
 
 (?EORIG ETLINGER. 
 
 Flourifhed, 
 
 An ancient engraver in wood, a native, I believe, of Germany, by whom 
 we have among others a middling fized upright print, reprefenting Bijhop 
 Blaize, the portrait is incloled in an ornamental border, embellillied with 
 the lymbols of the Gofpel ; it is cut in a very fpirited manner, and marked 
 " GeorigEtlinger Z" Bamberg, f." 
 
 JOHN EVELYN. 
 Born, 1620. Died, 1705. 
 
 This ingenious gentleman was a great lover of the arts. Asa man of 
 fcience he undoubtedly claims a diftinguillied place in the learned world. 
 He was the firft in England, who undertook to write upon the fubjeft of en- 
 graving ; and though his Lift of the principal Artifts is very defeftive, yet he 
 has prelerved the remembrance of feveral curious circumftances, which might 
 otherwife have been entirely loft. He has treated his fubjecft, more 
 like a man of letters, than an artift. However, it plainly proves, that he 
 had the undertaking much at heart; and it is much to be wiflied, that he had 
 entered more fully upon it. There are attributed to him the following 
 etchings, namely. 
 
 Five fmall prints oi his journey from Rome to Naples, after drawings of his 
 own. 
 
 The portrait of William Dchfon, the painter, after a pidure painted by 
 Dobfon himfelf, a middling fized upright oval plate, with this infcription, 
 
 Vere 
 
EVE [ 280 3 E Y N 
 
 Vere Effigies Guilielmi Dolfon armiger et pillor Regia Majeftatis Anglice ; and 
 this mark upon the margin, in aqua fort i per J. E. The letters J. E. are 
 frequently cut off; for they are quite at the edge of the plate : and for this 
 reafon it has falfcly been attributed to Doblbn himfclf; a plain proof of the 
 xibfurdity of the cuftom of cutting prints clofe to the edges, by which means 
 •an infcription or date of confequenceis often irrecoverably loft. 
 
 ALBERT VAN E V E R D I N G E N. 
 Born, 1621. Died, 1675. 
 
 This artift was born at Alkmaer in Holland, and learned the firft prin- 
 ciples of painting from Roland Savcry. After which he was a difciple of 
 Peter Molyn ; and he profited fo much by their inftrudions, and his own 
 ftudics, that he became a moft admirable landfcape painter. He died, a. d. 
 1675, aged 54. We have a great number of flight, fpirited etchings, 
 m a very mafterly ftyle, by this artift, which he ufually marked with thefc 
 initials, A. V. E. Among others are the following : 
 
 A fet of 100 fmall land/capes, length-ways. 
 
 A fct of 56 very fmall plates, length-ways. The fubjefts are taken from 
 a German book, entitled, the Tricks, or Deceits of the Fox. 
 
 E X S H A W. 
 
 Flouriflied, 1760. 
 A modern artift, who was a native of Holland. We have a variety 
 of engravings by his hand ; among the reft, 2. young girl carrying a bajhet 
 of cherries, accompanied by two little boys, each having a gun ; a middling 
 fized upright plate from Rubtns. The fjip in zvhich the afofilcs are crojfmg 
 the zvater, beaten by the ternpejl, a large upright plate, from Rembrant, and 
 executed in imitation of the ftyle of engraving adopted*by that mafter. 
 
 REMOLDUS, or ROMBAUT EYNHOUEDTS. 
 
 Flouriilied, 1660. 
 
 This engraver refided at Antwerp; but I am not certain, whether he was 
 born in that town, or not. His plates are chiefly etched, and in a very llight, 
 dark ftyle. If he was not a painter himfclf, I fufpcft that he learned to en- 
 grave from a painter. His drawing, though not corredV, in general, is often 
 very fpirited, and his maft"es of light and ili^dow well preferved. Among 
 other plates by this artift are the following: 
 
 The adoration of the Magi, a very fmall .upright plate, from Rubens. 
 
 The Isnnb of Rubens, the fame, from the fame. 
 
 Cambyfes king of Perfta, having ordered an evil judge to be flead alive, caufed 
 his fkin to be put upon thejeat cfjujiice, and placed the Jon of the culprit upon 
 it^ making him judge in his father' s flead ; a fmall fquare plate, from the fame. 
 
 Pope Gregory Jurrounded -with emblematical figures , a middling fizcd upright 
 plate, from the fame 
 
 The ajian-plion of the Virgin, a larg£ upright plate, from Cornelius Schut. 
 
 G I O V A N N A 
 
FAB C 281 ] FAB 
 
 F. 
 
 GIOVANNA FABBRI. 
 
 Flourifhed, 
 
 A modern Italian artift, •who, I believe, refided at Bologna, where he en- 
 graved a nativity, with attendant angels, and other figures, from Franc. Fran- 
 cia, a middling fized upright plate. It is executed entirely with the graver, 
 in a neat, ftiff flyle. 
 
 PETER FABER. 
 
 Flourifhed, 162 1. 
 
 This artift refided at Lyons in France, and worked chiefly for the book- 
 fellers, in a neat taftelefs ftyle, with the graver only. His name is affixed to 
 an ornamental frontijfiece, belonging to the fecond volume of the work, en- 
 titled, Operis Moralis, &c. by T. Sanchez in folio, publilhed at Lyons, 1621. 
 A portrait of Henry I V. of France, &c. 
 
 GABRIEL FABER. 
 
 Flourifhed, 1633. 
 According to Florent le Comte, he was procureur of the order of St. Fran- 
 cis ; and in the year 1633, engraved a genealogical tree of the order of that 
 Saint. 
 
 JOHN F A B E R, the Elder. 
 Born, Died, 172 1. 
 
 He was born in Holland, where he learned the art of mezzotintofcraping. 
 He alfo drew portraits from the life, on vellum, with a pen. What time he 
 came into England does not appear ; but he refided here a confiderable time, 
 and lived in Fountain Court in the Strand, London. He died atBriftol in the 
 monthof May, a. d. 1721. We have by him a confiderable number of 
 portraits; many of which he alfo drew himfelf from nature ; but they do no 
 great honour to his tafte ; neither do they manifeft any fuperior Ikill in the 
 execution. His greateft and moft efteemed work was the 
 
 Portraits of the founders of the colleges at Oxford, half fheet prints. 
 
 Alfo, the heads of the philcfophers, from Rubens, the fame are by him. 
 
 And the portrait of Dr. John Wallis, the celebrated mathematician, after 
 
 Kneller, the fame ; this is one of his beft prints. 
 
 VOL. I. O o J O H N 
 
FAB [ 2%2 ] FAQ 
 
 JOHN F A B E R, the Younger. 
 
 Flouriflied, 1730. 
 
 He was fon to John Fabcr, mentioned in the preceding article. He was 
 born in Holland, and brought into England, v/hilit yet an infant, being only- 
 three years old. His father firfl: inftrufted him in the rudiments of 
 defign J but he improved himfelf in Vanderbank's Academy. He 
 refidcd at London; and in the year 1735, lived at the Golden Head in 
 Bloomfbury-Square, where I believe he died of the gout, a. d. 1756. 
 Like his father, he chiefly confined himfelf to the engraving of portraits in 
 mezzotinto; and he excelled him in eVeiy requifite of the art. The fol- 
 lowing are his chief and moft cfteemed works : 
 
 The portraits of the Kii Cat Club, half fiieet prints, from Lely. ' A 
 The beauties of Hampton Court , the fame, from the fame. 
 Charles 11. fitting in his robes of ft ate, a whole fliect print, from the fame* 
 The taking of Naniur, a large half llieet print, very fine, from Vvyck. : 
 
 The children of Frederick prince of Wales, after Dupan, a fheet print. 
 
 D. F A B R I C I O. 
 
 Flourillied, 
 
 This artift, according to Florent le Comte, engraved a print from a defigh 
 of Abraham Bloemart, which, if I underftand him, fliould be a fingle figure. 
 The name is affixed in this manner, D. Fabricio della Corvia fecit, 
 
 F A B R I Z I O. See Clarus. 
 
 RAYMOND LA FACE. 
 Born, 1648. Died, 1690. 
 He was a native of France, born at Thouloufe, according tD forrte authors ; 
 or, at Lille, according to others. The firft opinion is moft generally fol- 
 lowed. It is faid of him, that he never had any mafter, but following the 
 diftatcs of his own genius, he applied himfelf to drawing ; and his works 
 fufficiently teftify the furprifing progrefs he made in that art. His drawings are 
 compofuions of his own, chiefly outlines, and flight flcetches, made with a 
 pen ; but executed in a mofl: mafterly ftyle. The aftions of his figures are 
 ipirited, bold, graceful, or elegant, as the fubjedl required. His groups 
 uf figures are finely contralted. And frequently, without the affift- 
 ance of fhadovv, he has contrived to detach them from each other, in 
 fuch a manner, that the fubjedl is by no means confufed, or the effed 
 difagreeable. Certainly no man ever pofl"efred greater fertility of inven- 
 tion, or facility of execution ; and though he has fometimes borrowed 
 whole figures from the works of other matters, and ingrafted them in his own, 
 yet he fo well adopted thofe of his own invention to the ftyle and aftion of 
 thofe he borrowed, that the plagiarifm feems rather to do him honour, than 
 tend to his difcredit. He refided fome time in Italy ; and when he fhowed 
 his defigns at Rome, they aftonifhed everyone who beheld them. Going 
 one day to vifit Carlo Maratti, he found that artift at work. Maratti, pleafed 
 
 to 
 
F A I [ 2S3 ] F A I 
 
 to fee him, received him very afFeftionately, arid rifuig up from his place, 
 offered to put his pallet and pencils into his hand ; but he refufed, declaring' 
 that he did not underftand the management of the pencil. " I am very 
 " happy," replied Maratti, " to find that is the cafe, for had you known how 
 " to paint, as well as you do liow to draw, I Ihould have been the fiift to aban-_ 
 " don the art, becaufe you could have filled my place fo much better." He 
 led a loofe, depraved life, which his repeated debaucheries put an end to; 
 A. D. 1690 ; he being only at the age of 42. The following prints, among 
 others are engraved by the hand of this artiit ; 
 
 The fall of the angels., a large uprightjjlate. 
 
 The brazen Jer pent, a large upright plate. 
 
 A Bacchanalian, a large plate, length-ways. 
 
 Several /;7>z^j, &c. 
 
 WILLIAM F A I T H O R N E, the Elder. 
 Born, Died, 1691. 
 
 This celebrated artift, a native of London, was the difi iple of Peak 
 the painter, and worked with him three or four years. At the breaking 
 out of the civil war, Peak efpoufed the caufe of his fovcreign, and Faithorne, 
 who accompanied his mafter, was taken prifoner by the rebels at Barino-- 
 houfe, from whence he was fent to London, and confined in Alderfgate. In 
 this uncomfortable fituation, he exercifed his graver ; and a fmall head of 
 the firft Villars duke of Buckingham, in the ftyle of iVIelan, is reckoned among 
 his performances at that time. Tiie felicitations of his friends in his favour 
 at laft prevailed J and he was releafed from prifon, with permifllon to retire 
 to the continent. The ftoryof his baniflunent for refufingto take the oath 
 to Oliver Cromwell, and ftudying fevtral years under Cham.pagne, is by no 
 means fuificiently authenticated, not to admJt of a doubt. However, 
 in France he found proteftion and encouragement from Abbe de MaroUes ; 
 and at this time it was, that he formed an acquaintance with Nanteui!, from 
 whofe inftruiSbions he derived very confiderable advantages. About the year 
 1650, he returned to England, and foon after married the filler of captain 
 Ground. By her he had two fons, Henry, vvfho was a bookfeller, and Wil- 
 liam an engraver in mezzotinto. 
 
 Faithorne opened a fliop near Temple-Bar, where he fold, not only his own 
 engravings, but thofe of other Englifli artifts, and imported a confiderable 
 number of prints from Holland, France and Italy. About the year 1680, he 
 retired from his (hop, and refided in Printing -Houfe Yard j but he ftill con- 
 tinued to work for the bookfellers, efpecially Royfton, Martin, and Peake the 
 younger, his former mafter's brother. He painted portraits from the life in 
 crayons; which art he learned of Nanteuil, during his abode in Frarice. 
 He alfo painted in miniature ; and his performances in both thefc fi:yles v/Vre 
 much efteemed. 
 
 He feems to have been well paid for his works. Mr. Afhmole is faid to 
 have given him feven pounds for the engraving of his portrait ; which, if the 
 plate was not a large one, or very highly finiflied, could not at that time have 
 been a bad price. But unfortunately for him, his fon William, not aftinr^ 
 
 O o 2 with 
 
F A I [ 284 ] F A I 
 
 •with the difcretion he ought, involved himfelf in trouble fo deeply, as to affeft 
 his father's fpirits to a very great degree ; this vexation joined to a lingering 
 confumption, with which he was afRifted, put an end to his life, a. d. 1691. 
 He was buried by the fide of his wife, in the church of St. Ann, Black- 
 Friars, the 1 3th of May the fame year. 
 
 Hepublifhed a Treacife upon the Art of Engraving, a. d. 1662, which he 
 dedicated to his nnafter Sir Robert Peake. 
 
 Portraits conftitute the greater part of this artift's performances. He worked 
 almoft entirely with the graver, in a free, clear ftyle. In the early part of his 
 life, he feems to have followed the Dutch and Flemifh manner of engraving; 
 but at his return from France, lie had confiderably iinproved it. Some of 
 his beft portraits are admirable prints, and finifhed in a free, delicate flyle, 
 with much force of colour. It is certain, he did not draw the human figure 
 correctly, or with good tafte ; having chiefly confined his ftudies to the draw- 
 ing and engraving of portraits, his hiftorical plates, which indeed are chiefly 
 neat, laboured copies from prints, do by no means convey to us a proper 
 idea of the abilities of this great mafter. From his inattention to the art of 
 defign, may proceed the difference between the works of this artift, when 
 he copied the pictures of other mafters, and when he engraved from draw- 
 ings of his own. The former have, by repeated obfervations, been thought 
 to be the beft. I can mention only two or three of his hiftorical prints, and a 
 few of his excellent portraits, which are exceedingly numerous, and many of 
 them ver)' valuable. 
 
 K holy family (rom S. Vouet, a middling fized plate, length-ways, in the 
 ftyle of Couvey. 
 
 A dead Cbrijl, irom Vandyck, a fmall upright plate. 
 
 The laft /upper, without any painter's name, in folio. 
 
 Chriji praying in the garden, the fame. 
 
 TYicJccurging of ChriJl, from Diepenbeck. Under this is written, " Fai- 
 ' thorne fculp. Antwerp. 1657." 
 
 The marriage of Cana in Galilee, an etching, the fame. Thefe four laft 
 plates are, among others, engraved by this artift for Taylor's Life of ChriJl, 
 publifhed 1653. 
 
 Lady Pajion, from Vandyck. 
 
 'Thomas Mace, a fmall half fheet print. 
 
 IVilliam Sander/on, the fame, from Sourt, dated 1658. 
 
 Thomas Stanley, the fame, from Lcly. 
 
 fFiliiam Harvey. The face of this portrait is finiftied with little dots. 
 
 Henry Lawes. This portrait appears to have been firft roughly etched. 
 
 In fomefew inftances, Faithorne omitted his name, and ufed a cypher com- 
 pofed of two F's. in the manner reprefented on the plate at the end of the 
 volume. 
 
 WILLIAM FAITHORNE, the Younger. 
 
 Flouriftied, 1680. 
 
 He was Ton to William Faithorne, mentioned in the preceding article ; and 
 
 fron»whom, without doubt, he learned the firft principles of defign. He did 
 
 not, however, follow his father's mode of engraving, but fcraped portraits in 
 
 mezzotinto; by which employment, had he been induftrious, he might have 
 
 4 acquired 
 
F A L r 285 ] F A L 
 
 acquired a comfortable fubfiftance ; but neglefting his bufinefs, he fell into 
 diftrefs, and involved his father in fo much trouble, that his death was 
 thought to be haftened by it. This unfortunate young man, who never 
 reached any fuperior degree of excellence, died about the age of thirty, and 
 was buried in St. Martin's church-yard. I fhall only mention the following 
 portraits by him : 
 
 Mary princefs of Orange, ^ middling fized upright plate, from A. Han- 
 naman. 
 
 Sir William Reade, oculijl to queen Mary. 
 
 The duke of Schomberg, from M. Dahll. 
 
 DOMENICO FALCINI. 
 
 Flouriflied, 
 This artift engraved on wood, from the defigns of Raphael and other 
 mafters. He ufed three feparate blocks for one print. On the firft he cut 
 the outline ; on the fecond, the dark fhadows ; and on the third, the fainter 
 tints, bordering upon the lights. See the mark, attributed to this mafter, 
 copied on the plate at the end of the volume. 
 
 JEREMIAH FALCK. 
 Flourilhed, 1660. 
 
 According to the generality of authors, this artift was a native of Poland ; 
 but he has written upon fome of his plates, van Stockholmia, or of Stockholm, 
 which feems plainly to indicate, that he was a Swede; unlefs it fhould be fup- 
 pofed, that he refided in Sweden, and ufed the fignature for that reafon only. 
 
 This engraver certainly poffelTed a very confiderable ftiarc of merit in o-e- 
 neral. He worked entirely with the graver, in a bold, free ftyle. His plates 
 are fometimes rather defeftive in harmony; his drawing is in common toler- 
 ably correft, the extremities excepted, which are often heavy. Among others 
 by this artift, are the following prints : 
 
 St. John -preaching in the wildernejsy from A. Bloemart, a large plate, 
 length-ways, dated 1661. 
 
 The virgin feated with the infant Chrifl, prejenting fome flowers to a lamhy 
 which St. John holds in his arms, a middling fized upright plate. 
 
 The four evangelifls, half figures, fmall upright oval prints, probably from 
 his own defigns ; for the fet I have before me has no painter's name affixed. 
 
 A lady with three men, one of whom holds fome mufical notes, half figures, 
 a large plate length-ways, from Guercino. This plate was firft etched, and 
 then finiftied with the graver : it is not equal to fuch of his works, as are exe- 
 cuted with the graver only. 
 
 A confiderable number of portraits o( Polifj and Swedifh noblemen. 
 
 The queen of Sweden, a fmall upright plate, from David Beck. 
 
 Adrian Spigelius, for the folio edition of his works, publilhed at Amfter- 
 dam, 1645. 
 
 Axelio Oxenftierna, a middling fized upright oval print. This portrait is 
 marked " I. F. V. Stockholmias, fecit et excud. 1652." He frequfftly 
 ufed the initials of his name only. 
 
 FREDERIC 
 
F A L [ 286 J F A L 
 
 FREDERIC VAN FALCKENBOURG. - 
 
 Flourifhed, 
 
 To this artlfl: are attributed certain prints, marked F. V. F. They are 
 loofe, fcratchy etchings oi portraits, genealogical Jiems, &c. Francefco Vanni, 
 and Francefco Villamena, both ufed this marlv ; but their works are eafily 
 dillinguifhed ; the former by the beauty of his etching ; and the latter by 
 his plates being executed with the graver only. 
 
 Lucas Van Falckenbourg, perhaps of the fame family as the fore- 
 going artift, according to profeffor Chrift, was an engraver ; and thofe prints 
 are attributed to him, which are marked in this manner, L,. V. F. 
 
 A N G O L O F A L C O. 
 
 Flourifhed, 
 
 I have no account of this artift. I found the name affixed to a middling 
 fized plate, length-ways, reprefenting a landfcape, defigned by himfelf, and. 
 rudely etched, in a very taftelefs (tyle. He has introduced the ftory of 
 J^Mo and Daphne^ from Ovid; but the figures are exceedingly bad. 
 
 GIOVANNA. BATISTA FALDA. 
 
 FlourLflied, 1660. 
 
 This excellent artift, according to the generality of authors, was a native of 
 Italy, born at Milan. Whofe difciple he was, does not appear ; but he exe- 
 cuted his plates in a clear, neat ftyle, bearing no fmall refemblance to that of 
 Ifrael Silveftrc. He drew and engraved a prodigious number of views of 
 palaces, gardens, &c. which he enriched with fmall figures, exceedingly well 
 defigned, and etched with great tafte. The works of this artift are defervedly 
 held in very high eitimation. Among them are the following: 
 
 Several fets of views of churches^ palaces, gardens, and fountains at Rome, 
 fmall plates, length-ways. 
 
 A very large view, length-ways, of St. Peter's at Rome. 
 
 GIOVANNA ANTONIO FALDONI. 
 
 Flourifhed, 
 
 A modern Italian artift, who afFefted greatly to imitate the fl)'le of Melan, 
 and frequently fucceeded very happily. He was a manof ability ; and fome 
 of his works pofTefs great merit. By this engraver, among others are the 
 following prints : 
 
 A holy family tuith St. John, a fmall plate, length-ways, from Sebaftian 
 Ricci. 
 
 The portrait of Sebaftian Ricci, a fmall upright plate, from Rofalba. 
 
 Part of the defigns of Parmigiano, for the colleftion in two volumes, folio, 
 publiflied by Zanetti. He fometimes figned his plates with the initials of 
 his name only. 
 
 JOHN 
 
f A L I .287 ] FAR 
 
 JOHN FALLER. 
 
 Flourifhed, 
 
 The name of an artift, mentioned by Florent le Comte, as an engraver of 
 ornaments, grotefque figures, &c. lam not acquainted with his works. 
 
 CESARE FANTETTI. 
 
 Flourifhed, 
 
 An Italian artift who flourifhed about the conclufion of the laft century. 
 He drew and etched in the ftyle of a painter. Flis outlines are not always 
 corre(5t, or the extremities of his figures well marked. He worked conjointly 
 with Pietro Aquila, in engraving the paintings in the Vatican by Raphael, 
 known by the name o^ Raphael's Bible. The firft thirty fix prints, and the 
 fortieth, of this colleftion, which confifts of fifty-five, are etched by Fantetti ; 
 the reft by Pietro Aquila. I cannot help thinking, that tlie plates executed 
 by the former, are neater, more determined, better drawn, and fuperior to 
 thofe by the latter. Fantetti engraved befides. 
 
 Several friezes and antique bajs reliefs. Alfo, 
 
 The death of St. Ann, a middling fized upright plate, from Andrea Sacchi. 
 
 Jacomo Frey engraved a plate alfo from the fame pielure. 
 • Several other fubjefts, from different Italian mafters. 
 
 F A N T U Z Z I. See Fontuzzi. 
 
 BENOIT FARIAT. 
 
 Flourifhed, 1700.. 
 
 This engraver was born at Lyons. He became the pupil of William 
 Chateau, and followed the ftyle of his mafter with great fuccefs. His works 
 ditcover more command of the graver, and laborious neatnefs, than refined 
 tafte, or corredt drawing. They are, in general, like thofe of his mafter, 
 heavy, cold and filvery. The heads, and other extremities of liis figures, are 
 by no means well exprefied. This artift, however, is not without his admirers. 
 After he left Chateau, he went to Italv, and refided chiefly at Rome, where 
 I believe, he died. The following plates are ranked among his beft works : 
 
 The. marriage, or,as Jome think, the crowning of St. Catherine, a large up- 
 right plate, from Agoftino Carracci. 
 
 The marriage of Jofeph and the Virgin, from Carlo Maratti, the fame. 
 
 The temptation of St. Anthony, a fmall upright plate from Annibale Car- 
 racci. 
 
 The death of St. Jerom, a large upright plate, from Dominichino. This 
 picture was alfo engraved by Jacomo Frey, Ciefar Tefta, and others. 
 
 A holy family, from Pietro de Cortona. 
 
 ..Some few ;)or/r^//j, and a variety of other fubj efts, from Guido, Albano, 
 Ciro Ferri, Solimene, &c. 
 
 PAOLO 
 
FAR [ 288 ] F A U 
 
 PAOLO FARINATO. 
 
 Born, 1522. Died, 1604. 
 
 This artift was a native of Italy, and born at Verona. He learned the firft 
 principles of painting from Antonio Badiale ; after which he became the 
 difciple of Nicolo Goifino. His genius led him to hiftorical fubjefts, and 
 in this line he acquired a very confiderable reputation. He alfo etched 
 feveral plates from his own compofitions, in a free, flight ftyle, which mani- 
 feft, however, the hand of the mafter. His plates are frequently marked 
 with his name at length, and fometimes with the initials, P. F. or P. V. F. 
 the V. Handing for Verona, to fignify that he was a rvitive of that city. The 
 following etchings are by this mafter. 
 
 St. Job)!, a fmall upright plate, marked " Paulo Farinato f." 
 
 St. Jerom kneeling and leaning upon a bank, the fame, marked, P. F. 
 
 Mary Magdalen feated, with a book and crucifix before her, a fmall plate 
 length-ways, marked " Paul Farinat. f." 
 
 Several angels bearing the crojs, a fmall upright plate, marked P. F. 
 
 ORAZIO, or HORATIUS FARINATO, 
 
 Flouriflied, 1550. 
 
 This artift was fon and pupil of Paolo Farinato, mentioned in the preced- 
 ing article. He imitated his father's ftyle of painting, and from the fuperior 
 abilities, which he difcovered early in life, promifed fairly to have equalled 
 the greateft mafters ; but he died very young. He etched feveral plates from 
 his father's defigns ; and though they are eafily diftinguiflied from the etch- 
 ings by the father, yet they have conftantly been confounded with them. The 
 following etchings, among others, are the produftions of his point : 
 
 The deflrucfion of Pharoah's hofi in the Red Sea, a large plate, length- ways, 
 marked, HO. F. F. Paulus Fa. V. I. 
 
 A holy family with St. John, a fmall upright plate, &c. 
 
 CHARLE S F A U C C I. 
 
 Flouriftied, 1760. 
 
 This engraver was a native of Italy ; but lie reftded fome time in London, 
 ■where he worked for Mr. Boydel. His prints are held in no very high efti- 
 mation. The following, among others, were done by him. 
 
 The birth of the Virgin, from Pietro de Cortona, a middling-fized upright 
 plate. 
 
 The adoration of the fheph. rds, the fame, from the fame. 
 
 The coronation of the Virgin, from Rubens, a middling fized upright plate. 
 Pontius engraved a print from the fame pifture. 
 
 Alfo feveral other plates, for the colleftion of prints engraved from the 
 piftures in the gallery of the marquis Gcrini, which he executed at Flo- 
 rence before his arrival in England. 
 
 ,,/ A Bacchanalian fubjeft, a middling fized upright plate, from Rubens, 
 pubiifhed by Mr. Boydel, May 11, 1763. 
 
 He alfo engraved \t:wtxj\ portraits, &c. 
 
 R. Fau- 
 
F A V [ 289 ] F E V 
 
 R. Faucci, probably a relation of Charles Faucci, mentioned above. He 
 engraved fome of the portraits which appeared in Alhgrini's Horn, illuji. 
 TgA". publifhed 1764. 
 
 J. DE FAVENNES. 
 
 Flourillied, 1760. 
 
 A modern engraver, who, I believe, was a native of France, and refided 
 at Paris. By him, according to Bafan, we have a print, entitled the flea- 
 Jures of the Summery from Watteau. 
 
 T. M. F A U L T E. 
 
 Flourifhed, 
 
 The name of an obfcure engraver, who apparently worked for the book- 
 fellers. It is affixed to the portrait oi Joan. Paffirus. If we may judge of 
 his merit by this performance, he never rofe above mediocrity: it is a fmall 
 upright oval print. 
 
 NICHOLAS DE LA FAYE. 
 
 Flourifhed, 
 He was a native of France, and refided at Aries in Provence. If I under- 
 ftand Le Comte rightly, he painted patterns for embroidery and needle- 
 work. The fame author adds, that he etched fix prints ; but he has not 
 fpecified the fubjedts : they were probably ornamental. 
 
 F A Y R A M. 
 
 Flourifhed, 1740. 
 I believe this artlfl was a landfcape painter. We have by him fome flight 
 coarfe etchings oi views about Cheljea and Batterfea, alfo the hermitage in 
 Kew gardens. 
 
 CLAUD LE FEBURE, or LE FEVRE. 
 
 Born, 1 633. Died, 1675. 
 
 This artifl, a native of France, was born at Fontainbleau. He principally 
 excelled in painting portraits ; but he fucceeded alfo in flowers and hiftoricai 
 fubjedts. He refided at London, where he met with encouragement, and 
 died, A. D. 1675, aged42. He etched fome few plates ; among others, bis 
 own portrait, a fmall upright print j that of his mother, the fame, and that of 
 Boudan, the copper-plate printer, a middling fized upright plate, Sec. 
 
 VALENTINE LE FEBURE, or LE FEVRE. 
 
 Flourifhed, 1680. 4. ' 
 
 This artifl was a native of BrufTels, and a painter; for he is fpokcn 
 
 of as fuch j but he is much more generally known as an engraver ; 
 
 VOL. I. P p we 
 
F E L [ 290 ] FEN 
 
 we have a variety of prints which were executed by him, during his Jong 
 refidence at V' enice, from the works of Titian and Paolo Veronefe thefc :>!- 
 le£ted together, form a large folio volume. They are flight etchings, feeble 
 in cffeft. The lights are broken and fcattered, without any broad mafTes 
 of fliadow, or depth of colour. The drawing of the naked parts of the 
 figures is not incorreft, but executed in a mannered ftyle, that is by no 
 means agreeable. We find much fpirit and freedom in feveral parts of 
 thefe etchings; and fome of the back-grounds difcover a mafterly hand. 
 They are the more valuable, as they are the beft tranfcript of the defigns 
 of thofe great painters. 
 
 The engravings by Le Febure, from the painters above-mentioned, were 
 publiflied at Venice, 1680, with this title : Opera fekniora, quae Titianus 
 Vecellius Cadubrieufis, et Paulus Calliari Veronenfts inventdrunt i^ pinxerunt ; 
 qtiicque Valentinus le Febre Bruxellanfis delineavit et Jculpftt. A fecond edi- 
 tion was publifhed in 1682; and a third, with the plates retouched, a. d. 
 1749. 
 
 This artifi: is faid to have refided fome little tuTie in London, and for this 
 caufe feveral perfons, fays Bafan, have confounded him with another, 
 named Roland Le Febure, a portrait painter, who died in London, a. d, 
 1677 ; and was diftinguiflied by the name of Lefevre of Venice. 
 
 SIMON FELICE. 
 
 Flourifhed, 1665. 
 
 A very ingenious artift, who worked conjointly with Giovan. Batifta Fal- 
 da, in a fet of prints, entitled, Le giardini de Roma, or the gardens of Rome, 
 middling fized plates, length-ways. They are exceedingly neat, ornamented 
 with fpirited little figures, and nearly, if not entirely equal to thofe executed 
 by Falda. 
 
 D E FEN. 
 
 Flourifhed, 
 
 I infertthis name with caution, becaufe I am by no means pofitive, that 
 I read it properly. The letter which I take for an F. may perhaps be an E. 
 but it certainly bears the greateft refemblance to the former. It is aflixed 
 to a large upright, fpirited wood cut, reprefenting the Temptation of St. An- 
 thony. This print poflefies great merit. There is much grandeur in the 
 figure of the faint ; and the head is finely charafterifed. Two naked women 
 are (landing before him ; and at the bottom, on a fmall tablet, the name is 
 written. There is alfo a figure engraved by Schaeuflen the younger, which is 
 marked with this artilVs name alfo, who was probably the inventor. See the 
 manner in which the name is written on the plate at the end of the volume. 
 
 TOBIE FENDT. 
 Flouriflied, . 
 Tlie name of an engraver, who, according to profeflbr Chrifl", refided 
 at Breflaw, and marked his prints in this manner: T. F. The profeflbr 
 hjs not, hov/ever, fpecificd any of his works. 
 
 LOUIS 
 
F E R [ 291 ] F E R 
 
 LOUIS FERDINAND. 
 
 Floiirifhed, 1 640. 
 
 This artift was a painter of portraits, and flourifhed near the middle of the 
 laft century. He was the fon of Ferdinand Elle, the firft inftruftor of Ni- 
 cholas Poufin. He alfo engraved a confid^rable number of plates i amono- 
 which are fome portraits from Vandyck, and friezes with boys, from Louis 
 Teftelin, Louis de Boullogne, &c. 
 
 GiovANNisA TissTA Ferdinandi, a name affixed to {ome jezvellers or- 
 namentSy executed in a neat dark ftyle, with the graver only. 
 
 J. FERDINAND. 
 
 Flourifliedj 1644. 
 
 This artift was probably of the fame family with Louis Ferdinand, men- 
 tioned in the preceding article. They were cotemporary, and etched in a 
 fimilar ftyle. By Ferdinand we have a drawing-book, in folio, with this 
 title : Le Livre Original de la Portraiture, four L'JeuneJfe, tire de Bologne 
 et aiitres Ion Peintres a Paris, 1 644. Though the figures in this book are 
 not correftly marked, or in a mafterly manner, yet the lights and Ihadows are 
 well difpofed in malTes, arid they m.ay certainly be of ufe to young beginners. 
 He fometimes omitted his name, and fubftituted one of the initial letters, as 
 F. F. the fecond F. ftanding for fecit j and fometimes he affixes the fingle 
 F. without any other letter. 
 
 A lady's head, a fmall upright plate, from Vandyck. 
 
 The portrait o^ Nicholas Poufin, from a painter, whofe initials are V. E. 
 
 Francesco Ferdinand, is a name affixed to a fmall upright etchino-, em- 
 blematical of gluttony and debauchery oppofed to virtue ; it is executed in a 
 coarfe flight ftyle. 
 
 FRANCIS PAUL FERG. 
 Born, 1689. Died, 1740. ^ 
 
 This artift was born at Vienna, where he learned the firft principles of 
 painting, and became very celebrated for his landfcapes, which he enriched 
 with ruins, catde, and figures. He refided at London, where he might have 
 lived in a very comfortable manner ; but an imprudent marriage o-reatly 
 deprefled his circumftances. Mr. Grofe favoured me with the followin'^ 
 anecdote concerning him : Ferg was always poor, not from any excefles in 
 his manner of living, but merely from indolence. His pidlures were much 
 fought after by the Virtuofi 5 and if he took earneft to paint one, he would 
 not let the perfon have it, by whom it was befpoken, but carried it immedi- 
 ately after it was finiffied to the pawn-broker, from whofe hand he rarely 
 redeemed it. He died, as it is faid, for want of common neceflaries, a. d. 
 1740, aged 51, and was buried by fubfcription. 
 
 He etched eight plates, feven of them very fmall upright prints, and one 
 larger length-ways, reprefenting landfcapes with ruins, fountains, and 
 figures drawing water ; to which fet he gives this title, Capricci fatti per 
 F.V.F. r J i; 
 
 F E R N A Z E R U S. See Fournier. 
 
 Pp2 MARTI NO 
 
F E R [ 292 ] F E R 
 
 MARTINO FERRABOSCO. 
 
 Flourifhed, 1620. 
 
 An artift of no great note, who engraved the architeftal plates for the 
 work entitled, Architettura della Bafilica di S. Pietro in VatkanOy publilhed 
 at Rome, a. d. 1620. They are executed entirely with the graver, in a 
 ftiff, night Ityle. 
 
 GIRO FERRI. 
 
 Born, 1634. Died, 1689. 
 
 This excellent hiftorical painter was born at Rome, and became the dif- 
 ciple of Pietro da Cortona, in whofe fchool he finilhed his ftudies. The great 
 reputation this artift acquired did honour to his induftry, and procured him 
 the favour and proteftion of the Duke of Tufcany, who entrufted him to finifh 
 the works, begun by his mafter, in the palace of that Prince. He died, 
 A. D. 1689, aged 54. He is faid to have etched feveral plates from his own 
 compofitions : he is called by the French Cirofer. 
 
 JEROM FERRONI. 
 
 Flourilhed, 1700. 
 
 This artift was a native of Italy, who etched feveral plates in the flight, 
 fpirited ftyle of a painter, with great tafte. Among others by him are the 
 following : 
 
 The chaftity ofjqfeph, a middling fized upright plate, from Carlo Maratti. 
 
 Jael killing Si/era, the fame, from the fame. 
 
 Judith cutting off the head of Holophernes, the fame, from the fame. 
 
 DOMINICO FERRUCCIO. 
 
 Flourilhed, 1670. 
 
 The works of this artift have very little merit to recommend them. His 
 labours appear to have been confined to the fervice of the bookfellers ; and 
 his mode of working, which was with the graver only, might fufficiently 
 anfwer their purpofe. We have by him a number o{ naked figures fencing, 
 (perhaps from his own defigns, for the compofitions of thefe prints are 
 as indifferently executed as the engraving itfelf) for a book, entitled. 
 La Scherma iilujirata compofla da Giufefpe Morficato Palermitano, dated 
 1670. 
 
 M. D E LA F E R T E. 
 
 Flourilhed, 1760. 
 A modern connoifiTeur, who, for his amufement, etched feveral little land- 
 Jcapesy from Boucher and other matters, 
 
 D E F E R T H. 
 
 Flourifhed, 1760. 
 A modern engraver, a native of France, by whom we have feveral prints, 
 after Vanden Bofch, Fontaine, and other mafters, 
 
 STEPHEN 
 
FES [ 293 ] F I A 
 
 STEPHEN FESSARD. 
 
 Flourifhed, 1760. 
 
 This artift who refided at Paris, was a native of France. He ensraved a 
 great variety of neat plates; but he fucceeded beft in hnall fubjefts, though 
 Ibme of his larger engravings are by no means devoid of merit. The follow- 
 ing, among others, are by him : 
 
 A Flemifi feftival, a large plate, length-ways, from Rubens. 
 
 The birth of Venus, the fame, from De Troy. 
 
 The triumph of Galatea, from Boucherdon, the fame. 
 
 Jupiter and Antiope,, a middling fized plate length-ways, from Carlo 
 Vanloo. 
 
 Alfo feveral portraits, and a variety oifmall plates for books ^ &c. 
 
 SIGISMOND FEYERABEND. 
 
 Flourifhed, 15S7. 
 
 The celebrated family of the Feyerabends, well known in the literary 
 world, were eftablilhed at Franckfort upon the Mayne, towards the con- 
 clufion of the fixteenth century, where they printed and publifhed a prodi- 
 gious number of books, and books of prints. They employed mod of the 
 dcfigners and engravers on wood. It is generally believed, and not without 
 good reafon, that they engraved themfelves a .confiderable part of thofe 
 prints, with which they embellifhed their publications, Sigifmond, who is 
 the mod confpicuous amongft them, marked the prints, wliich he executed ; 
 with the letters S. F. under which he ufually reprefented a fmall knife, to 
 denote that he was the engraver. 
 
 The following initials fo frequently found upon the little wooden cuts, 
 publilhed at this time by Sigifmond, are alfo attributed to engravers of the 
 fame family, though the baptifmal names of thefc artifts are not certainly 
 known : I. F. and S. H. F. the f. is ufually joined to the h. and M. F. 
 the M. and the f. are alfo joined together : and V. F. 
 
 ODOARDO FIALATTI. 
 
 Born, 1 57 J. Died, 1638. V 
 
 He was born at Bologna, and learned the firft principles of defign from 
 Cremonino; but he finilhed his ftudies in the fchool of Tintoretto. He 
 painted hiftorical fubjeds; and his works are fpoken of with the warmeft 
 commendation. He etched a great number of plates, as well from his own 
 compofition, as from thofe of other mafters. . His etchings are executed in 
 a flight, mafterly ftyle. He drew corredly, compofed his figures with 
 much tafte, and frequently felefted very graceful adtions. If he had no 
 other teftimony leftof his merit, than the prints he has engraved, they would 
 abundantly prove him to have been a man of great ability. I fhall take 
 notice of the following by this artift : 
 
 The pajlimes of love, a fet of 20 fmall upright prints, from his own de- 
 figns : the title is Scherzi d' Amove. 
 
 Venus 
 
F I A [ 294 ] F I L 
 
 Venus and Cupid ; Diana at the chace ; the god Pan ; and a man holding a 
 vqfe ; four fmall plates, length-ways, from Le Pordenon. 
 
 The marriage of Cana in Galilee, a middling fized plate, length-ways, from 
 Tintoretto. 
 
 St. Sebaftian, a fmall upright plate, from the fame mafter. 
 
 A hookiwith ftudies for drawing, in folio, publifhed at Venice, a. d. 1608. 
 Seethe marktifually adopted by this mafber, compofedof an O. and an F. 
 on the plate at the end of the volume. 
 
 BARTOLEMEO FIALETTI. 
 
 Flourifhed, 
 
 This artift, of whom I find no account, engraved, according to Florent Ic 
 Comte, the ceremony of the Agnus Dei, which prints I have never feen. 
 
 STEPHEN FI CLU E T. 
 
 Flourifhed, 1760. 
 
 A modern French engraver of portraits. This artifl: knew how to unite 
 ■neatnefs, and high finifhing in the greateft degree, with excellent drawing. 
 His portraits are very aftonifhing exertions of the art ; and fo prodigioufly 
 delicate, that the llrokes and dots upon the faces cannot be feen diftinftly, 
 without a magnifying glafs. I ftiallonly mention the following: 
 
 La Fontaine. 
 
 T. Corneille. 
 
 DefcartZy &c. All of them very fmall upright plates. 
 
 PAOLO FIDANZA. 
 Flouriflied, 1760. 
 This artift was a native of Italy, and refided chiefly at Rome, where he 
 enoraved the Mount Parnaffus, and the miracle of the fire extinguiped at the 
 inter ceffion of the pope, two large plates, from the pidtures of Raphael, in the 
 Vatican. A defcent from the crofs, a fmall upright plate, from Annibale 
 Carracci, &c. 
 
 MARC FIDUCIUS. 
 
 Flourifhed, 
 
 An artift cited by Florent le Comte, who informs us, that he excelled in 
 enc^raving proceffions and cavalcades ; but he has not fpecified any of his works. 
 
 JOFIN DE FILHET. 
 
 Flouriflied, 
 Florent le Comte calls him Jean de Filhet de la Curee, chevalier de la Pro- 
 menade de Zutphcn, and tells us, that he engraved on copper, from his own 
 defign, an image of human life. 
 
 T E O- 
 
F r L [ 295 1 FIN 
 
 TEODORO FILIPI. 
 
 Flourifhed, 
 
 This artift (who perhaps was of the fame family with Camillo Filipi, an 
 Itahan painter of fome eminence) etched feveral fmall plates of fingle figures, 
 in a very fpirited manner, and with great tafte. He figns his name " Teodor. 
 " Filipi de ligno Nap. f." 
 
 GILBERT FILLEUL. 
 
 Flourifhed, 
 
 An artifl of no great eminence, who flourifhed in the lafl century, and 
 engraved feveral plates from Le Brun and other maflers. 
 
 PETER F I L L E U L. ^> - ^J^^y^^'^^^^ 
 
 Flourifhed, , y 
 He was fon to Gilbert Filleul, mentioned in the preceding article. By 
 him we have the carriers, a middling fued plate, length- ways, from Wou- 
 verm.ans, and feveral of the prints for the fables of Z,^ Fontaine, 
 
 JOHNFILLIAN, 
 
 FlourilTied, 1676. 
 
 This artifl, an Englifliman, was the difciple of the elder Faithorne, and 
 becaufe there are but few plates engraved by him, it is very reafonably con- 
 jeftured, that he died young. Thofe we have, out of the portrait line, do 
 him no credit. He imitated, in his heads, the ftyle of his mafher; and pro- 
 bably, had he lived to have improved himfelf by more extenfive ftudy and 
 pradlice, he might have claimed a much higher rank, than can at prefent be 
 allowed him. We have by him, the portrait ol Faithorne, his mafler, copied 
 from a print engraved by himfelf; that of Thomas Cromivell, and a head 
 of Paracel/as. Among his other works is the frontifpiece to Heylen's Cojmo- 
 graphy in folio. 
 
 MASO, or TOMASO FINIGUERRA. 
 
 Flourifhed, 1460. 
 
 To this ingenious artifl, a goldfmith and enameller of Florence, the Ita- 
 lians attribute the invention of engraving on copper ; and, according to Vafari, 
 we owe it to the following accident. Having one day engraved upon -a 
 piece of plate the objeCls he meant to reprefent, and intending to fill up the 
 flrokes with a black enamel, in order to try theeffedl of it, previoufly to the 
 putting on of the enamel, he call fome melted fulphur upon it ; and, on taking 
 it OiF, perceived, that the dirt coUefted at the bottom of the flrokes adhered 
 to the fulphur, and gave an imprefTion of the objeft. Struck with this bbfcr- 
 vation, he tried feveral other fchemes, and at laft fuccceded, by filling the 
 flrokes with black paint, and laying dahnp paper upon the plate, over which 
 he contrived to pais a roller. , 
 
 I He 
 
FIN [ 296 ] F I S 
 
 He communicated this difcovery to Baccio Baldini, from whom it palTcd 
 to Sandro Boticelli, and in the end, to Antonio PoUajolo, Aiidrea Mintt-gna, 
 and the reft of the Italian artifts. The juftnefsof this claim to the invention 
 of the art of engraving, has been already confidered in the Efiay at the 
 beginning of tliis volume. It is very true, we can fpeak with no certainry, 
 with refpeft to the works of Finiguerra. Some may be inclined to think that 
 the /even planet!, defcribedin the foregoing Eflay, one of which, with the cal- 
 lender, are exadly copied, are by him. Thefemuft have been engraved as 
 early as the year 1464 ; but I cannot conceive that they are fufficiently well 
 done, either with refpeft to the drawing or the execution. 1 fliould rather 
 attribute to him the plate of the artlft, of which an exaft copy is alfo given 
 in the Elfay ; and the F. which appears upon the ftone near his hands, may 
 be thought to ftrengthen the conjefture. 
 
 J. FINLAYSON. 
 
 Flouriflied, 1770. 
 
 This artift, who, I fuppofe, was a native of England, refided chiefly in 
 London, where he engraved a confiderable number of portraits from various 
 mailers. Among others by him, are Signiora Zamperini, a half fheet print from 
 Hone ; Shooter, Beard, and Dunjlal, in Love in a Village, a large plate, 
 length- ways, froin Zofany. 
 
 D O M E N I C O F I O R E N TI N O. See Barbiere. 
 
 PETER FIRENS. 
 
 Flourifhed, 1640. 
 This engraver refided at Paris, where, perhaps, he was born. He was one 
 of thofe artifts, who endeavour by labour and afliduity to compenfate for 
 the want of genius. Having no tafte of his own, lie copied fervilely what- 
 ever was placed before him ; and was as utterly incapable of mending the 
 faults, as of exprefllng the beauties of tiie original. We have foine: portraits 
 by him, among others, that ot' Henry the Fourth of France, a large upright 
 plate. It appears alfo by the word excudit, which he has added to his name, 
 that he was a publiftier, as well as an engraver. His beft work, I think, is 
 the hermits, which he copied from the Sadelers. He alfo engraved from 
 Simon Vouet, Claude Vignon, &c. 
 
 JOHN FISCHER. 
 Born, 1580. Died, 1643. . 
 He is mentioned by Sandrart as an engraver on wood ; and the prints 
 to the Bible, printed at Straft)ourg, a. d. 1606, which are marked with the 
 initials I. F. are attributed to him. 
 
 EDWARD FISCHER. 
 • Flourifhed, 1760. 
 
 This artift is falfely named Etiennc, or Stephen Fifcher, by Bafan. He 
 
 refided 
 
F I S [ 297 J F L E 
 
 refided at London. By his hand we have feveral eftimable mezzotintos from 
 Sir Jolhua Reynolds and other mafters ; among them. 
 
 Lord Ligonier on horjeback, a large upright plate. 
 
 Two young ladies, one in the habit of a fultanefs holding a bird, the fame, 
 from the fame : the fine impreffions of this plate are not common. 
 
 Elizabeth Keppely the fame, from the fame. 
 
 Lady Sarah Banbury ^ companions to the laft, from the fame. 
 
 A. F I S C H E R. 
 
 Flourifhed, 1760. 
 
 A modern artift, mentioned by Bafan, who, he informs us, engraved 
 a print called the carriers, from Wouvermans. Filleul alfo engraved from 
 the fame pidture. 
 
 ALBERT FLAME N. 
 ,/ Flourifhed, -.:: 
 
 This artift, a native, I believe of Flanders, flouriflied towards the conclu- 
 fion of the fixteenth century. He was a painter of fome eftimation, and 
 excelled in landfcapes, birds, fifties, &c, but he is more generally known as 
 an engraver, from the number of very excellent etchings we have by his 
 hand, which, though flight, are exceedingly fine and mafterly. I fliall men- 
 tion the following : 
 
 A fet of views, length-ways, ornamented with fmall figures, executed in a 
 pretty ftyle : one efpecially ftrikes me as excellent, which reprefents an en- 
 campment at the end of the Fauxbourg St. ViSior, by the fide of the Horfe-walk. 
 
 A fet of twelve plates, reprefenting j^j of all forts, with land/cape back- 
 grounds, and fea-ports, dec. 
 
 See his mark, compofed of an A. and a B. joined together, which he fome- 
 times ufed, when he did not fign his name at length, on the plate at the end 
 of the volume. 
 
 A. C. FLEISCHMANN. 
 
 Flouriftied, 1626. 
 A very indifferent artift, who engraved feveral of the heads for a work, 
 intitled, Icones Bibliopolarum et Typographorum, publifhed at Nurembero- 
 and Altdorf, 1626. 
 
 T. F. FLEISHBERGER. 
 
 P'lourifhed, 1660. 
 This engraver, who worked for the bookfellers, was apparently a German, 
 and refided at Nuremberg. He executed his plates with the graver only, in 
 a ftiff, heavy ftyle, without tafte or correftnefs of outline. By him I have 
 feen an ornamental frontifpiece, with figures, for Gregorii Horjli opera Medica, 
 printed at Nuremberg, a. d. 1660, in folio. To this work is alfo prefixed 
 the portrait of //or/?/«j, a three quartered figure in folio. 
 
 HENRY FLETCHER. 
 
 Flourifhed, 1729. 
 An artift, v/ho refided, I believe, at London, where he engraved feveral 
 VOL. I. Q^q portraits 
 
F L E [ 298 ] FLO 
 
 portraits for the bookfellers, and a print o( Bathfieha, -with her female atten- 
 dants, at the bath, from Sebaftian Conca : a print, however, that does him 
 no great credit as an artift. 
 
 A. FLETCHER. 
 
 Flouriflied, 
 
 An engraver fays Bafan, of this century, by whom we have feveral views 
 o^ Rome, irom Canaletti. 
 
 PETER FLEUNER. 
 
 Flouriflied, 1549. 
 An ancient engraver on wood, by whom we have a very fpirited print, exe- 
 cuted in a bold, free ftyle. It is an emblematical fubjeft, and apparently 
 reprefents the frocejfion of Gluttony. On a ftone at the bottom his name 
 isfigned at length, with the date, 1549. 
 
 NICHOLAS WILLIAM DE LA FLEUR. 
 
 Flouriflied, 1639. 
 This artift was a native of Lorrain, but he refided chiefly at Rome, where 
 he engraved a book of flowers, confiding of twelve fmall plates, with a title, on 
 which is reprefented his portrait furrounded with flowers. 
 
 JOHN CHAliLES FLIPART. 
 
 Flouriflied, 1720. 
 He was a native of France, and refided at Paris, where he engraved the 
 Virgin and Child, from Raphael, a fmall upright plate, for the Crozat col- 
 ledlion. Chrifl fraying in the garden, the fame, from the fame painter, and 
 for the fame colledion. Thefe are neatly finiflied with the graver ; but they 
 want efi^edt, and correftnefs of outline. 
 
 JOHN JAMES FLIPART. 
 ' Flouriflied, 1760. ,,-- 
 
 Of the fame family with the preceding artift. He refided at Paris, where 
 he engraved a large number of plates ; among the reft, a holy family from 
 Julio Romano, a middling fizcd upright plate, for the Drefden Colleftion. 
 Venus and Mneas,, the fame, from Natoire. A temfeft, from Vernet, a large 
 plate, k-ngth-ways. T\\efick man furrounded by his children, the fame, from 
 Greufe, &c. 
 
 PETER FLODING. 
 
 Flouriflied, 1760. 
 A Swedifli engraver, by whom we have an allegorical fubjedl, reprefent- 
 ing the king of Sweden, as the protestor of religion, the laws, the arts, and the 
 Jciences, a large upright plate in an oval, from Cochin. He alfo engraved 
 from Boucher and other mafters. 
 
 ISAAC 
 
FLO [ 299 ] FLO 
 
 ISAAC FLORE. 
 
 Flourifhed, 
 
 An engraver, according to Florent le Comte, oi ornamental plates for gold- 
 fmiths andjewellers, &c. 
 
 JOHN FLORIMUS. 
 
 Flourifhed, 
 According to Florent le Comte, this artift was an engraver of portraits. 
 I have feen by him a frontifpiece to a coUeftion of antique heads. It con- 
 fifts of feveral figures i and is executed entirely with the graver, in a neat, 
 dry ftyle. 
 
 FRANCIS FLORIS. 
 Born, 1520. Died, 1570. 
 This artift was a native of Antwerp, and followed the profefiion of a fta- 
 tuary, till he was twenty years of age ; when preferring painting, he entered 
 the fchool of Lambert Lombard, whofe manner he imitated very perfeftly. 
 He afterwards went to Italy, and completed his ftudies from the works of the 
 moft eminent mafters. The great progrefs he made in hiftorical painting, at 
 his return procured him much employment ; and his countrymen compli- 
 mented him with the flattering appellation of the FlemiJIj Raphael. He got 
 much money, and might have rendered his acquaintance more worthy of the 
 attention of the great, had he not debafed himlelf by frequent drunkennefs. 
 He died 1570, aged 50. We have fome few etchings by him, which, though 
 flight, are very bold and fpirited j and the extremities are marked with a 
 mafterly hand. Among the reft is a middling fized plate, length-ways, re- 
 Tpre{cntmg Fi^oryjlanding by a figure, Jurrounded with warriors in chains: 
 It is dated 1552. 
 
 A. D E F L O S. 
 
 Flouriftied, 1760. 
 
 A modern engraver, who, according to Bafan, refided in Holland. By 
 him we have a land/ca-pe, and a view of a/ea-port, both large plates length- 
 ways, from Bergham. He alfo engraved from Teniers and other mafters. 
 
 CLAUDE DUFLOS. 
 
 Flouriftied, 1710. >./ 
 This ingenious artift was a native of France. I know not under what 
 mafter he ftudied; but the works of Poilly and Edelinckfeem to have been 
 the iburces from which he formed his tafte. He worked chiefly with the 
 graver, and occafionally with the point. He had great command of the for- 
 mer inftrumentj and his prints are neat and well finiflied, but rather cold 
 and filvery. He underftood the human figure very well, though the extre- 
 mities are very often rather heayy. Bafan, v/ho publiflied his Dictionary 
 
 Q^q 2 <^f 
 
FLY [ 500 ] F O K 
 
 of engravers, 1567, mentions him, as having been dead about four years. 
 We have engraved by this artift, 
 
 Cbrijt with the two dijciples at Emmaus, a large plate, length-ways, for the 
 Crozat colledtion. 
 
 The woman taken in adultery, the fame, from Nicholas Colombel. Part of 
 this plate is etched, and it makes a companion to the anointing of the feet of 
 Chriji by Mary Magdalen, engraved by Nicholas Doffier. 
 
 The entombing of Chrift, a middling fized plate, length-ways, from Pietro 
 Perrugino, for the Crozat coUedion. 
 
 St. Michael and the Devil, a middling fized upright plate, from Raphael, 
 for the fame coUeftion. 
 
 Love flung by a bee, a large upright oval print, from Anthony Coypel, com- 
 panion to Zephyrus and Flora, engraved by Picart. 
 
 St. Cecilia, a middling fized upright plate, from P. Mignard. This plate 
 is engraved in a very fingulartafte : the drapery and back-ground are exe- 
 cuted in a bold, free manner ; and the flefli of the faint, and a naked cherub, 
 who ft:ands before her, is finifhed in a neat ftyle, with dots only. The draw- 
 ing is good, and the effeft is by no means unpleafing. 
 
 PAULFLYNT. 
 
 Flouriflied, 
 According to M. Heineken, he was an engraver ; and he fometimes named 
 himfelf Paul de Nuremberg. His works are not fpecified. 
 
 F O. 
 
 Flouriflied, 1551. 
 This artift, a Swifs by nation, fays Papillon, was an excellent engraver in 
 wood, and contemporary with the famous Holbein. He ornamented with 
 prints the books, which Conrad Gefner, the phyfician of Zurick in Switzer- 
 land, wrote in Latin,- upon animals of all kinds. He alfo engraved the coins 
 end medals of the Roman emperors, publiftied by Gefner, in folio, 1559; and 
 feveral other works of confequence. Papillon, who certainly was a good 
 judge, with refpeft to the execution of thefe prints, fpeaks very highly of 
 them, and afllires us, that Fo was an artift of great ability. 
 
 MARCELLO FOG E LINO. 
 
 Flouriftied, 
 An old Italian mafter (who was probably of the fchool of Marc Antonio) 
 by whom, according to M. Heineken, we have fome prints, marked with 
 his name ; but the fubjedls are not fpecified. 
 
 SIMON FOKKE. 
 
 Flouriflied, 1744. 
 
 A modern engraver, who refided at Amfterdam. A great part of his em- 
 ployment 
 
F O L [ 301 ] F O N 
 
 ployment was for the bookfellers. Small portraits and vignettes he per- 
 formed neatly and tolerably well j but when he went out of that line, and 
 undertook large hiftorical plates, he failed very confiderably. We have 
 by this artift part of the portraits for a work in quarto, entitled, Por- 
 traits Hiftoriques des Hommes illujirees de Demnm-k, publifhed 1746. The 
 frodigaljon, from Spagnoletto, a middling fized upright plate. Jacob keeping 
 the Jheep of Lab an, the fame from the fame, for the colleftion of prints from 
 the Drefden gallery, A variety of Vignettes and other fubjefts, as well 
 from his own compofitions, as from thofe of other matters, as Picart, Trooft, 
 De Beyer, &c. 
 
 JACOB FOLKMA. 
 
 Flourifhed, 1746. 
 
 This artift, who, as Bafan informs us, was a native of Holland, engraved 
 fmall portraits and vignettes for books, in which he fucceeded tolerably well. 
 We have alfo fome few hiftorical fubjedts by him ; but they are not equal 
 to his other works. Several of the portraits of the illujirious men of Den- 
 mark, publiftied 1746, are by him. He alfo engraved a variety of other 
 portraits, hook-plates, &c. and the martyrdom of St. Peter and St. Paul, a 
 large upright plate, arched at the top, from Nicholo dell'Abbate, for the 
 Drefden colledlion. 
 
 F O N B O N E. 
 
 Flouriftied, 1 7 1 5 . ^--^ 
 This artift, a man of no very fuperior abilities, was a native of France. He 
 engraved, among a variety of other fubjedls, part of the plates for the large 
 folio publication of the views of Verfailles, &c. 
 
 GIACOMO BATISTA FONTANA. 
 
 Flourifhed, 1573. 
 
 This artift, a native of Verona, defigned as well as engraved. We have 
 feveral prints by his hand. They are flight etchings, by no means corredtly 
 drawn ; yet in the execution we fee fome appearance of the hand of the 
 mafter. I ftiall mention the following : 
 
 Several fubjefts from Virgil's Mneid, middling fized plates, length-ways, 
 from his own compofitions. 
 
 The battle of Cadora, between the imperial troops and the Venetians^ a mid- 
 dling fized plate, length-ways, from Titian. 
 
 The martyrdom of a Saint in a forejl, a middling fized upright plate, 
 Martin Rota and Le Febre both engraved from this picture. Papillon, mif- 
 taking MaroUes and Le Comte, fays, that this fubjeft was engraved by this 
 artift on wood ; when nothing can be more contrary to truth. 
 
 GiuLio FoNTANA, who, according to Le Comte, was of Verona, and pro- 
 bably, if that be true, of the fame family with the preceding artift. He is 
 alfo laid to h^ve engraved feveral plates. 
 
 D O M I- 
 
F O N [ 302 ] F O N - 
 
 DOMINICO MARIA FONTANA. 
 Born, 1673. Died, 
 
 This artift was born at Parma, and learned the art of drawing in the fchool 
 of Boloona. He engraved a great number of prints, which, according to 
 profcfFor Chrift, he marked with the initials D. F. This matter is at leaft 
 doubtful. Le Comte and others have confounded this artift with Dome- 
 nico Fontana, the famous architeft. 
 
 Veronica Fontana, daughter to the above artift, learned the art of 
 defign from her father and Elizabeth Sirani. She engraved very neatly 
 fmall portraits in wood. 
 
 C^SAR FONTANA. 
 Flouriflicd, 
 
 This artift is mentioned by Florcnt le Comte as an engraver, who excelled 
 in the execution o^ funeral proceffionsy cavalcades, &c. 
 
 Gerardo Fontana is inferted in the lift of engravers, at the end of the 
 Abecedario; but his works are not fpecified. 
 
 E. F O N T A I N. 
 
 Flouriftied, 1681. 
 
 An obfcure and indifferent engraver on wood, a native, as itfhould feem, 
 of France, by whom, among other fmall fubjedls, we have the 'figure of 
 Chrijl, /landing upon a pillar, under which is written, Sauveur du Monde aves 
 pities de nous : In Englifti, " Saviour of the world, have mercy upon us." It 
 is marked £. Fontaine fculpfit, anno 168 1. 
 
 M. D. F O N T A N I E U. 
 
 Flouriflied, 1760. 
 This gentleman, a lover of the arts, was a native of France, and for his 
 amufement made feveral fmall etchings of animals, &c. 
 
 FRANCESCO FONTEBASSO. 
 
 Flourifhed, 
 
 He was born at Venice, about the beginning of the prefent century; and 
 after having learned the firft principles of painting at Rome, he perfecfted 
 himfelf in colouring under Scbaftian Ricci, he etched 
 
 A let of feven whimftcalfubjeUs from his own compofitions, middling 
 fized plates, length-ways. 
 
 The Virgin appearing to St. Gregory, ivho is offering up his prayers for the 
 delivery of fouls from Purgatory, a. middling fized upright plate, from Sebaf- 
 tian Ricci. He alfo etched feveral other fubjedts, froni the fame matter. 
 
 L E 
 
FOR i 3^3 1 F O U 
 
 LE COMTE DE FORBIN. 
 
 Flourifhed, 1760. 
 
 By this gentleman, who, according to Bafan, was a lover of the arts, we 
 have feveral fnaall etchings j but the fubjedts are not fpecified. 
 
 M. F O R D. 
 
 Flourifhed, 1760, 
 
 A modern engraver in mezzotinto, by whom we have feveral portraits ; 
 among others, that of the earl of Harrington -, alfo of He?iry Singleton^ Chief 
 Juflice of the common pleas in Ireland, half flieet prints. 
 
 L E FORE. 
 
 Flourifhed, 
 
 The name of an obfcure engraver, afHxed to the following portraits : Henry 
 de Maujfes, and Nicolaus de Netz. Epijc. Aurelianenfts, &c. 
 
 F O R N A C E R Y S. See Fournier. 
 
 J. P. F O R N A V E R T. 
 
 Flouritlied, 
 This artifl worked, I believe, chiefly, if not entirely, for the bookf^Ilers. 
 He executed his plates with the graver only, in a ftifF, formal flyle, very 
 neatly, but without any tafle ; and the outlines of his figures are exceed- 
 ingly incorrect. I have before me a fmall folio frontifpiece to a book 
 of devotion : it reprefents Mofes and Aaron, with the four Evangelijls, 
 
 DAVID ANTONIO F O S S A T O. 
 
 Flourifhed, 
 A modern Italian artift. He flourifhed, according to Bafan, towards the 
 beginning of this century. By him we have a fet of land/capes, from Marco 
 Ricci. 
 
 DE LA FOSSE. 
 
 Flourifhed, 1760. 
 
 A modern French engraver of no great note, who refided at Paris, where 
 he engraved feveral portraits after Carmontel ; among the reft. 
 
 The Calas fa-mily, a middling fized plate, length-ways. 
 
 A variety of fmall book-plates, as part of thole for the lafl edition oi Fon- 
 taine's Fables, and for Ovid's Metamorphojes, &c. 
 
 MOSES FOUVARD. 
 Flourifhed, 1690. 
 He was a native of France, and one of the artifts employed by Beaulieu 
 
 to 
 
F O U [ 304 ] F O U 
 
 to engrave the plates for thtfieges, towns, conqiiefis, combats, and other mili- 
 tary expeditions, during the reign of Louis XIII. and XIV. 
 
 JAMES FOU CLU I E R E S. 
 
 Born, 1580. Died, 1659. 
 This artift was born at Antwerp, and received his chief inftru£tions in the 
 art of painting from Velvet Brughel. He applied himfelf to the ftudy of land- 
 fcapes, and went to Italy to improve himfelf in colouring; and fucceeded fo 
 happily, that his works are faid to be nearly equal to thofe of Titian. 
 He refided much in France; and being honoured by the king with the 
 title of chevalier, he was fo puffed up with pride and vanity, that he was called, 
 by way of ridicule. Baron de Fouquieres. He is faid to have thought it 
 beneath him to work, but in a full drefs with a bag and fword. He died at 
 Paris in very low circumftances, a. d. 1659. We have etched by him 
 feveral fmall land/capes, from his own defigns. 
 
 N. D U FOUR. 
 
 Flourifhed, 1760. 
 A modern French engraver, by whom, among other things, we have 
 feveral fmall views, after Veirotter, &c. 
 
 PETER FOURDRINIERE. 
 
 Flourifhed, 1740. 
 He was, if I miftake not, a native of France j but he refided at London, 
 where he died a few years fince. He was one of thofe induftrious men, whofe 
 labours were chiefly confined to the embellifliment of books, plays, and 
 pamphlets. It was a happy circumftance for the artifts of this clafs, that the 
 tafte of their employers was not more refined, otherwife they would, without 
 doubt, have considered the engravings as a difgrace, rather than an ornament, 
 to any creditable publication. The belt works of Fourdriniere are his large 
 architeSlal ■plates, which are often very_ neatly and carefully executed ; but 
 without the leaft tafte. Some of thefe may be found in a large folio volume, 
 entitled the Villas of the Ancients, illuftrated by Robert Caftel, and .printed 
 in London, 1728. He alfo engraved part of the plates of the plans and 
 elevations, i^c. of Haughton Hall, in Norfolk, publifhed by J. Ware, a. d. 
 
 1735- 
 
 ISAYEFOURNIER. 
 
 Flourifhed, 
 
 This artift, who is alfo called Fornaceriis, was painter to king Henry IV. 
 of France. Florent le Comte informs us, that he engraved feveral plates ; 
 but has not fpecified the fubjeifts, probably portraits. To the head of Ca- 
 millus B. (Paulus V.) the name " Fornageris" is affixed; perhaps a cor- 
 ruption of the name Fornaceriis, which was given to him. 
 
 4 FOUR- 
 
F O U [ 305 ] F R A 
 
 F O U R N I E R. 
 
 Flourifhed, 
 A much more modern artift than the foregoing ; but a man of no great 
 note. His works are chiefly executed with the graver, in a cold, flight 
 flyle, and very poorly drawn. Part of the plates for a fet of prints, entitled, 
 Les Tableaux de la Penitence, a fmall folio volume, are by him. 
 
 JACOB DE FORNAZERIS. 
 
 Flouriftied, 16 15. 
 
 This artift, who, I believe, was a native of France, and refided at Lyons, 
 appears to have worked chiefly for the bookfellers ; but in a ftyle far fupc- 
 rior to the generality of engravers of that clafs. We have a variety of fron- 
 tifpieces by him, which he ufually ornamented with fmall hiftorical figures, 
 defigned in a pretty manner, and with a tolerable degree of corredtnefs. 
 He executed his plates entirely with the graver, very neatly, but in a formal, 
 ftifF fliyle, excepting v/hich fault, his prints, generally fpeaking, poflTefs great 
 merit. Among many others, the following frontifpieces are by him: 
 
 To the Commentaries of I. Fernandus, in folio, publifhed at Lyons, 1622. 
 
 To the Tabula Cbronographica, Lugduni, 16 16, in folio. 
 
 To the Praxis Fori Pcenitentialis, Lugduni, 16 16, the fame. 
 
 To the Biblia Sacra in quarto, Lugduni, 1606. 
 
 To the Biblia Sacra in folio, 1609. 
 
 J. F O U T I N. 
 
 Flourifhed, 16 19. 
 
 By this artift,,. who was probably a goldfmith, we have a fet of engravings, 
 by no means well executed, reprefenting ornamental foliage, with grotefque 
 heads, figures, &CC. He figns his name, J, Foutini a Ckafieaudun -, and 
 they are dated 1619. 
 
 HONORE FRAGONARD. 
 
 Flouriftied, 1760. 
 
 A modern artift, and native of France. According to Bafan, he was 3 
 painter. For his improvement he went to Italy, where he engraved feveral 
 prints from the piftures of the great mafters. On his return to Paris (where 
 he refided at the time Bafan wrote his Diflionary) he etched feveral plates 
 from his own compofitions ; but the fubjects are not fpecified. 
 
 D. FRANCESCHINI. 
 
 Flouriilied, 1725. 
 A modern Italian artift, by whom we have a (light and indifferent etching 
 of L'Anfiteatro Flavio^ or the Ampitheatre of Flavius, in folio, dated 1725. 
 
 VOL. I. Rr VICENZIO 
 
F R A [ 306 1 F R A 
 
 VICENZIO FRANCESCHINI. 
 
 Flourilhed, 1748. 
 
 A modern Italian artift, and probably of die fame family with D. Fran- 
 cefchini, mentioned in the former article. He engraved part of the plates 
 of portraits for the iHiT^^o Fioretitino, pubWihed 1748. He fometimes fub- 
 ftituted the initials of his name only, in this manner, V. F. 
 
 FRANCESCO MARIA FRANCIA. See Raibolini. 
 
 ADAM OF FRANCKFORT. See Elsheimer. 
 
 HANS, or JOHN FRANC K. 
 
 Flourifhed, 1666. 
 
 This artift refided at Nuremberg, and was probably a native of that place. 
 We have many prints, which were engraved by him, principally portraits, in 
 which line he appears to have been greatly employed. Several of thofe in 
 Priorata Hiji. Leop. are by him. He alfo engraved part of a fet of the/o«;;- 
 tains, which are in and about Rome, conjointly with Sufan Sandrart, A. Zelt, 
 and J. Meyer. 
 
 BAPTISTA FRANCKALS. 
 
 Flourifhed, 
 
 An artift, whofe excellence, according to Le Comte, confifted in engraving 
 tournaments, theatrical fcenes, and magnificent decorations. 
 
 BAPTISTA FRANCO. 
 Born, 1498. Died, 1561. 
 
 This celebrated artift was born at Venice, where he learned the firft prin- 
 ciples of defign. He afterwards went to Rome, and particularly attached 
 himfelf to the ftudy of the works of Michael Angelo Buonaroti. The im- 
 provement he made in the art of drawing the human figure was fuch, as 
 acquired him a very confiderable fhare of reputation. The corredtnefs of 
 his outlines, and the fcientific manner in which he marked the appearance of 
 the mufcles, is highly commended j but his colouring by no means equalled 
 the other merits, which as an artift he poftefled : his pidlures are faid to be 
 hard and dark, and without harmony. The fenfibility of this imperfefbion 
 was perhaps the caufe, that he applied himfelf fo much to deligning and 
 engraving. From whom he learned the praftice of thefe arts is uncertain : 
 fome have faid in the fchool of Marc Antonio Raimondi ; and indeed there 
 is no fmall refemblance between the mechanical part of the execution of the 
 plates of Baptifta Franco, and of thofe of Julio Bonofona, who was, without 
 doubt, the fcholar of that excellent mafter. Franco worked chiefly, if not 
 entirely, with the graver ; yet many of his prints have the appearance of 
 etchings. They are very freely performed, in a flight, but agreeable ftyle. 
 
 The 
 
F R A r 307 ] F R A 
 
 The lights upon the fingle figures are broad and mafTy ; but in his larger com- 
 pofitions they are too much fcattered ; and there is a great want of depth of 
 fhadow, to relieve the objedts reprefented as clofe to the eye, from thofe which 
 Jhould recede from it. His compofitions in general, however, are well con- 
 ceived. His figures are often grand, and conftantly well varied and con- 
 trafted with no fmall degree of tafte. The heads perhaps are fometimes 
 rather too fmall j but they are well drawn and finely charafterifed, and the 
 other extremities are marked in a mafterly manner. 
 
 He died 1561, aged 63. He ufually marked his plates in this manner, 
 B. F. V. F. that is Ba-ptifta Francus Venetus fecit. 
 
 I fliall mention the following only by this maPier : 
 
 Abraham's Jacrifice, a middling-fized plate, length-ways, from a com- 
 pofition of his own. 
 
 Abraham meeting Melchizedek, the fame. To this plate he figns his 
 name at length, Baptista Franco Fecit. 
 
 Mofes ftriking the rock, the fame. 
 
 Adoration of the Jhepherds ; ift the clouds are ftx angels feated, a middruig 
 fized upright plate, the fame. 
 
 Chriji difputing with the learned men in the temple, a middling fized plate, 
 length-ways, the fame. 
 
 The dijciples putting the body of Chrifi into the tomb, a fmall plate length- 
 ways, the fame. 
 
 The donation made to the church by the emperor Conjiantine, a large plate, 
 length-ways, from Raphael. 
 
 A Bacchanalian fubjeSt, a large plate length-ways, from Julio Romano. 
 
 The deluge, a middling-fized plate, length-ways, from Polydore, 
 
 The Cyclops at their forge, a large plate length-ways, from his own compo- 
 fition, &c. 
 
 GIACOMO FRANCO. 
 
 Flourifhed, 1590, 
 
 This artift was born at Venice, and was probably of the fame family with 
 Baptifta Franco, mentioned in the preceding article. He adopted a 
 bold free ftyle of engraving, much refembling that of Agoftino Carracci, 
 with whom he was contemporary. He drew well, and marked the heads and 
 other extremities of his figures in a very mafterly manner. Among other 
 valuable prints by the hand of this eftimable artift are the following : 
 
 Part of the plates for an edition, in quarto, of Tajfo's Jerufalem Delivered. 
 The reft were executed by Agoftino Carracci. They are from the defigns 
 of Bernard Caftelli, and were publiflied at Genoa, 1590. 
 
 Habiti delle donne Venetiane, publillied 1626. 
 
 A coUeftion o( portraits of the great men, dated i 596. 
 
 A crucifixion, a fmall plate lenthways, marked " Giacomo Francha. f." 
 
 He alfo engraved from Baptifta Franco and other mafters. 
 
 J. C. FRANCOIS. 
 
 Flouriftied, 1760. 
 A modern French artift, who refided at Paris, where he engraved feveral 
 
 R 1" 2 plates* 
 
F R A [ 308 J F R E 
 
 plates, from Boucher, Parocel, Pierre and other mafters, in a manner repre- 
 fenting dra-ivings made in crayons, which is performed by two or more copper- 
 plates, according to the number of tints required. He alfo encrraved with 
 ftrokes, feveral fmall portraits j among others that of comte de St. Florentin. 
 
 J. DE FRANSSIERES. 
 
 Flourifhed, 17 14. 
 
 A modern engraver of no great merit, by whom, among other things, we 
 have fome plates of Turkifh habits. The whole fet was publifhed at Paris, 
 A. D. 1714, by M. de Ferriol 3 the reft were engraved by Hureflard and 
 Bafan. 
 
 FREMONT. 
 
 Flourifhed, 
 A name infcribed upon fome portraits, which fignifies them to have been 
 drawn from perfons confined in the Fleet Prifon, London, about the year 
 1730. Among others, as non common Groves, a quarto print, is figned 
 Fremont. 
 
 GEORGE FRENTZEL. 
 
 Flourifhed, 1600. 
 
 This engraver was a native of Germany, born at Ingolftadt. He was, accord- 
 ing to profefTor Chrift, a very famous artift in his time. The prints which he 
 engraved are marked with a G. and an F. joined together, in the manner ex- 
 prefTed upon the plate at the end of the volume. 
 
 CHARLES DU FRESNE. 
 
 Flouriflied, 1680. 
 
 This gentleman, a native of France, was a great lover of the arts, and a 
 man of letters. For his amufement he engraved feveral prints ; and among 
 others, according to Bafan, 
 
 The interview between S. Nil, and the emperor Otho III. a large plate, 
 length-ways, from Dominichino. 
 
 AGNESFREY. 
 Flourifhed, 15 10. 
 She was the wife of Albert Durer, and, according to the report of feveral 
 authors, engraved alfo, ufinga mark or cypher fomethingrefembling two A's. 
 joined together, in the manner expreffed upon the plate at the end of the 
 volume. The wife of Albert Durer, according to the hiftory which is given 
 of her, had not patience enough, one would think, to become an engraver. 
 And, with refpedl to the mark itfclf, it is exceedingly uncertain to whom 
 it might properly belong J unlefs it fliould, as fome have fuppofed, denote 
 Philip Adlar Patricius, of whom we have fpoken before. This point 
 however muft be left to the determiiiation of the curious ; but I cannot con- 
 ceive 
 
F R E [ 3=9 ] F R E 
 
 ceive that there is the lead good foundation for attributing it to Agnes Frey, 
 admitting fhe really was the wife of Albert Durer, and did alio engrave. 
 
 - , %r.^r/y ^^fig^^3^^&S F R E Y. o^ 
 
 Flourifhed, 1730. 
 
 This admirable engraver was a native of Switzerland. Poflefled of great 
 genius, with every requifite to form theartift, hepurfued his fludies fuccefsfully ; 
 and having the good fortune of being placed in the fchool of Carlo Maratti, 
 and working under his immediate infpeftion, with Robert van Audenarde 
 his fellow difciple, it is no wonder he made fuch hafty ftrides towards per- 
 fection ; efpecially as his rival was alio a man of great ability. Frey drew 
 with much tafte, and carefully attended to the effeft and harmony of his en- 
 gravings. To produce which, he very judicioufly executed the flefh in a more 
 foft and delicate ftyle than his draperies ; and kept his diftances properly 
 covered, in order to relieve and bring forward the principal objefts of the 
 compofition. He etched with great fpirit and freedom, and worked over the 
 etching with the graver with great firmnefs and facility. In fhort, his bell 
 prints are juftly held in the higheft eftimation, as being admirable tranfcripts 
 of the pidlures he copied. If we may venture to blame him at all, it will be 
 for the famenefs of ftyle, which appears in all his prints, though they are 
 engraved from a great variety of matters. He was eftablifhed at Rome, 
 where he died fome years fince. Among his moft efteemed works, the fol- 
 lowing may be numbered : 
 ,^ A holy family, a middling-fized upright plate, copied exadlly from that 
 which Gerard Edelink engraved after Raphael. 
 
 Aurora with the Hours dancing before the chariot of the Sun, a large plate, 
 length-ways, from Guido. Audenaerd, Pafcalini, and others, alfo engraved 
 from this pidture. 
 
 Bacchus conjoling Ariadne, after the departure of Thefeus, companion to the 
 former, from the fame. 
 
 The communion of St. Jerom, a large upright pkte, from Dominichino. 
 Csfar Tefta, and Farjat, alfo engraved from this pidlure. 
 
 The adoration ofthejhepherds, a large upright plate, from Sebaftian Conca. 
 
 A faint kneeling, and an angel fjowing him a -pihure of the Virgin and Child,, 
 with this infcription : In confpehu Angelorum pfalmam tibiy a middling fized. 
 upright plate, from Carlo Maratti. 
 
 The Virgin giving the f capillar to St. Simon Stock, a large upright plate, 
 arched at the top, from Sebaftian Conca. 
 
 St. Francis de Paul, refioring fight to- a child, a large upright plate from 
 Bonaventura Lamberti. 
 
 An emblematical fubjecl,\v\\tYt fome ecclefiaftics are reprefented as amend- 
 ing into the clouds, a large upright plate, from Andrea Sacchi. 
 
 St. Charles Borromee caufing a procejjion to be made, to obtain from Heaven 
 the ceffation of the plague, z. large upright plate from Pietrode Cortona. 
 
 A repofe, where Jofeph is prefenting cherries to the infant Chrifi, a middling 
 fized upright plate, from Carlo Maratti. 
 
 St. Andrew kneeling before the crofs, previous to his martyrdoniy a middling 
 fized plate, length- waysj from the fame* 
 
 The 
 
F R E [ 310 ] F R I 
 
 The four cardinal virtues, namely. Fortitude, Prudence, "Temperance, and 
 Juflice, commonly called the four angels, from Dominichino, four large 
 upright plates. 
 
 He alio engraved from Guercino, Baleftra, Pietro Bianchi, and other 
 mafters. 
 
 GIOVANNI GIROLAMO FREZZA. 
 
 Flourifhed, 1700. 
 
 This artift, a native of Italy, was an engraver of fome note, and refided 
 at Rome. He etched his plates very carefully, and finifhed them much with 
 the graver, in a neat ftyle ; but without any force of colouring, or boldnefs 
 of execution. His drawing, though not very incorrefb, is neverthelefs heavy ; 
 and the extremities of his figures in general, are poorly marked. We have 
 by his hand. 
 
 The firft and fecond plates for the Crozat coUefbion, one reprefent- 
 ing Venus, the other Pallas, from antique paintings. 
 
 The Verofpian gallery, confiding of feventeen folio plates, including the 
 title; thefe were publilhed at Rome, 1704. 
 
 The twelve months, middling fized plates, length-ways, from Carlo 
 Maratti. I. B. de Poilly engraved the fame fubjefts. 
 
 The judgment of Paris, a middling fized plate, length-ways, from the 
 fame. 
 
 He alfo engraved from Dominichino, Rubens, and other mafters. 
 
 JAMES ANDRE FRIEDRICH. 
 Flouriflied, 1760, 
 
 A modern engraver, and native of Germany, by whofe hand we have feveral 
 prints J among others, feveral hujfars and other Joldiers on hor/eback^ after 
 Rugendas. 
 
 LOUIS FRIG. 
 
 Flouriflied, 
 An ancient engraver on wood, by whom we have the plan of the town of 
 Zuric, in the cofmography of Munfter. His mark, according to profeflbr 
 Chrift, was an L. and an F. joined together, in the manner reprefented upon 
 the plate at the end of the volume. 
 
 F R I Q^U ET DEVAUROSE. 
 
 Flouriflied, 
 This artift was a painter, the difciplc of Scbaftian Bourdon. He en- 
 graved feveral prints after the defigns of his mafter. 
 
 JOHN VREDEMAN FRISIUS. 
 Flouriflied, 1563. 
 
 By this engraver, who was, I believe, a native of Holland, we have a book 
 
 a» of 
 
F R I [ 311 ] FRO 
 
 of monuments, &cc, cniitXtdi denotafhiorum, tumulormn,& Mortuorum Mo- 
 nutnentorum^ publifhed 1 563, by Jerom Cock : they are etched, and retouched 
 with the graver in a coarfe, heavy ftyle. 
 
 JOHN EILLART FRISIUS. 
 
 Flourifhed, 
 
 This engraver was probably of the fame family with the foregoing. His 
 labours feem to have been chiefly confined to the bookfellers. He engraved 
 feveral portraits ; and among the reft that of a prince of Najfau, 
 
 SIMON FRISIUS. 
 
 Flourifhed, 1640. 
 
 This artift was a native of Holland, and very probably related, to the 
 engravers mentioned in the two preceding articles ; but he was greatly fupe- 
 rior to either. Simon Frifius was a man of no mean talents ; he handled the 
 point with great tafte and facility j his etchings, though ufually very flight, are 
 neverthelefs free, broad, and mafterly. The fmall figures, whicii he fre- 
 quently inferted into his views and landfcapes, are executed in a very 
 agreeable manner. The following are his chief works : 
 
 A fet oi heads, fmall upright plates, reprefentingfetnale faints, thefibyls, 
 &CC. He adds the word fecit, to his name ; hence it is probable, that he en- 
 graved them from his own defigns. 
 
 A large coUedion of views, fmall plates, length-ways, from Matthew Bril, 
 entitled "Topographia Variorum Regionum, date 1651. 
 
 Sty tr2i\ portraits after Henry Hondius. 
 
 A fet of birds and butterflies, twelve fmall prints, length-ways, from Marc 
 Gerard, dated 16 10. 
 
 He alfo engraved from A. Bloemart and other mafters. 
 
 Sometimes he omitted to fign his name at length, and fubftituted the ini- 
 tials, S. F. 
 
 CHRISTIAN FRITZSCH. 
 
 Flouriflied, 
 
 A native of Hamburg. He was an engraver of portraits, and worked pro- 
 bably for the bookfellers only. This name is affixed to the following por- 
 traits : John duke of Marlborough, a fmall odtavo print. BenediSius XIV. 
 Pont. Max. 
 
 Christian Fritzsch, fonto the above artift, was alfo an engraver. 
 
 JOHN FROSNE. 
 
 Flourifhed, 1654. 
 This engraver was a native of France, and refided,! believe, at Paris. He 
 was a man of moderate abilities as an artift. His beft works are in the por- 
 trait line. He feems to have imitated the ftyle of Nanteuil ; and, in fome 
 
 few 
 
FRO [ 312 ] FUR 
 
 * 
 
 few inftances, not without a tolerable fliare of fuccefs. He engraved, 
 among other things, part of the large ornamental plates in folio, for the Col- 
 leftion of Views, &c. by S. de Beaulieu ; alfo the following portraits : Louis 
 de Lorraine, due de Joyeufe j Henry D'Orleans, due De Longueville -, Nieholas 
 Potier i M. Dreux D'Jubray, &c. 
 
 F R O Y E N. 
 
 Flourifhed, 
 
 A very obfcure and indifferent engraver. His name is affixed to a fmall 
 print, reprefenting the head of our Saviour, executed entirely with the graver. 
 
 PHILIP FRUYTIERS. 
 
 Flourifhed, 
 
 This artift was a native of Antwerp. He was firft inflrufted in oil paint- 
 ing : but he afterwards preferred water colours, and excelled greatly in mi- 
 niature. His works are c\\\t?iy portraits and eonverjations, which he executed 
 in a very mafterly ftyle. Rubens was fo pleafed with his performances, that 
 he, with his family, fat to him ; and the pifture which he produced on this 
 occafion, was confidered as his mafter-piece. According to Bafan, he etched 
 feveral plates j but the fubjedts are not fpecified. 
 
 THOMAS FRYE. 
 
 Flourifhed, 1740. 
 
 This ingenious artift was a portrait painter of fome eminence. He refided 
 in London, where he drew and engraved in mezzotinto, a fet of heads as large 
 as life. Among them are the following : His prejent majefty ; the queen ; his 
 own portrait ; the celebrated Mijs Pond, &c. large upright plates. 
 
 ADAM FUCHS. 
 
 Flourifhed, 1543. 
 
 An ancient German engraver, who worked both on copper and on wood. 
 To him are attributed thofe prints, dated 1543, or about that time, which 
 are marked with an A. and an F. joined together in a kind of cypher, as re- 
 prefented on the plate at the end of the volume. I have feen a fmall upright 
 etching, reprefenting t\\t flight into Egypt, with this mark ; but it apparently 
 belongs to another mafter : for Fuchs, I believe, worked entirely with the 
 graver, when he engraved on copper. 
 
 SEBASTIAN F U R C K, or FULCARUS. 
 
 Flourifhed, 1^20. 
 
 This engraver appears, fays profelTor Chrift, to have been born at Godar 
 
 in Germany, as the name of that town is inferted upon feveral of his prints. 
 
 He went to Italy, and worked at Rome, as early as 16 1 2, if it can be proved, 
 
 that Furck and Fulcarus were one and the fame artift, which not only the 
 
 mark, 
 
F U L i 3^3 ] FUR 
 
 mark, but the ftyle of engraving, feems to prove fufficiently. From 1620 
 to 1630, he is laid to have refided at Franckfort upon the Maine, and otlicr 
 r^eighbouring places. I do not recollect, that any of his engravings appear- 
 ed after the year 1650 ; at which time a genealogical work, entitled yfr,5o- 
 retum Principis Augiijli, was printed at Wolfcnbuttel. This artift poffefTcd 
 great merit, and worked with the graver chiefly. However we have fome 
 few etchings by his hand. See the marks he frequently i^ibftituted uoon 
 his plates, when he omitted to fign his name at length. The followino- prints 
 are by him : 
 
 The portraits of the Cohimna family, and a variety of other portraits, ap- 
 parently mod of them for books. 
 
 An ornamental frontifpiece for tlie works of Gul. Fabricius, a very fpirited 
 etching, and dated 1646 ; to this he figns his name S. Furck, f. 
 
 The laft judgment, from Michael Angelo Buonarota, a very fmall upri'>-ht 
 plate. On the tomb-ftone, at the left hand corner, is the cypher in capitals; 
 and underneath it is written, Sehaftian Fulcarus reinciditque, which was not 
 added till after he had retouched the plate. 
 
 St. Sehaftian, a half figure, a middling fized plate, length-ways. 
 
 He alfo engraved from Titian, and feveral other matters . 
 
 JOHN FULLER. 
 Born, Died, 1676. 
 
 He was born in England, but refided much in France, where he ftudied 
 under Perrier. He profefTed hiftorical painting ; but never arrived at any 
 great degree of perfedion. His drawing is, however, much commended for 
 its correftnefs ; and he is faid to have underftood the anatomical markings of 
 the figure exceedingly well. His piftures are held in no great eftimation. 
 We have etched by him a fet of prints, from his own defigns, for the Moral 
 Emblems of defar Ripa, in quarto. They are very flight, incorredb per- 
 formances, every way unworthy of the hand of an artift. 
 
 PETER FURNIUS. 
 
 Flourifhed, 1570. 
 
 This artift was an excellent defigner, and probably a painter. He was 
 contemporary with the Sadelers and the Galles, who worked confiderably from 
 his defigns. If we may judge by his ftyle of engraving, it is probable he 
 learned that art from his connexion with them. He refided at Antwerp j 
 but whether he was actually a native of that city or not, I cannot difcover. 
 His compofitions have generally much merit in them ; though fometimes they 
 have an air of aftcdlation, from the violent contraft of his figures, and an 
 attempt at the grand ftyle, in which Michael Angelo alone fucceeded fo 
 happily. He drew the human figure correftly ; the heads have much 
 charadier, and the other extremities are well marked. But from a want of 
 proper knowledge in the diftribution of the light and ftiadow, the efie6l of his 
 compofitions is confufed and feeble. The following are executed by him in 
 a flight ftyle, entirely with the graver. 
 
 VOL. I. S f The 
 
F Y T [ 3H ] F Y T 
 
 The ejcape of Celia, with feveral other fubjefts, taken from the Roman 
 Hiftory, marked " P. Furnius, fecit," fmall plates, lengtli-ways. 
 
 The itiartyrdom of St. Felicia, a middling fized plate, length-waySj « P. 
 « Furnius inventor et fee." 
 
 The parable of the good Samaritan^ on fix fmall plates, length-ways. 
 
 He alfo engraved a variety of other fubjefts, as well from facred as pro- 
 phane hiftory. See the marks, which he frequently ufed himfelf, and which 
 are often on prints compofed by him, but engraved by other artifts. 
 
 JOHN FYTT. 
 
 Flourifhed, 1640. 
 This admirable artift was born at Antwerp, about the year 1625. The 
 fubjefts which employed his pencil were all forts of animals, fruits, flowers, 
 and landfcapes. He excelled greatly in thefe branches of the art j and his 
 piftures are held in very high eftimation. We have by him fome very fpi- 
 rited, bold etchings, executed in a hafty manner. They are fmall plates, 
 length-ways, reprefenting dogs and other animals, marked lo. Fyt. and 
 dated 1640, 
 
 B A L. 
 
GAB [ 3^5 ] G A L 
 
 G. 
 
 BALDASSARE GABBUGGIANI. 
 
 Flouriflied, 1750. 
 
 ONE of thofe modern Italian aitifts, who were employed to engrave the 
 plates for the Miifeo.FiQrentino, which waspublilhed at Florence in ten 
 folio volumes. 
 
 BARTOLOMEO GAGLIARDI. 
 
 Born, 1555. Diedj 1620. 
 
 This artift was born at Genoa. He was a painter of reputation, and by his 
 lund we have feveral plates, both etched, and finiflied with the graver j 
 among others is a large emblematical print, length-ways, executed in a 
 ftyle greatly refembling that of Cherubino Alberti, but not equal to the 
 works of that mafter. 
 
 G A G N I E R E S. See Ganierbs. 
 
 ROBERT GAILLARD. 
 
 Flourifhed, 1760. 
 
 A modern French engraver, who refided at Paris, by whom we have, 
 among others, the following plates : 
 
 Jupiter and Calijla, a middling fized plate, length-ways, from Boucher. 
 
 Bacchants Jleeping, a middling fized upright plate, from the fame. 
 
 The portrait of the queen of Sweden, a middling fized upright plate, from 
 Lantinville. 
 
 PETER JOSEPH GAILLARD DE LONJUMEAU. 
 
 Flourifhed, 1750. 
 
 This gentleman, a modern connoiffeur and lover of the arts, took up the 
 point for his amufement j and we have feveral fmall etchings by his hand of 
 the antiquities of Aix. His portrait was engraved by Balechou, from a pic- 
 ture of J. B. Van Loo. 
 
 GIOVANNA BATISTA GALESTRUCCI. 
 
 Flourilhed, 1657. 
 
 This artift was born at Florence, from whence he went to Rome, where 
 
 S f 2 - he 
 
GAL [ 316 ] GAL 
 
 he refided. He is fpoken of as a painter, but is much better known as an 
 engraver. We have feveral etchings by him, in a neat, corred, mafterly 
 ftyle, greatly relcmbling that of Salvator Rofa. The chief of them are as 
 follows : 
 
 Several fets o^ friezes and bajs reliefs, from Polodoro Caravaggio. 
 
 Ki^toi antique gems, with explanations, by Leonardo Agoftino, in four 
 volumes, quarto. 
 
 John Baptifl beheaded in ■pr if on, from Batifta Ricci, &c. 
 
 PHILIP GALLE. 
 
 Born, 1537. Died, 161 2. 
 
 The family of the Galles make a very confpicuous figure in the hiftory of 
 engraving. By Philip Galle, conjointly with the Sadclers, the Wierixes, and 
 the Colkerts, we have a prodigious number of fmall hiftorical prints, both 
 facred and prophane, but efpecially the former. The great objecSt with 
 thefe artifts appears to have been, that of putting forth fets of prints as haft- 
 ily as poffible ; therefore no pains were taken by them to improve the man- 
 ner of engraving, which prevailed at that period. Hence we fee the fame 
 ftiff, formal ftyle is difcoverable in all of them, without any attempt to add 
 cafte and freedom to correftnefs. Thefe hafty and numerous publications, 
 however they might enrich the artifts, evidently retarded the progrefs of the 
 art: for, in any other point of view, it is not reafonable to fuppofe, that it 
 Ihould have remained ftationary, as it were, fo long, in the hands of fo many- 
 men of great abilities. 
 
 Philip Galle, if not a native of Antwerp, refided there, and earned on a 
 very confiderable commerce in prints. He was, as before obferved, a man 
 capable of improving the art ; for he drew corredtly, and handled the graver 
 with fufficient facility. His engravings are, in general, flight ; and from the 
 lights being too much difperfed, the harmony and force of effe6t are much 
 weakened, and too often entirely dcftroyed. We have by him. 
 
 Several fets of prints from the Old and New Teflament, after Martin Hemf- 
 kerck, Martin de Vos, Abraham Blockland, the elder Brughel, and other 
 matters ; chiefly fmall middling fized plates, length-ways. 
 
 The triumph of Death, Fame, and Honour, a let of middling fized plates, 
 length-ways, from Martin Flemfkerck. 
 
 Divinarum nuptiorum conventa et a^a, a fet of twenty-eight fmall plates, 
 length-ways, dated 1580. 
 
 A fet of prints, entitled, Medicia Familia Geftarum, from John Straden, 
 publiflied 1583. 
 
 The /even ivonders of the world; to which he has added the ruins of the 
 amfitheatre of Vefpafian at Rome, for the eighth, from Martin Hemflierck, 
 eight fmall plates, length-ways. 
 
 A book of defigns for dra-wing, in fmall folio. 
 
 The Trinity, a very large upright plate, with many figures, from Martia 
 de Vos, dated 1574. This, 1 conceive to be one of his beft prints. 
 
 See his cypher, compofcdof a P. and a G. joined together, oa the plate at 
 the end of the voluine. 
 
 a T H E O- 
 
GAL [ 317 ] GAL 
 
 THEODORE GALLE. 
 
 Flourifhed, 1580. 
 
 He was the eldeft fon of Philip Galle, mentioned in the preceding article; 
 and having learned from his father the firft principles of the art of engraving, 
 he went to Italy in order to improve himfelf, and refided fome time at Rome, 
 where he ftudied from the antique, and engraved from the works of feveral 
 great mafters. He, however, ftill continued too clofely to imitate his 
 father j and though his works were neater, and more finiflied, in general, 
 yet the fame ftiffnefs, and defefts in the diflribution of the liglit and (hadow, 
 appear in them. They are well drawn, and executed with the graver only. 
 At his return to Antwerp, he commenced printfeller ; and we find he 
 was a very confiderable publifher. The following prints are by his hand : 
 
 The life of St. Norbeti, a fet of fmall upright plates, publifhed at Antwerp. 
 
 The life ofjofeph and the Virgin, a fet of twenty-eight fmall upright plates, 
 
 CORNELIUS GALLE, the Elder. 
 Flourifhed, 1600. 
 
 He was the younger fon of Philip Galle, and brother to Theodore Galle*. 
 mentioned in the preceding articles. He learned the art of engraving from 
 his father, and imitated his ftyle ; till, following his brother's example, he 
 went to Rome, where he refided a confiderable time, and there acquired that 
 freedom, tafte, and correcStnefs of drawing, which are found in his bed works, 
 and render them far more eftimable, than thofe of his father or his brother ; 
 though, like them, he worked entirely with the graver. He fettled at Antwerp, 
 upon his return from Italy, where he carried on a confiderable commerce in 
 prints. Among many others, the following engravings are by his hand : 
 
 The life of John the Baptiji, a fet of middling fized plates, length-ways,, 
 from J. Straden. 
 
 The life of the Virgin Mary, the fame, from the fame mafter. 
 
 Part of the plates for the Life of Cbrijl, after Martin dc Vos, publifhed by 
 Collaert. 
 
 Thcfe prints are in the ftiff, formal ftyle of his father, and were probably 
 engraved at Antwerp, previoufly to his going to Rome. 
 
 Adam and Eve, a middling fized upright plate, from J. B. Paggi. 
 
 Judith cutting off the bead of Holophernes, a large upright plate, from 
 Rubens. 
 
 The Virgin Mary ftanding in an arch, which, is ornamented with flowers by 
 feveral little cherubs, a large upright plate, from the fame mafter. 
 
 The Virgin holding the infant Chrijl, to whom St. Bernard of Sienna offers 
 a look, with a branch of laurel, a imall upright plate, from Francefco Vanni. 
 
 Thu flight into Egypt, a large upright plate, arched at the top, from J. B,. 
 Paggi. 
 
 A crucifixion, from Francefco Vanni, a. middling fized upright plate. 
 
 St. Peter baptifing St. Prifcia, a fmall upright plate, from Civoii. 
 
 The four fathers of the church, a middling fized plate, length- ways, from 
 
 Rubens, 
 
GAL [ 3'8 ] GAL 
 
 Rubens. The firft imprefTions of this plate are before the work was en- 
 laro-ed, which is diftinguiflied by two black ftrokes, one on each fide. 
 
 Seneca in the bath^ a middling fized upright plate, from the fame. 
 
 Venus hound, and Minerva chajlifing Cupid, a fmall upright plate, from 
 Agoftino Carracci. 
 
 Venus kijfing Cupid, a fmall upright plate : Venus is a half figure only, 
 from J- B. Paggi. 
 
 A nnked inoman grinding colours, a fmall upright plate, from Rubens. The 
 firft imprcffions arc without the French verfes, which were afterwards inferted 
 at the bottom of the plate. 
 
 A repo.ft, with figures playing on Mufic, &c. a middling fized plate, 
 length-ways, without any painter's name. 
 
 Several excellent portraits : among them, that of Rubens, brother to P. 
 Paul Rubens, by whom the pifture was painted ; alfo Artus Waif or t, 
 a fmall upright plate, from Vandyck. Charles I. of England from N. V. 
 Horft, in quarto. Henrietta Maria, queen to Charles I. the fame, from the 
 Hime. He alfo engraved a variety of other fubjefts from different mafters. 
 
 CORNELIUS GALLE, the Younger. 
 Flourifhed, 1640. 
 
 He was the fon of Cornelius Galle, mentioned in the preceding article. He 
 learned the principles of drawing and engraving from his father, whofe ftyle 
 • he imitated J and though he certainly never equalled the beft works of that 
 artift, yet he produced feveral plates, which have much fterling merit, and 
 prove him to have been a man of genius. He worked entirely with the 
 graver ; and fome of his portraits, which, I think, fuperior to the reft of his 
 performances, are very clear, and executed with great freedom. His out- 
 lines are the moft defedtivej for he did not underftand the human figure. 
 But whether this arofe from his inattention to drawing, or the not having an 
 opportunity of ftudying in Italy, as his relations had done, I leave to the de- 
 termination of the experienced colleftor. We have by him, 
 
 A nativity, with the angel appearing to the fijepherds, a fmall upright plate, 
 from D. Teniers. 
 
 Venus fuckling the loves, a fmall upright plate, from Rubens. 
 
 The dejcentfrom the crofs, a middling fized upright plate, from Diepen- 
 beck. 
 
 The hofpitality of Bachus and Philemon towards Jupiter and Mercury, a 
 middling fized plate, length-ways, from John van Hoeck. 
 
 The portrait of the emperor Ferdinand III. from Vandyck. 
 
 The portrait oi Mary of Aujirich, his confort, the fame. 
 
 The portrait of Henriette of Lorraine, the fame. 
 
 The portrait of John Meijfens, the painter, the fame. 
 
 SEBALD GALLENDORFER. 
 
 Flouriflied, 1494. 
 Avery ancient engraver on wood, and apparently a native of Nuremberg. 
 
 He 
 
GAL [ 3^9 ] GAM 
 
 He was employed by Sebald Schreyer, in the year 1494, to ornament with 
 prints a little book, written by Peter Danhaver, entitled, Archetypiis 
 triumphantis Roma. 
 
 CLAUDE GALLIMARD. 
 
 Flourifhed, 1780. 
 
 A modern engraver, who refided at Rome. By him we have feveral 
 plates from Sebaftian Bourdon, I. F. de Troy, Subleyras, and other maf- 
 ters. His engravings are flight and fufficiently neat ; but they pofTefs no 
 fuperior degree of merit. 
 
 BERNARD GALLO. 
 
 Flourifhed, 1559. 
 
 In the Abecedario we are told, that this artift flourifhed about the middle 
 of the fixteenth century, when he engraved a fet of hiflorical prints from the 
 Old Teftament ; another fet of prints from the New Teflament; and alfo a 
 third fet for the Metamorphofes of Ovid, printed at Lyons, a. d. 1559. 
 He ufually marked his. engravings with the initials B. G. 
 
 JOHNGALSTOT. 
 
 Flourifiied, 
 
 This artifl is mentioned at the end of the Abecedario, as an engraver. 
 He marked his plates, J. Gal. Nardois, F. The F. as ufual, flands for 
 fecit. Dr. Monro has in his colleftion -xfrnall lajidjcape, executed with fome 
 fpirit, in which is badly reprefented Tobit, with the angel. The figures 
 are below all criticifm. It is marked Galtoth, N. F. However, they are 
 apparently both the fame artift, the name by miftake being differently fpelt. 
 
 JAMES GAMMON. 
 
 Flourifhed, 1660, 
 
 A very indifferent engraver, who refided, I believe, in London, about 
 the year 1660, where he engraved a variety of portraits, in a fliff, taftelefs 
 ftyle. Among them are the following : Richard Cromwell^ a fmall upright 
 plate, in an oval. Sir 'Toby Matthews, the fame. Catherine of BraganzUy 
 the fame. Majcall the painter, the fame. As there is no painter's name 
 afSxed to thefe plates, we may fuppofe they were drawn by the engraver 
 himfelf ; and the miferable ftyle of the attitudes, will, I think, fufhciently 
 juftify the opinion. 
 
 V. GAMPERLIN or GEMBERLIN. 
 
 Flourifhed, i5io. 
 
 A very ancient engraver on wood, who refided chiefly at Strafburg in 
 Alface, where he executed a fet of twenty-two prints, for the Life of our 
 Saviour, which was printed in that city by John Knobbouch, a, d. 1507. 
 
 Thefe 
 
G A N [ 320 ] G A N 
 
 Thcfe engravings are eight inches and a half high, by fix inches wide. They 
 are very neatly cut ; but in a ftiff ftyle exceedingly incorreft, and taftelefs ; - 
 yet fome few good figures may be pointed out. According to the ancient 
 cuftom, the principal perfonages and places are diftinguidied by their names, 
 which are written over their heads : as, Lazarus, Mary Magdalen, Bethany, 
 tec. It is fingular enough, that in the print, which reprefents Chriji riding to 
 JerufaleiH, the crowd are meeting him as lie is pafliijg a bridge ; and one of 
 them is fpreading his garment. But he, and the reft' of the figures behind him, 
 are nearly as fmall again as thofe on the other fide of the river, notwithftand- 
 ingthey are equally near to the eye of the fpedlator. But this mafter had 
 not the mod dirtant idea of perfpeftive. Plis prints are marked with the 
 initals V. G. The letters are formed in the old Gothic fbde, and fcparate 
 from each other. We muft be careful not to confound the works of this 
 artift, with thofe of another engraver on wood, who ufed the fame letters, 
 but joined together in the ftyle of a cypher, apparently not lb ancient, but 
 far fuperior. See an account of his works, under the article Goar. The 
 fame letters were alfo ufed by an engraver on copper, who flourifhed about 
 the year 1574. 
 
 G A N D E N S I S. See Auden-aerd. 
 
 G A N I E R E. 
 
 Flourilhed, 1650. 
 
 He was apparently a native of France, and refided at Paris. He en- 
 graved a variety of fubjefts ; but portraits conftitute the greater part of his 
 works. He executed his plates entirely with the graver, in a ftiff", taftelefs 
 ftyle. The following prints are by him : a bey Jleepng, with a (kuil lying 
 near him, a fmall plate, length-ways, dated 1640. 
 
 Louis XIJL of France, a fmall head in an oval, furrounded with orna- 
 ments, for a book printed at Paris, 1640. 
 
 Flavio Chigi Card, a fmall upright plate. 
 
 M. de la Melleraye, a middling fize upright plate, dated 1679. 
 
 He alfo engraved from Valentin, Blanchard, and other artifts. 
 
 STEPHENGANTREL. 
 
 Flouriflied, 
 
 He was a native of France, and exclufive of his profeftlon as an engraver, 
 traded confiderably in prints. By him we have, among others, the follow- 
 ing plates : 
 
 The rod of Mojes as a fcrpent, devouring the rods of the magicians, from 
 Nicholas Poufin, a large plate, length-ways. 
 
 The Ifraelites faffing the Red Sea, the fame, from the fame mafter. 
 
 A defcent from the crqfs, a middling fized plate, length-ways, from the 
 fame. 
 
 St. Francis Xavier rejloring an Indian to life, a middling fized upright plate, 
 from the fame. 
 
 THOMAS 
 
GAR [ 321 ■] GAS 
 
 THOMAS GARDNER. 
 
 Flouri filed, 1735. 
 
 He was, I believe, a native of England, and worked for the bookfellers. 
 By him we have a fet of prints for the Common Prayer, paraphrafed by James 
 Harris, a. d. 1735. 
 
 NdEL GARNER. 
 Flourifhed, 1560. 
 
 A very indifferent engraver, both upon wood and upon copper. He is 
 fuppofed to have been the firll that introduced the latter manner of engrav- 
 ing into France ; but there is mucii oblcurity in this matter. His works, it 
 is true, are very rude, and badly executed; but this is, by no means, a 
 fufficient proof of their antiquity. I have before me a very fmall plate, 
 length-vv^ays, rc^rcknixng fever a I naked men fighting, in wliich he feems to 
 have made a feeble attempt at copying the fiyle of Sebald Beham, his cotem- 
 porary. On a fmall tablet, at the bottom, the name is thus written, Noel G. 
 At other times, it appears, that he figns the three firft letters of his baptif- 
 mal name only, and adds a Gothic charader, refembling the figure 8, fup- 
 pofing it to be open on the top. He engraved befides feveral grotefque 
 crnamcnts, and a fet of 48 figures, rc^v^dnnngihc arts, Jciences , trades, &c. 
 
 Le Comte mentions two other Garners : one, fays he, ufes the letter 
 A. for the initial of his baptifmal name; and the other the letter V. 
 for the fame purpofe : I doubt not but he means by the firft Antoine 
 Garnier, mentioned in the following article, and by the latter V. Gamperlin ; 
 and I am more inclined to think fo, as he attributes l\\t life and paffion of 
 Chrift to the Garner, v/ho ufes the V. and Gamperlin's mark was V. G. which 
 he has affixed to the life of Chrifi executed by him. 
 
 ANTOINE GARNIER. 
 Flourifhed, 
 
 This artift, who was a native of France, flouriflied about the commence- 
 ment of thelaft century. He etclied his plates in a dark, bold ftyle, and 
 ftnifiied them with the graver. They are however by no means finely exe- 
 cuted. The heads, and other extremities of his figures, are fometimes ra- 
 ther heavy, and his outlines hard and incorreft ; yet, in general, they are 
 by no means deftitute of merit. He engraved twelve plates from the 
 pictures of Primaticcio, which are in the chapel belonging to the palace de 
 Fleury at Fontainbleau. Charily, a middling fized plate, length-wavs, from 
 Blanchard. He alfo engraved from Poufin, Michael Angelo Caravago-jo, 
 and other mafters. See his mark upon the plate at the end of the volume. 
 
 HENRY GASCAR. 
 
 Flouriflied, 1660. 
 
 He was a native of France, but fent for into England, to paint the por- 
 trait of the duchefs of Portfmouth, his countrywoman. He met with great 
 VOL. I, T t ■ encourage- 
 
GAS 13"] G A U 
 
 encouragement here, notwichftanding Sir Peter Lely was living, and he 
 himfdf a moft miferable aitift. What he wanted in grace and elegance, he 
 endeavoured to fupply by rich embroidery, fine clothes, laced drapery, and 
 tawdry trimmings, which may, and do too frequently, deceive the eye of 
 the ignorant. It is faid, that he amaffed upwards of ten thoufand pounds 
 in this kingdom, in a (hort time ; with which he retired to the continent ; 
 and, if report be true, impofed as grofsly afterv/ards upon the Spanilh no- 
 bility, as he had done upon the Englifli. We have a few vile mezzotintos 
 by him, which he engraved from his own pictures, among the reft, the 
 duchefs of Port/mouth, and fome other portraits. 
 
 GASPER. See Avieus. 
 
 OLIVIERO GATTI. 
 Flouriihed, 1626. 
 
 This painter was born at Parma. He ftudied in the academy at Bologna, 
 and was received as a member of it a. d. 1626; and in that city he 
 refided the greateft part of his life. Apparently, he learned the art of 
 engraving from Agoftino Carracci ; for he certainly imitated his ftyle ; and 
 though he by no means equalled that great artift, his prints have a confi- 
 derable fhare of merit. He drew the human figure very correftly ; but the 
 extremities are fometimes heavy, and not marked in that mafterly ftyle, fo 
 confpicuous in the admirable engravings of Carracci. The following prints, 
 among others, are by him : 
 
 St. Francis Xavier kneeling on thefeajljore, and taking up a crucifix which 
 was floating in the water, a middling fized upright plate, from a compofition 
 of his own. 
 
 An emblematical fubjeSf , from Lodovico Carracci, reprefenting an armo- 
 rial bearing, fupported by two river Gods, with a figure completely armed, 
 ftanding alone, furrounded by Jupiter, Hercules, Neptune, Apollo, and 
 Minerva, a middling fized plate, length-ways. 
 
 The Deity forming the world ; the creation of Adam ; Abraham'' s facrifice ; 
 and 'Judith with the head of Holcpherms, four fmall upright ovals, from H. 
 Pordenone. 
 
 A drawing hook, from Guercino, &c. 
 
 G A U D E. See Goudt. 
 
 GIOVANNA BATISTA GAULLI. 
 
 Born, 1639. Died, 1709.^ 
 
 This artift, who was alfo named Le Bacici, was a native of Genoa. He 
 ftudied at Rome, and painted a great number of portraits, though he chiefly 
 excelled in hiftorical fubjefts, to which his genius more naturally inclined. 
 He coloured with great force, and is particularly commended for the 
 judgment with which he forefhortened his figures. Pie died at Rome, 
 
 A. D. 
 
G A U [ 3^-3 ] G A U 
 
 A. D. 1709, aged 70. The portrait of Cardinal CxUo Piccolommi, is faid 
 to be engraved by him. 
 
 LEONARD GAULTIER. 
 
 Flourifhed, i6ao. 
 
 This artift is generally confidered as a native of France ; but profeflbr 
 Chrift, without alTigning his reafon, fuppofes him to have been a German. 
 He imitated the ftyle of the Wierixes ; and his works are executed with the 
 utmoft precifion, with the graver only. But while we admire the exceflive 
 neatnefs, which is difcovered in them, we cannot help lamenting the want 
 of tafte, freedom, and correftnefs of defign, by which they are equally 
 characterized. He excelled chiefly in fmall figures and portraits. Of the 
 latter we have a confiderable number by his hand. According to Abbe 
 Marolks, the number of prints, engraved by this mailer, amount to 800, 
 and chiefly from his own defigns. I can only mention the following : A 
 number of fmall plates, the fubjefts taken from the Old and New 'Tejlament, 
 
 Many very fmall upright plates, forming fets, of the Prophets, Jpojiles, 
 end Evangelifls. 
 
 The PJyche of Apiile'ius, a fet of thirty very fmall plates, length-ways. 
 
 The laft judgment, copied from the print, which Martin Rota engraved 
 from Michael Angelo. 
 
 The portrait of Henry the Fourth of France, a fmall upright plate. 
 
 The portrait of Stephen Pafchius, a middling fized upright oval print. 
 
 The portrait of Alexander Bouchart, from D. Dumonlle'-, a large upright 
 oval print, and he alfo engraved from Daniel Rubel, John Caron, &c. See 
 his cypher, compofcd of an L. and a G. on the plate at the end of die 
 volume. 
 
 J. G A U L T I E R. 
 
 Flourifiied, 
 
 This artift was perhaps of the fame family with the preceding, whofc 
 manner of engraving he imitated. Among other things by him, is part of 
 a fet of fmall upright plates o( emblematical fubje^s, which are by no means 
 deftitute of merit. 
 
 PETER GAULTIER. 
 
 Flouriflied, 1730. 
 
 This artift was a painter of the prefent century, and he alfo engraved 
 feveral plates from different matters. He refided at Naples, where, I be- 
 lieve, he died fome years fince. The following are by him ; 
 
 The vifitation of the Virgin, a middling fized plate, length-ways, from 
 Solimena. 
 
 St. Michael overthrowing the Devil, a fmall upright plate, from the fame. 
 
 The defeat of Darius, a middling fized plate, length-ways, from the fame. 
 
 The battle of the Centaurs, the fame, from the fame. 
 
 TVitfour quarters of the world, fmall oval plates, from the fame. 
 
 T t 2 G. GAUW. 
 
G A U [ 3^-4 ] GEL 
 
 G. G A U W. 
 Flourifhed, 
 
 This name is affixed, as the engraver, to a very fin^ular print, repre- 
 fenring a head of the fabulous deity, Mercury, a large upright plate, from 
 J. Matham. It is engraved in a bold, open ftyle, fo as to imitate prccifely 
 a drawing witli a pen. 
 
 R. G A Y W O O D. 
 
 Flouriflied, 1660. 
 
 Gaywood was a native of England, and the difciple of Hollar, whofe 
 manner of engraving, or rather of etching, he innitated. But he fell greatly 
 fliort of the merit of his tutor. He had neither that tafte nor judgment, 
 which was fo confpicuous in the works of the latter. His outlines are hard 
 and incorredl:, and the etchings are heavy and laboured. We have a great 
 variety of portraits by Gaywood ; and as fpecimcns of them may eafily be 
 acquired, I fhall pafs them over. His beft print, I think, is a couchant 
 Venus, with a men flaying upon en organ, a middling fized plate, length-ways, 
 from Titian. The original pifture was in the colledion of Charles the Firft, 
 from whence it came into the pofTeflion of lord Cholmondeley. 
 
 A fet oi lions ^ fmall plates, jength-v/ays, from Rubens. 
 
 A book of birds, middling fized plates, lengthways, from Barlow, &c. 
 
 CORNELIUS VAN GEEST. 
 
 Flourifhed, 
 
 The name of an artift, affixed to a portrait of Gilbert Burnet, bijhop ef 
 Salijhury, a half Iheet print. 
 
 G. D. G E I I N. 
 
 Flourifhed, 
 An obfcure engraver, who imitated, in fome faint degree, the flyle of 
 Paul Pontius ; but he had neither fufficient taite nor judgment to harmo- 
 nize the tfTefl, and render it agreeable to the eye. By this artift, among 
 otlier book plates, we have the portrait of Carolus Aleajfinceus, in oftavo. 
 
 WILLIAM GELDORP. 
 
 Flourifhed, 
 
 He was, according to Le Comte, an engraver of portraits, and refided 
 in England. I am neither acquainted with his works, nor can I find any 
 further account of the artifl. 
 
 SIGISMOND GELENIUS. 
 Flourifhed, 1576. 
 To this artift profcfTor Chrifl attributes fome ancient engravings on wood, 
 marked with a G. having an S. within its circle, and furmounted with a 
 
 fort 
 
GEL [ 3^-5 3 GEL 
 
 fort of double crofs, as reprefented on the place at the end of the volume. 
 Among others diftinguiilied by this mafter, are twelve fmail upright prints, 
 r-prefenting the labours of Hercules. They are very neatly executed in a 
 fuigular manner, with fine ftrokcs, accurately cut, and chiefly fingle, 
 without any crofs flrokes or hatcliing. The lights are too much covered, 
 and the Ihadows are not fufHciently ftrong to jjroduce any ftriking 
 cfFeft. Yet there is much fpirit in them ; and the drawing of the naked 
 parts of the human figure, though not quite corre£t, is well managed, upon, 
 the whole ; and the heads have fomc degree of merit. The other extremi- 
 ties are heavy, and badly m.arked. This artift was apparently a native of 
 Germany, and flourilhed, according to profefTor Chrift, about the year 
 1576. 
 
 CLAUDE GELEE, called CLAUDE LORRAINE. 
 Born, 1600. Died, 1682, kJ 
 
 It is rarely the cafe, that a man of fine natural abilities can help.mani- 
 fefling them at times, however they may be obfcured by indolence, or loft 
 in purfuits of an improper tendency. Yet, in fome few inftances, nature has 
 concealed her favours for a time, fo that, like a diamond in the rough, their 
 value has been unobferved even by the polTcfibr himfclf. Thus it was with 
 Claude ; born in obfcurity, he ferved his time to a paflry-cook ; and no 
 diftant appearance ofthofe great talents, which fhone fo confpicuoufly after- 
 wards, was obferved in the early part of his life. Nay, at fchool he could 
 learn nothing ; and it was with difficulty he could be taught a few rules, 
 relative to perfpeftive, and the mixing up of his colours. His tutor was 
 TafTi, a fcholar of Paul Bril. Claude's genius difpbyed itfclf by flow de- 
 grees. He iludied nature for every thing; and treafured up in his mind. 
 whatever he obferved either beautiful or ilriking in her. And the ad- 
 mirable works, v/hich afterwards he produced, fufRciently certify how well 
 he remembered what he had remarked, and the excellent ufe to which he 
 could apply thofe ftudies. The works of Claude are too generally known 
 to need any eulogium here. The enormous prices which they fetch, when 
 ever they come to fale, prove the great eftimation in which they are held. 
 
 This great artift, for his own amufement, etched a let of 28 middling 
 ^\ztd land/capes, length-ways, from his own compofitions. They are prodigi- 
 oufly flight, but very ipirited, and abundantly tellify the hand of the mafter. 
 The fub] efts are precifely the fame with thofe, which ufually employed his 
 pencil, and confift of 'u/c'iyj, rivers, fea-forts, &cc, enriched mthJigHres and 
 cattle. 
 
 JOHN GELLE. 
 Flourifhed, 1628. 
 This artift was apparently a native of Cologne, in Germany. He en- 
 graved part of the plates for a work, entitled Academie de VEfpie, fer Girard 
 ihihau.lt, a large folio volume, publifned at Antwerp, 1628. 'Tliey are 
 
 executed 
 
GEM [ 326 ] GEN 
 
 executed v/ith the graver only, in a ftiff, taftelefs ftyle. By the fame artifl 
 is a portrait oi Frederic II. Etnp. furrounded by a border of medals, a mid- 
 dlino- fiztd upright plate, dated 1619, andfigned " Joan. Gelle fee. et ex." 
 
 JACINTO GEMIGNANO, or GEMINIANI. 
 Born, 161 1. Died, 1680. 
 
 This artift was born at Piftoia. He went to Rome, and became the dif- 
 ciple of Pietro da Cortona. He lludied with great application, and excelled 
 in hiftorical painting. He rcfidcd a confiderable time in Rome, wliere he 
 acquired great reputation. Afterwards he returned to Piftoia, where he died, 
 A. D. 16B0, agedyo. By him we have, among others, a let of tv/elve flight 
 etchings, executed with great fpirit. They reprefent children at flay, and 
 are fmall plates, length-ways, from his own compofitions. 
 
 THOMAS G E M I N U S, or G E M I N I E. 
 
 Flourifhed, 1545. 
 Geminus was a printer ; but, it feems, he took up the graver, in order to 
 ornament his publications with cuts. Virtue, who certainly was a good 
 judo-e, fpeaks of his engravings as exceedingly bad. He dwelt in Black- 
 Fryers, London, where he publilhed a prognoftication, relating to the wea- 
 ther, phenomena of the Heavens, &c. decorated with a number of cuts, pro- 
 bably by his own hand. It was we find, " 3;mprinte& bp '©goma3 CDemine." 
 In the year 1545, he publifhed a book, with this title, 'Thoma Gemini Lyfienfts 
 ccvrpendioja totius anatomes delineatio, ara exarato, in folio ; and the plates, 
 according to Ames, were the firft printed with a rolling-prefs in England. 
 But the truth of this aflertion is doubtful, at leaft. The book juft men- 
 tioned was anew edition of Vejalus's Anatomy, firft publiflied at Padua, a. d. 
 I 542, with large wooden cuts. Thcfe Geminus imitated on copper; and 
 it was dedicated to Henry the Eighth. He alfo publiftied a tranllation of 
 the fame work, by Nicholas Udal, a. d. 1552, which hededicated to Edward 
 the Sixth. The cuts in a book, relative to Midwifry, are alfo attributed to 
 him. He publilhed a fecond edition of his Anatomy, a. d. 1559, which 
 was dedicated to queen Elizabeth. 
 
 ABRAHAM GENOELS. 
 
 Born, 1640. Died, ^ '' -— mju t 
 
 This artift was born at Antwerp. He learned the firft princi])les of land- 
 fcape painting in his native country, under Jacques Bakkerel. In order to 
 improve himlelf, he went to France, where he was employed by de Scve and 
 LeBrun; and the latter procured for him a royal penfion, and apartments 
 in t!ie Gobelins. He alfo ftudied in Italy, and returned to Antwerp with 
 the reputation of an excellent artift. He died there at a very advanced age. 
 We have by him many bold free etchings ai landjcapes, executed in a maf- 
 t'frly ftyle, and ornamented with fpirited figures and cattle. A confiderable 
 number of tliem are from his own compofitions j and they are of various 
 
 fizes ; 
 
GEN C 327 ] G E R 
 
 fizes ; the large ones are particularly excellent. Alio a fet of fix land/capes, 
 middling fized plates, length-ways, from Vander Meulen. Six fmall land- 
 Jcapes, length- ways, from the fame. 
 
 Sec his cypher, compofed of an A. and aG. which he frequently put upon 
 his plates, when he omitted his name, on the plate at the end of the volume. 
 
 B. G E N T O T. 
 
 Flourilhed, 1693. 
 An artifl: of no confiderable note. He engraved fome of the plates of 
 ornaments for iron works, which were publifhed, in a large folio volume, by 
 •Tijou in London, a. d. 1693. 
 
 ANDREW GENTSCH. 
 
 Flourilhed, 16 16. 
 An artiftwho may rank among the little mafters, fo diftinguilhed becaufe 
 of the diminutivenefs of their works. He refided at Augfburg, where he 
 engraved on copper feveral plates of grotefque ornaments, which are dated 
 16 1 6. This artift ufed the fame mark as Aldegrever; but his works are 
 eafily diftinguilhed, not only by the date, but by the great inferiority there 
 is between them, and thole by Aldegrever. 
 
 GIOVANNA GIORGIO. 
 
 Flouriflied, 1650. 
 
 This engraver, according to the fignatures upon his engravings, appears to 
 have been a native of Padua, where he chiefly refided. His works, which arc 
 performed with the graver only, in a coarfe, incorreft ftyle, do him no credit. 
 I fuppofe the bookfellers were his principal employers. I have feen by him 
 afronti/piece with figures to a book of Anatomy, in quarto, by Joan Veningi, 
 dated 1647, ^^ which he figns " Joan. Georgius Fatavii." The plates for a 
 a collection ©f antique lamps, a large folio volume, entitled, De Lucernis 
 Jntiquoru7n reconditis, Fatavii, 1653. 
 
 The bath of the Anabaptifls, a ludicrous fubjeft, from Raphael, &c. 
 
 G E R A R D I U. 
 
 Flourifhed, 1680. 
 
 This artift worked entirely with the graver, in a very neat ftyle, but with- 
 out much tafte or correftnefs of outline. Tiie extremities of his figures are 
 particularly defedVive. By him we have fome of the plates, which belong to 
 a colleftion of engravings, from the pictures of Pietro Berretino, which are 
 in the palace of the Duke of Tufcany, &c. 
 
 Antonio Gerardi is mentioned by Florent Le Comte, as an engraver 
 o{ funeral- pomps, monuments, zndi tombs. He and Gerardiu were probably 
 the fame artift, the laft letter in the name being dropped by accident. 
 
 B. G E R C O. 
 
G E R [ 328 ] G E R 
 
 B. G E R C O. 
 
 Flooriflied, 
 
 A aan-c afHxcd to fome fmall laiidlcapcs, lengdi-ways, in which the en- 
 graver lias attempted to imitate the flight etchings of Waterloo. He has 
 fcratchcd upon the etchings vvidi the point of the graver; and the barb wa.i 
 not afterwards properly Icrapcd away. The effect is by no means pleafing. 
 
 , ^ R E M B R A N D T G E R R E T S Z. 
 Born, i6c6. Died, 1674. 
 
 This admirable artifl is better known by the name of Rembrandt Van 
 Ryn. He was born at a village near Leydcn, and by fome connoilfeurs is 
 laid to have been a miller's fon. Others again deny this ftory ; which feems 
 to have had its only foundation from his often reforting to a wind-mill j a 
 print of which he alfo etched. 
 
 Rembrandt's genius manifeftcd itfelf at a very early period of his life. He 
 refided three years with Jacques van Zwanburg ; and at the expiration 
 of that time, he became the fcholar of Peter Laftman. I only need 
 obferve, that he excelled principally in hiftorical painting, and in portraits. 
 His colouring is excellent ; and the lightnefs of his pencil cannot fufficiently 
 be commcnied. He copied nature exactly, even perhaps to a fault ; but then 
 it was, becaufe he did not always choofe her in her fined forms. His 
 greateil deficiency lay in drawing of the human figure, which was ufually 
 very incorrect, when he reprefentcd it naked. But to compenfate for this 
 neglect he added to his works fuch breadths of light and fhadow, that the efFei5l 
 of them is rendered furprifingly powerful ; and they prove, that no man ever 
 furpaffed him in the knowledge of the chiaro-Jcuro, 
 
 His prints, which are partly etchings and partly engravings, performed 
 with the point of the graver in a fingular manner, have all that freedom of 
 touch, fpirit, and greatnefs of effeft, difcoverable in his paintings, fup- 
 pofing tliem to be aflifted by the variety of colours. Confidering the great 
 quantity of etchings which he made, we cannot fuppofe they Ihould be 
 all equally well executed, or equal in value. However, (according to the 
 common courfe of things, on which an imaginary value may be raifed by 
 accidental caufes) it is not always his beft prints, which produce the greateft 
 prices ; but thofe, which are the fcarccft. Thus, we frequently fee a print 
 of great intrinfic worth in itfelf, if confidered as a beautiful fpecimen of the 
 abilities of an artift, thrown afide for no other fault, than that of being too 
 cafily obtained ; wliillt another, which perhaps is rather a difgrace, than an 
 honour to him, is purchafed at an extravagant price, and anxinufly preferved, 
 becaufe it is unique. It is merely owing to this caprice, that fo mar.y trifling 
 alterations in the prints of Rembrandt, rather than a proper examination of 
 their real merit, increale or diminifh the worth of the fame print. I myfelf, 
 commiffioned by an eminent colleftor, gave fix and forty guineas for the 
 great Coppenol, with the white back-ground, that is, before it was finiflied ; 
 when, the fame evening, at the fame iale, I bought a moft beautiful impref- 
 fion of the fame print finilhed, dillinguiilied by having a black back- 
 2 ground 
 
G E R C 329 ] G E R . 
 
 ground, &c. which had an addrefs to Rembrandt at the bottom, written by 
 Coppenol himfelf (for he was a writing -mafter of Amfterdam, and this print 
 is his portrait), for fourteen guineas and a half. In the fecond inftance, I 
 exceeded my commiffion by the half guinea; in the firft, I did not reach it 
 by nearly twice ten guineas. It cannot be reafonably fuppofed, that fuch 
 a difference could exill between two good imprefiions of the fame plate ; and, 
 fpeaking as an artift, I fhould certainly have taken the laft in preference to 
 the firft. 
 
 This great mafter died at Amfterdam, the city where he chiefly refided, 
 1674, aged 6d. Upwards of 340 prints are acknowledged to have been en- 
 graved by him ; the catalogue of which was publiftied at Paris by Gerfaint, 
 and has been fince reprinted, witJi confiderable additions, and tranflated into 
 Englifti. I fhall only mention the few following : 
 
 jojeph relating his dream., a fmall upright plate. The fcarceft impreffions 
 of this plate are thofe, in which part of the curtains of the bed, and the head 
 of the figure, ftanding at the feet of the bed, with a turban, are without the 
 Ihadows, which was afterwards added. 
 
 The triumph of Mordecai, a middling fized plate, length-ways. 
 
 The prefentation of Chriji in the 'Temple, the fame. 
 
 The tribute money, a very fmall print, length-ways ; a firft impreffion of 
 this print is very rare. 
 
 Chriji and the woman of Samaria, a fmall upright print. The firft impref- 
 fions of this plate, which are very rare, have not the name of Rembrandt, or 
 date ; they have other marks to diftinguifli them from the fecond im- 
 preffions, which will be eafily obferved. 
 
 The refurreclion of Lazarus, a middling fized upright plate, arched at the 
 top. The firft impreffions, which are very fcarce, are diftinguifhed by the 
 figure running away affrighted, with his head uncovered j in the fecond, he 
 has a fpecies of turban. 
 
 Chriji healing the Jick and the lame, commonly known by the name of the 
 Hundred Guilder Print, a middling fized plate, length-ways. Captain 
 Bailie purchafed this plate in Holland ; and has fince retouched it in an ad- 
 mirable manner. 
 
 The good Samaritan, a fmall upright plate. The firft impreffions of this 
 plate are thofe where the tail of the horie is white, and the wall on the fteps 
 unfhaded. In the fecond, the tail of the horfe is darkened ; but the wall is 
 ftill white. In the third, the wall is alfo darkened, and the name and date 
 added. 
 
 The ecce homo, and its companion, the defcent from the crofs, two large up- 
 right plates. Thefe are the largeft prints engraved by Rembrandt. 
 
 The gold weigher, or th.e. portrait of Vtenbogaerd, a middling fized up- 
 right plate. This has been admirably copied by captain Bailie. 
 
 The three trees, a landfcape, diftinguifhed by this name, becaufe it has 
 three trees in the fore-ground, a fmall plate, length-ways. A fine impref- 
 fion of this is very fcarce. 
 
 A landfcape, with a windmill in the foreground, a fmall plate, length- 
 ways. Some have faid that this is a view of the mill where the father of 
 Rembrandt lived j and therefore it is called Rembrandt's Mill. 
 
 VOL. I. U u The 
 
G E S [ 330 ] G H E 
 
 Tlie great Coppenol, or the portrait of Coppencl the writing-majler of Ani' 
 Jlerdaniy a middling fized upright plate. The impreffions with the back- 
 ground unfinilhed are very rare j thofe with the black back-ground are 
 alfo fcarce. 
 
 The hurgomajler John Six. This celebrated portrait is very rare. It fold 
 at Mr. Groflc's fale, fome years fince, for five and thirty guineas. It is faid 
 there is an impreffion of this plate, without the name of the burgomafter and 
 of Rembrandt. 
 
 S. G E S N E R. 
 
 Flourifhed, 1730. 
 This celebrated author is better known to the learned world by his poem 
 on the Death of Abel, and other performances, than as an engraver. How- 
 ever, Bafan affures us, that he has etched feveral landfcapes from compo- 
 fitions of his own. 
 
 WILLIAM DE GEYN. 
 
 Flourifhed, 
 The name of an engraver, who, according to profeflbr Chrift, marked his 
 plates with the initios of his name in this manner; G. d. G. Fee. But 
 that author has not fpecified any of his works. Perhaps he was one of the 
 fame family with Jaques de Gheyn, of whom I fliall fpeak in the following 
 article. 
 
 J A QJJ ES DE GHEYN, the Elder. 
 Flourifhed, 1590. w'' 
 
 This artifl is generally confidered as a native of Holland, but Le Comce 
 fays, he was born at Antwerp. He is fpoken of as a painter ; but as a de- 
 figner and engraver he is mofl generally known. He was contemporary with 
 John Muller, and, like him, the difciple of Henry Goltzius. He imitated 
 the manner of his mafter, and worked vdth the graver only, in a bold, free ft)'le, 
 which manifells the great command he had of that inftrument. He drew 
 correftly, and frequently with much tafte ; but all his works want efFeft, from 
 the lights being fcattered, and too equally powerful ; neither are the maffes 
 of fhadow fufficiently broad, or well harmonized. But this was a fault common 
 to all the artifts of his time. Jaques de Gheyn engraved a confiderable 
 number of plates from different mailers, and ibme from defigns of his own; 
 many of them are juflly held in high eflimation. I fhall mention the fol- 
 lowing only : 
 
 The life and fajfton of Chriji, on fourteen fmall upright plates, exclufive 
 of the title, from Carl van Mander. 
 
 The confufion cf tongues at the building of Babel, a large plate, length- 
 ways, from the fame. 
 
 Daniel in the lio'ti's den, a middling fized plate, length-wap, from Theo- 
 dore Bernard. 
 
 a The 
 
G H E [ 33^ 1 G H I 
 
 The annunciation of the Virgin, a fmall upright plate, from A. Bloemart, 
 
 Cfmft feeding thefive tbou/and, a middling fi zed oval plate, length- ways, 
 from the fame, dared 1595. 
 
 The crucifixion of Chrijl^ a middling fized upright plate, from C. Vander 
 Broeck. 
 _ The; four Evangelifts, from Henry Goltzius, four fmall circular plates. 
 
 Neptune furrounded by Tritons and naked women, a middling fized circular 
 plate, from Guil. Telrho, publiflied by H. Goltzius, 1587. 
 
 Thtfeaft of the gods, a middling fized plate, length-ways, from C. V. 
 Broeck, dated 1589. 
 
 A fmall land/cape, length-ways, from Brughel. This is a free fpiritcd 
 etching, dated 1598. 
 
 He alfo engraved feveral other landf capes, and a variety of excellent por- 
 traits ; among which may be reckoned that of 'Tycho Brahe, the philofopher. 
 See the mark compofed of an I. a D. and a G. frequently ufed by this artift, 
 on the plate at the end of the volume. 
 
 JAQUES DE GHEYN, the Younger. 
 Flouriflied, 
 He was, I believe, of the fame family with the preceding artift ; but 
 whether his fon or grandfon is not certain. I am inclined to think, 
 the latter ; becaufe he worked conjointly with Coryn Boel, v/ho does not 
 appear to have engraved prior to the year 1650. I fhould fuppofe, that he 
 was a difciple of Tempefta ; for he imitated his manner of etching with no 
 fmall fuccefs ; I do not know that he executed any plates with the graver 
 only, in which ftyle his predecefibr chiefly excelled. We have by him part 
 of the plates for Le Vie de VEmpereur Charles V. from A, Tempefta. 
 The reft are executed by Coryn Boel. It confifts of a fet of middling fized 
 prints, length-ways. He marks his plates J. de Gheyn, jun. fecit. 
 
 PIETRO LEONE GHEZZI. 
 
 Born, 1674. Died, 1755. 
 He is alfo called Chevalier Ghezzi, becaufe he was knighted by Francis 
 the Firft Duke of Parma. He was a native of Rome, and inftrufted in the 
 art of painting by his father Giufeppe Ghezzi. He excelled chiefly in hif- 
 tory ; but he alfo painted portraits with very great fuccefs. His works are 
 fpoken of with the higheft commendation. He etched fome few plates, in a 
 free, neat ftyle, from his own, and from his father's compofitions. Among 
 the laft, is a fine plate, reprefenting the Virgin and Child, half figures, 
 marked Petrus Leo Ghezzius, del etfculp. Roma, 1700. 
 
 MARC ANTONIO GHIARINI. 
 Born, 1652. Died, 
 This artift was a native of Bologna. He is faid to have etched and pub- 
 hlhed fome etchings of the Aquedu5is and Fountains at Rome. 
 
 U u 2 GIOVANNI 
 
G H I [ 332 ] GUI 
 
 GIOVANNI BATTISTA GHISI, called MANTUANO. 
 Flourifhed, 1538. 
 
 He was the firfl: of the famous family of the Ghifi, noticed as an artift. 
 They are ufually diftinguiflied by the word Mantuanus, which was 
 added to their names, becaufe they were natives of Mantua. The prefcnt 
 artid is faid by Ibme authors to have been the father, and by others, the 
 uncle of thofe that follow. I own, there is fome obfcuricy, with re- 
 fpedl to him, unlefs he be the fame with Joan. Batifta Britano of 
 Mantua, from whom George Gliifi engraved feveral plates. According to 
 Vafari, he was the fcholar of Giulio Romano, and was a painter, a fculptor, 
 an architeft, and an engraver. But in the lalt light only, he will 
 come under our confideration. It is impofTible to fay with certainty, froni 
 whom he learned the art of engraving. His manner, I think, bears fome 
 refemblance to that adopted by Marc Antonio Raimondi, in his celebrated 
 print of Neptune rebuking the winds, from Raphael, where he has finifhed 
 the light with fmall dots, intermingled with the ftrokes, in a verj' pleafing 
 manner. Giov. Bat. Ghifi, certainly underftood the human figure, and drew 
 it correftly ; but in a hard mannered ftyle. The lights being fcattered and 
 too equally powerful, in his engravings, give them an unharmonized appear- 
 ance, and deftroy the effedt. We have by him, 
 
 A large naval combat, length-ways, from a compofition of his own, dated 
 1538. 
 
 The Virgin giving the breajl to the infant Chrifl, a fmall upright plate, from 
 the fame, dated 1539- 
 
 David cutting off the head ofGoliah, a large plate, length- ways, from Giulio 
 Romano, dated 1540. 
 
 A river god, a fmall plate, length-ways, from Luca Pens, dated 1538. 
 
 See the mark, compoied of feveral letters, which this artift ufually affixed 
 to his prints, upon the plate at the end of the volume. 
 
 GIORGIO GHISI, called MANTUANO. 
 Flouriflied, 1560. 
 
 He was a native of Mantua, and the nephew, or as fome fay, the fon of 
 Giovan. Bat. Ghifi, inencioned in the preceding article; and probably learned 
 the art of engraving from him ; for the ftyle, which he adopted, greatly 
 refcmbles that of his relation, though confiderably improved, and rendered 
 much more agreeable in the effeft. 
 
 It is evident from the works of Giorgio Ghifi, that he ftudied with much 
 attention the extremities of the human figure. He exprefted the knitting of 
 the joints, and the turn of the limbs, with great accuracy. The knees, in 
 particular, he frequently drew in an admirable manner. There is, indeed, 
 a great fumenefs of ftyle in the drawing and marking of the figures, which 
 appears too generally in his works. It feems as if he ftudied from one model 
 only ; and by that means acquired a certain manner or habit of his own, which 
 he conftantly adopted, without confidering the ftyle and charafter of the maf- 
 ters he engraved from, which differed of courfe prodigioufly from one another. 
 
 And 
 
G H I I 333 ] G H I 
 
 And this may be the reafon, why he has fucceeded lefs happily from Michael 
 Angelo Buonarota, than from any other painter. Theoiulines of the figures 
 copied from this matter are hard, andfometimes incorre6l ; and the fwcUings 
 of the mufcles too powerfully exprelfed upon the light parts, with harfh 
 lliadows. By which means the lights are divided, the mafTes confufed, and 
 the roundnefs of the objefts deftroyed. Thefe faults are perhaps no where 
 more confpicuous, than in the lajl judgment, engraved from the famous pic- 
 ture by that great mafter. In this print the extremities of the figures, the 
 feet elpecially, are all of them treated in the fame affeifled ftyle -, and 
 the marking of the abdominal mufcles, as well as thofe of the back, are, in 
 general, very heavy and unpleafing. Thefe defeats, however, which are 
 not always predominant, are more than fufficiently overbalanced by the 
 beauties, which we find in the works of this admirable artift : and his pro- 
 duftions are defervedly held in the higheft eftimation by the curious col- 
 le6tors. Indifferent imprelTions of his prints are by no means rare ; but 
 fuch as are fine, clear, and well preferved, appear but feldom ; and yet, 
 without feeing many of thefe, it is impofllble to form an idea adequate 
 to his merit. The following are among his moft valuable prints : 
 
 The laji judgment, an upright print arched, ten large plates, from Michael 
 Angelo Buonarota, 
 
 The prophets andfibyls, fix large upright plates, from the pi(flures by the 
 fame mafter, painted in the chapel at the Vatican. 
 
 The Jchool of Athens, a large print, length-ways, arched, on two plates, 
 from the pifture of Raphael in the Vatican. Florent le Comte fays, this 
 is falfely called the fchool of Athens, for, according to him, it reprefents 
 St. Paul preaching in the Areopagus at Athens. 
 
 The dijpute ofthejacrament, its companion, from the fame. 
 
 A large emblematical print , reprefenting an aged man, ftandingand looking 
 xipon a fhipwrecked veflel, whilft a nymph appears on the oppofite fide 
 as coming towards him. In the back-ground are reprefented feveral 
 flirange and fantafi:ic appearances. This print is ufually called Raphael's 
 dream, Bafan, upon what authority I know not, fays, that Raphael had no 
 hand in it ; and that the mafter by whom it was invented is unknown. I 
 can only fay, the words Raphaelis Urbinatus inventum are affixed to it ; and 
 certainly the ftyle of compofition, and the defign of the figures, juftify the 
 infcription : it is dated 1561. 
 
 An allegorical print, reprefenting the birth of a prince of the houfe of 
 Gonzague, a middling fized plate, length-ways, from Giulio Romano, dated 
 1568. 
 
 Cephalus and Procris, a large plate, length-ways, from the fame. 
 
 The judgment of Farts, a large plate, length-ways, from J. Bap, Britano 
 Mantuanus. 
 
 The tombs, with fieletons and emaciated figures, a large plate, length-wavs, 
 from the faiiie. This print is alfo called the re/urre^ion of the dry bones; 
 and is a fine fpecimen of the artift's great ability : it is dated i 554. 
 
 Venus and Adonis, from Theodore Ghifi, a fmall upright plate. 
 
 Ayounghuntfman carrying a nymph upon his fhoulders, the fame, from Luca 
 Pennis. 
 
 An 
 
G H I [ 334 ] G I A 
 
 An allegorical fuhjeS?, reprefenting a judge upon his throne with ajfes ears, 
 and feveral other figures, a middling fized plate, length-ways, from the fame 
 mafter. 
 
 The adoration of the fiepherds, zXdirg^ upright print on two plates, from the 
 elder Bronzin. 
 
 The Inft /upper, a large plate, length-ways, from Lambert Lombard. 
 
 The meeting of the Virgin with Elizabeth, a large plate, length- ways, from 
 a compofition of his own. 
 
 Chrift upon the crojs Jurrounded by angels, a fmall upright plate, the 
 fame. 
 
 See the mark, which he ufually affixed to his prints, upon the plate at the 
 end of the volume. 
 
 DIANA G H I S I, called MANTUANO. 
 Flourifhed, 1580. 
 
 This ingenious lady was fifter to George Ghifi, and a native of Mantua. 
 She probably learned to draw and engrave from her brother, whofe ftyle 
 flie clofely imitated, and with great fuccefs. We have feveral excellent 
 prints by her hand ; among others. 
 
 The woman taken in adultery, a large plate, length-ways, from Giulio 
 Romano. 
 
 The Virgin Jeated in the clouds, with St. Michael Jlanding on the demon, 
 and an angel introducing the young Tobit'; in a bold, free ftyle, and varied 
 from her ufual manner, apparently from the fame painter. 
 
 The birth of Jdonis, a middling fized plate, length ways, from the fame. 
 
 The feajl of the gods at the nuptials of Cupid and Pfyche, a large print, 
 length-ways, on three plates, from the fame. 
 
 The meeting of the Virgin with Elizabeth, a large upright plate, from G. 
 Vafari. It'ismzrked Diana Alantouana Rom^e incidebat, 1588. 
 
 She frequently marked her plates with the word Diana only j but never 
 ufed any particular cypher. 
 
 ADAM GHISI, called MANTUANO. 
 Flourillied, 1560. 
 
 Another engraver of the fame family, who was born alfo at Mantua, and 
 by fome faid to have been brother to the two preceding artifts. He certainly 
 worked greatly in the fame ftyle. He drew correftly j and his prints, though 
 not equal to thofe of George Ghifi, poffefs, however, great merit. His chief 
 work was a fet oi figures, from the Angles, painted by Michael Angelo 
 in the chapel of the Vatican, fmall upright plates. He alfo engraved from 
 Raphael, Giulio Romano, Polydore, &c. See his mark, compofed of 
 an A. and an S. on the plate at the end of the volume. 
 
 GIULIO GIAMPICOLI. 
 
 Flourifjied, 
 
 A modern Italian artift, who flourifhed in the prefent century, and refided 
 
 at 
 
GIF . I 335 1 G I O 
 
 V 
 
 at Venice. By him we have feveral landfcapes after Marc Ricci and other 
 mailers . 
 
 P. G I F F A R T. 
 
 Flourifhed, 1700. 
 By this engraver, a native of France, who never reached any fuperior de- 
 gree of excellence, we have fome few portraits ; among the reft, that of 
 Franc. Daubigny, marquife de Maintenon. Alfo a fet of medals, from the 
 French king's cabinet i and a ^OO;^ 0/ er««»;f«/j, neatly executed, from the 
 defigns of J. Berain. 
 
 GEORGE GIFFORD. 
 
 Flourifhed, 1640. 
 
 This engraver appears to have been a native of England. By him we 
 have feveral portraits very poorly executed. He was one of thofe artifts, 
 whofe labours were exerted for the bookfellers. The following fmall por- 
 traits are by him : Hugh Latimer bijhop of Worcejier ; Edward Marmionj 
 John Bate, &c. 
 
 M. G I L L I G. 
 
 Flouriflied, 
 A name affixed to a portrait of Gerard de Fries, philofopher of Utrecht, 
 
 CLAUD GILLOT. 
 
 Born, 1673. Died, 1722. 
 
 He was born at Langrees in Champagne, and was the difciple of John 
 Baptift Corneille. He appears to have applied himfelf much more affidu- 
 oufly to the art of defign, than to painting. His works manifeft great fer- 
 tility of invention -, but little judgment, and lefs correftnefs. His drawings 
 are much efteemed. We have a very confiderable number of etchings by 
 him, from his own compofitions, executed in a very free, fpirited ftyle, and 
 well finifhed. His genius was beft fuited to comic and fatirical fubjedts. 
 He died, A. D. 1722, aged 49. It is no fmall addition to the honour of 
 this mafter, that Watteau, a painter of great eminence in France, was his 
 pupil. Almoft all the plates for an edition of the Fables of La Motte- 
 Hcudart, are engraved by him. 
 
 R. G A B R I E L L O G I O L T O. 
 
 Flourifhed, 1552. 
 Thisartift, according to Abbe Marolles, was a native of Ferrara in Italy, 
 and refided at Venice; where, in the year 1552, he engraved on wood the- 
 figures de i'Jlemama, vfhichy/^xe excellently well executed. 
 
 L U C A 
 
G I O [ 33^ 1 G I R 
 
 LUCA GIORDANO. 
 
 Born, 1629. Died, 1705. 
 
 Tills celebrated artift was born at Naples, and firft ftudied under Giufeppe 
 de Ribera, called Spagnoletto ; after which, he entered the fchool of Pietro 
 da Cortona ; but he completed his ftudies from the works of the greateft 
 mafters, particularly thofe of the Venetian fchool. He excelled in hiftorical 
 painting ; yet he painted fome few portraits with great fuccefs. He refided 
 a confiderablc time in Spain, where he had the honour of knighthood con- 
 ferred upon him by the king of Spain. He was a man of great genius, and 
 his pidures are defervedly held in the higheft eftimation. We have by him 
 fome flight maftcrly etchings, from his own defigns. The heads, and 
 other extremities of the figures, in thefe compofitions, are very finely exprefled. 
 I fliall mention the following : 
 
 Thtfriejls of Baal Jlain, when Elijah called for fire from Heaven to con- 
 fume the facrifice, a large plate, length-ways. 
 
 Chrifl difputing with the dolors in the templet the fame. 
 
 The woman taken in adultery ^ the fame. 
 
 St. Ann received by the Virgin into Heaven, a fmall upright plate. 
 
 GIACOPO MARIA GIOVANNINI. 
 
 Flourifhed, 1696. 
 
 This artift was born at Bologna, and learned the firft principles of drawing 
 from Giufeppe Rolii. He afterwards ftudied from the works of the grcatelt 
 mafters, and etched a vaft number of plates, from the drawings he made 
 after them. They are, in general, very neatly executed, and carefully finifh- 
 ed ; but they are flat and feeble, without fufficient depth of fhadow, or 
 breadth of light, to conftitute a powerful or pleafing effeft. The outlines of 
 his figures are often incorreft, and the extremities very poorly marked. Among 
 his beft works may be reckoned the following. 
 
 A {tx. of twelve prints, from the pictures of Correggio, painted in the Cu- 
 pola of St. John's church at Parma. 
 
 A fet of twenty large folio plates, from the pidures painted by Ludovico 
 Carracci and others, in the cloifter of St. Michael in Bofco at Bologna, 
 publifhed at Venice, 1696. 
 
 The communion oftheapoftles, a large upright plate, from Marc Antonio 
 Francefcbini, &;c. 
 
 MELCHIOR GIRARDINI. 
 
 Flouriftied, 
 An Italian artift, who flouriftied about the middle of the laft century. He 
 is fpoken of as a painter of fome eminence, who for his amufement etched 
 feveral plates from Pietro da Cortona, Guido, and other mafters. He ufually 
 marked his plates, " Mel. Gir. fee." 
 
 HANS, 
 
G L A [ 337 ]^ G L O 
 
 HANS, or JOHN HENRY GLASER. 
 
 Flourifhed, 
 
 An artift, mentioned by profeflbr Chrift, without the leafl: reference to his 
 works, only that he marked them with a double H. followed by a G. and 
 fometimes the firfl: fyllable of the name Glas. 
 
 JOHN GLAUBER, called P OLID ORE. 
 Born, 1646. Died, 1726. 
 
 This celebrated landfcape painter was born at Utrecht in Holland. He 
 was the difciple of Nicholas Berchem, under whofe inftruftions he made a 
 very rapid progrefs. But, in order to complete his ftudies, he fet out for 
 Italy ; and in his route he was detained fome time at Lyons by Vander Cabel. 
 He afterwards vifited Rome and Venice j and returning to his native coun- 
 try, fettled at Amfterdam. He contrafted a firm friendfhip with Gerard 
 LairelTe, who ufually ornamented his landfcape with figures. Glauber's 
 paintings are held in very great eftimation, thofe efpecially, which have the 
 figures by LairefTe. He died at Amfterdam, a. d. 1726, aged 80. 
 
 His etchings are executed in a flight ftyle, without any ftrength of fhadow 
 to relieve the fore-ground, or produce a powerful effed:. The following 
 are by him. 
 
 Several land/capes with cattle., &c. from Berchem. 
 
 A fet of views, middling fized plates, length-ways, from his own com- 
 pofitions. 
 
 A fet oi views, middling fized upright plates, the fame. 
 
 ALBERT GLOCKENTON. 
 
 Flourifhed, 15 10. 
 
 An ancient German artift; who if he did not learn the art of engraving 
 from Martin Schoen, certainly not only imitated the manner of that 
 mafter, but copied a great number of his prints. Indeed, I believe thefe 
 copies conftituted the greater part of the works of Glockenton. He executed 
 his plates with the graver entirely, in a neat, fervile ftyle ; and by no means 
 improved the drawing, however defeftive it might be in the originals. Glock- 
 enton poflTeffed little or no tafte ; and, .as an artift, fcems to have had very 
 few ideas of his own. He marked his plates with the initials A. G. formed 
 in a rude, Gothic charadter; and fometimes he added the date 15 10. I 
 have feen by him the foUosving engravings : 
 
 Chrijl canying his cro/s, a large plate, length-ways, from Martin Schoen. 
 
 The wife and foolij};) Virgins, ten fmall upright plates, from the fame. I 
 fay from Martin Schoen rather than from Ifrael van Mecheln, who alfo en- 
 graved the fame figures (and as fome think, prior to thofe of Martin Schoen) 
 becaufe Glockenton has copied the ftyle of Schoen's engraving, and not that 
 of J. van Mecheln. 
 
 The death of the Virgin, a middling fized upright plate, copied from M. 
 Schoen. 
 
 VOL. I. X X The*' 
 
GLO tssS] GOA 
 
 The pajfton of Chrijt, ten fmall upright plates, from;;he fame. 
 
 Papillon declares, that he engraved alfo on wood, in a coarfe ftyle ; but 
 his authority is hardly fufficient to eftablilli the fad. I have not Jeen this 
 engraver's mark to any wooden cutsj and Papillon may confound Van Goar 
 with this artift, 
 
 C. G L O V E R. * • 
 
 Flouriflied, 1637. 
 
 This engraver was, I believe, a native of England. His labours were con- 
 fined to thebookfellers. We have a fuficient number of portraits, drawn 
 and engraved by him, which, though pofiefTed of no fuperior excellence in 
 themfelves, have been thought valuable, as conveying fome faint refem- 
 blances, at leafl, of many illuftrious perfonages, who flourifhed in his time. 
 And indeed his portraits are by far the bell part of his works. If he be not 
 one of the beft, he is certainly far from being one of the worft of our early 
 Englilh artifts. He worked entirely with the graver, in a bold, open ftyle, 
 without much tafte. His Ihadows are not properly harmonized with the 
 lights, which gives his engravings a dark, heavy appearance. When he de- 
 parted from the portrait line, and attempted fancy figures, he failed 
 prodigiouHy. Of this fort are fome of his frontifpieces, and the cardinal 
 virtues, half figures, a fet of fmall upright plates, apparently from hi* 
 own defigns. I fhall mention the following portraits only : 
 
 John Lilburney a fmall upright plate. 
 
 Lewis Rolerts, a quarto print, dated 1637. 
 
 Sir Thomas Urquhart, a fmall whole-length quarto, faid to be very fcarce. 
 
 Sir Edward Dering, from C. Johnfon, in quarto, dated 1640. 
 
 John Fox the martyrologifi, a middling fized upright plate, &c. 
 
 J. G. G L U M E. 
 
 Flouriflied, 1760. 
 
 According to Bafan, this artift is a native of Germany, and a painter. For 
 Iiis amufement, it feems, he etched feveral fmall plates from his own com- 
 pofitions, portraits and other fubjeds. 
 
 Y A N GOAR. 
 
 Flouriflied, 15 16. 
 
 An ancient engraver on wood, and an artift of no fmall merit. He was ap« 
 parently a native of Germany. By him we haxe fome very fpirited prints, 
 executed in a bold, mafterly manner. It is to be lamented, that the labours 
 of a man of genius, like Van Goar, fliould have been confined to the trifling 
 decorations of books, a)id ornamental frontijpieces. But, at the fame time, 
 it is no fmall honour to him, on the other hand, that notwithftanding this 
 manifeft difadvantage, he has proved the goodnefs of his tafte, and the ferti- 
 lity of his genius by fuchfubjefts, as can have no confcquence in themfelves. 
 I The 
 
 * t< 
 
GOD [ 339 ] G O E 
 
 The engravings of this mafter are eafil)^ diflinguifhed, being marked with a 
 V. and a G. joined together cypher- ways, in the manner expreffed on the 
 plate at the end of the volume. 
 
 J. G O D D A R D. 
 
 Flourilhedj 1651. 
 It is remarkable, that this engraver is faid to be known by a fingle print 
 only, -which is the portrait of Mar i in Billingsley, a writing mafter, in an oval 
 border, dated 165 1, with a motto of four Engl ilh verfes. I find, however, 
 that he engraved feveral other plates ; though it is true, his labours were 
 confined to the bookfellers. He worked entirely with the graver in a ftiff^, 
 incorreft ftyle, which has but little merit to recommend it. I fhall notice 
 only a (mgls figure of a woman ft anding ; a fmall upright plate, under which 
 is written Vetiira ; another, its companion. K frontijpiece to a book, a fmall 
 upright plate, &c. 
 
 ANTOINE DES GODETZ. 
 
 Flourifhed, 1682. 
 
 A celebrated artift, and native of France, who publifhed a large folio volume 
 of engravings, entitled, Les Edifices Antiques de Rome, or the Ancient Edi- 
 fices of Rome; he etched the frontijpiece himfelfj and all the plates arc 
 engraved from defigns made by him. 
 
 R. B. GODFREY. 
 
 Flourifhed, 1760. , 
 This artift was, I believe, a native of England. He engraved a variety 
 c'i. views, and plates of antiquities, &c. and in thefe he chiefly excelled. 
 We have alfo fome portraits by him. 
 
 THOMAS GOELr 
 
 Flouriflied, 
 
 A name mentioned by Florent le Comte as an engraver of Englifh por- 
 traits. The author, according to his ufual cuftom, has neglefted to fpecify 
 any of this artift's works. I own they are perfedlly unknown to me. I rather 
 fufpeil fome miftake in the orthography of the name. 
 
 J. G O E R C E. 
 
 Flourifhed, 
 
 This artift was a native of Holland. He worked chiefly, if not entirely, 
 from his own defigns. We have fome frontifpieces and other book-plates^ 
 done by him, he then refiding at Amfterdam. 
 
 X X a HENRY 
 
G O E [ 540 ] G O L 
 
 HENRY GOERTING. 
 
 Flourifhed, 
 
 This artift, according to M. Heineken, engraved fome fmall prints on tin. 
 I fuppofe he means bkcked tin j but he has not fpecified the fubjefts. 
 
 GOTTFRIED BER N A R D G O E Z. ' 
 
 Flourifhed, 
 
 This artiflj and his fon Francis Regis Goez, are mentioned by M. 
 Heinel<.en as painters and engravers, belonging to the German fchool. I am 
 not acquainted wit^i their works. 
 
 JOHN G O L D A R, 
 
 Flouriflied, 1760. 
 A modern Englifli engraver, who refided at London, where he engraved a 
 vzYiety o{ huiiiorous/uljeifSy from Collet and other mafters. His works are 
 by no means held in any high eftimatioa. 
 
 JOHN G O L E. 
 
 Flourifhed, 1690. 
 
 This artift was a native of Holland, and refided at Amfterdam. He 
 worked with the graver in flrokes, and in mezzotinto. We have a vafl num- 
 ber of prints by him; but none of them are very eflimable. Thofe, how- 
 ever, appear to me to be beft, which he executed with the graver. His 
 mezzotintos are very indifferently performed. He engraved a variety of 
 bumorousJubjeSls from Oftade, Brouwer, Teniers, Schalken, and other Dutch 
 mafters ; but I prefer his portraits. I fhall only mention the following from 
 his own defignsj as it fhould feem from the word f&cit, which he annexed to 
 nis name. 
 
 Frederick, king of Poland, a middling lized upright mezzotinto. 
 
 Balthazar Becker, the fame. 
 
 Charles XL king of Sweden, a middling.; fized upright plate, engraved in? 
 ftrokes, dated 16S5. 
 
 The ducbe/s de la Falliere, the fame. 
 
 HUBERT GOLTZIUS. 
 Born, 1526. Died, 1583. 
 This artift was born Venloo, in the United Netherlands ; but was edu- 
 cated at Wirtemburg, where his parents refided. He learned the firft prin- 
 ciples of painting from Lambert Lombard ;■ and afterwards travelled through 
 Germany, France, and Italy. As he was a man of fcience, and a great lover 
 of antiquity, during thefe journeys he collcdled a confiderable quantity 
 of materials upon that fubjecfi, which he afterwards publifhed, in feveral large 
 volumes, confifting o( infcriptions, medals, and other ancient reliques. Part 
 cjf the plates for this work he engraved himfelf. He died at Bruges, a. d. 
 
G O L [ 341 ] G O L 
 
 1583, aged 57. He was twice married ; and the abominable croffhefs and ill 
 temper of iiis fecond wife (ill iuited as a companion to a ftudious man) is 
 faid to have fhortened his days. His paintings are fpoken of with commen- 
 dation ; and are very rare; but as a man of letters, I believe his charafter is 
 moft generally known. He is alfo faiti to have engraved on wood in cbiars- 
 /euro, and marked his prints with the initials H. G. but thefe eno-ravin^s 
 appear to me to belong rather to Henry Goltzius. 
 
 HENRY GOLTZIU S. 
 Born, 1558. Died, 1617. >- 
 
 This extraordinary artift was born at Mulbrach, near Venloo. He was 
 the fon of John Goltzius, a painter on glafs. From his father he learned 
 the firft principles of defign ; and afterwards he became the fcholar of Jaques 
 Leonherd. But it was chiefly owing to the ftrengtJi of his own natural 
 genius, and the iludious application he made to the arts, that he owed the 
 great character he fo juftly obtained. He was taught the art of engraving 
 by Theodore Cuerenhert; and fucceeded very wonderfully in it, notwith- 
 ftanding the difadvantage of a lame hand, which was occafioned by his 
 falling into the tire whilft young. He was firfb employed by his mafler, and 
 afterwards he worked for Philip Galle. Domeftic troubles and ill healdi 
 occafioned him to travel. He went through Germany into Italy, and paffed 
 tinder a feigned name, that his ftudies might not be interrupted. He vificed 
 Bologna, Florence, Naples, and Venice, conftanrly applying himfelf to 
 drawing, from the antique ftatuesj and the. works of the great mafleis. At 
 Rome he refided the longefl; and there he produced feveral excellent en.v 
 gravings, from Polidoro Raphael, and other eminent painters. On his 
 return to his native country, he eftabliflied himfelf at Haerlem, where he 
 engraved many of the drawings, which he had made during his abode in 
 Italy. 
 
 He married a widow lady,, but. it does not appear that he had any chil- 
 dren by her. Her fon, James Maetham, the fruit of her former marriage, 
 was inftrufled by his father-in-law in the art of engraving; and he arrived 
 to a very fuperior degree of excellence. Goltzius died at Haerlem, a. d. • 
 1617, aged fifty-nine. He is faid to have been forty years old before he 
 began to paint ; yet his pidlures are fpoken of with the greateft commenda- 
 tion; but as he did not produce any great number of them, they are, of courfej. . 
 but rarely to be met with. 
 
 This celebrated artift pofieffed great anatomical knowledge; He was per- 
 fe£t mafter of the human figure,, and drew the extremities admirably. But 
 endeavouring, with Sprangei- and others, to correft the ftifi^ taftelefs manner 
 of the little mafters, his countrymen, he frequently run into the other ' 
 extreme, and twifted his figures into fuch affefled pofitions, that they 
 appear difpleafing to the eye. And that pm^e drawing, of which he was fo 
 much mafter, is loft in a bombaftical ftyle, if I may be allowed the ex- 
 preflion, into which he fell, by attempting to imitate that grand gufto, lb 
 confpicuous in the works of Michael Angelo Buonarota. 
 
 His compofitions were often wUd and extravagant; and they appear to be 
 rather die efFeft of ftudy, than of nature, which requires more fim.plicity 
 and truth. They manifeft however his great knowledge in the art -of de- 
 fign*' 
 
G O L [ 342 ] G O L 
 
 fign ; and prove him to have been a man of fuperior abilities. But as an 
 engraver, he dcferves the higheft commendation. No man ever fur- 
 paffed, and few have equalled him, in the command of the graver, and free- 
 dom of execution. He copied the ftyle of Albert Durer, Lucas of Leyden, 
 and other old mafters, with aftonifliing exaftnefs. Sometimes hib engravings 
 are neat in the extreme ; at other times they are performed in a bold, open, 
 manner, without the leaft reftraint. And ic is hard to fay, in which of the two 
 the mechanical part of the engraving is mufi; excellent; the latttr, without 
 doubt, is fuperior in tafle and freedom, exclufively. Small portraits he drew and 
 engraved in a very mafterly manner ; in thefe he united neatacfs, tallc, and 
 excellent drawing. He alfo engraved feveral of his own defigns on wood, in that 
 manner which is difbinguiflied by the appellation o^ chiaro-fcuro. It is 
 performed w'ith three blocks ; one for the outline, which he cur in a free, 
 fpirited manner ; the fecond for the darker Ihadows ; and the third for the 
 lighter tint. In this fpecies of engraving he has fucceeded very happily i 
 and the prints, which he has produced, are truly excellent. 
 
 I fhall mention the following engravings only by this great artift: 
 
 Some of the plates for the life of Chriji, publifhed by Philip Galle. Thefc 
 are middling fized plates, length-ways, from A. Blockland. 
 
 Penifence and Impiety, a large upright emblematical print, from a defign 
 iof his own. 
 
 Tarquin and Lucretia, a fmall plate, length-ways, the fame. 
 
 Thefe are in the ftiff ftyle, which diftinguiflied the German and Flemilh. 
 •engravers of this sra. 
 
 The life of Chriji, on twelve fmall upright plates, from defigns of his own. 
 Great care muft be taken not to purchafe a fet of ftiff copies, which were 
 afterwards made. In thele plates Gokzius has profelFedly imitated the ftyle 
 of Lucas Van Leyden. 
 
 Six large upright plates, known by the name of his mafler-pieces. Thefe, 
 it is faid, he engraved to convince the public, that he was perfectly capable 
 of imitating the ftyles of Albert Durer, Lucas Van Leyden, and other 
 mafters, whofe works were then held in higher eftimation than his own. For 
 he had adopted a new manner, which he juftly thought fuperior; for which 
 reafbn he purfued it; and not, as had been ignorantly imagined, becaufe he 
 could not imitate their works. It is reported, that with one of them, the 
 xircumcifion, which he fmoked, to give it the more plaufible air of antiquity, 
 he aftually deceived fome of the moft capital connoifTeurs of the day ; by one 
 of whom it was bought for an original engraving of Albert Durer. The 
 fubjefts of thefe plates are as follow : 
 
 The annunciation of the Virgin, 
 
 The meeting of the Virgin with Elizabeth y called the Vifitation, 
 
 The nativity of Chriji. 
 
 The circumcrfion of Chriji. 
 
 The adoration of the wife men. 
 
 The holy family. 
 
 A dead Chriji upon the lap of the Virgin, a fmall upright print, beautifully 
 finiflied in the ftyle of Albert Durer. 
 
 A dead Chriji in the tomb, with the four Evangelijis Jlanding by him, a 
 
 middling 
 
G O L, C 343 ] G O L 
 
 middling fized plate, length-ways, from A. Blockland, dated 1583 : a fin- 
 gular print, but very finely drawn. 
 
 Si. Jerom/eated, a middling fized upright plate, from J. Palma, dated 
 1596. I think this is one of the fintft prints by this great mafter. The 
 drawing is admirable, and the engraving is executed with the utmoft freedom. 
 
 Hercules, a Jingle figure ft anding in the f rent, holding his club ; in the back 
 ground are reprejented his labours : a large upright plate, from his own de- 
 fign. This figure is greatly overcharged with markings; the parts are too 
 much divided ; and from want of mafies, it has no efFe<ft. 
 
 The judgment of Midas, a large place, lengch-ways, the fame. 
 
 The Nine Mujes, fmall upright plates, the fame. 
 
 The Five Senjes, the fame. 
 
 The a/fembly of the Gods, a large print, length-ways, on three plates, 
 from Spranger. 
 
 The Venetian Ball, a large plate, length-ways, from Theodore Bernard. 
 
 The antique ftatues of the Apollo Behidere, the Hercules Farnefe, and the 
 Hercules Commodus, middling fized, upright plates. 
 
 A fet of fifty-two middling fized plates, length-ways, for Ovid's Meta- 
 morphofes, from his own defigns. Alfo the gods and goddejfes of antiquityy 
 and the heroes of antient Rome. 
 
 The hoy and dog, a middling fized upright plate, from a defign of his 
 own, an admirable print. This is, with great reafon, fuppofed to be a 
 portrait ; but that it was intended for Goltzius himfelf, when young, is by 
 no means probable. 
 
 His own portrait, a large upright plate. 
 
 Henry IV. of France, a middling fized upright plate^ 
 
 Cuerenhert the engraver, a large upright plate. 
 
 Joan Zurenus, a very fmall uprigTit plate. 
 
 Joan Bollius, the fame. 
 
 The Necromancer, a middling fized upright oval print, in chiaro-fcuro. 
 
 Night in her chariot, the fame. 
 
 Pomona and other goddejfes, the fame. 
 
 Jupiter, Neptune, and other gods, the fame. 
 
 See the mark, compofed of an H. and a G. joined together, which this 
 mafter frequently ufed, when he did not fign his name at length. 
 
 JULIUS GOLTZIUS. 
 
 Flourifhed, 1580. 
 
 This artift was probably of the fame family with Henry Goltzius, menti- 
 oned in the preceding article, and apparently inftrufted in the fchool of the 
 Galles, whofe ftyle of engraving he feems chiefly to have imitated. His 
 figures are by no means correftly drawn, or executed with the leaft tafte. 
 He engraved upon copper only. 
 
 A great part, if not all, of the figures in a book, entitled. Habitus Vari- 
 orum Or bt:, Gentium, by Joan Jacq. Boifl"ard, a fmall folio, 1581. 
 
 The good and bad Shepherd, a fet of middling fized prints, lengthways, 
 from Martin de V05, 
 
 Chrifi 
 
GOO [ 344 ] G O U 
 
 Chriji appearing to Mary Magdalen, a middling fized upright plate, from 
 Fred. Sucaris. 
 
 Jaques and Conrad Goltzius are both of them mentioned by Florent 
 le Comte, as engravers. He informs lis, that they worked after tli^ dcfigns 
 of Henry Goltzius j but he has not fpecilied the iubjedts, which are 
 executed by them. 
 
 ABRAHAM GOOSE. 
 
 Flourifhed, 1627. 
 
 One of the map engravers, employed by the induftrious John Speed, for 
 Iiis folio edition of maps, publiflied 1627. Thefe performances require no 
 comment. Europe, Afta, Africa, America, Hungary, Perfia, 6cc. are by 
 him. 
 
 HENRY GOUDT. 
 
 Flourilhed, 1610. 
 
 This extraordinary artift was born of a noble family at Utrecht. He Is 
 Ttfually called Count Goudt, and was a knight of the Palatinate. Being 
 paffionately fond of the arts, particularly painting and engraving, and 
 defirous of engaging in them, he applied himfclf diligently to drawing, and 
 made a great proficiency therein. He went to Rome, to examine the works 
 of the great matters in that city ; and there contrafted an intimacy with 
 Adam Elfbeimer, a painter of confiderable reputation ; and endeavoured 
 to imitate his ftyle. He purchafed feveral pictures of that artift, feven of 
 -which he alfo engraved. 
 
 On his return to his native country, a young woman who was in love 
 with him, and defirous of fixing his afFeftions upon her, gave him in his 
 drink a love philtre; which however terminated in a very melancholy 
 manner, by depriving him totally of his fenfes ; and in the dreadful ftate of 
 idiotifm, he dragged on a miferable hfe. It is remarkable, that though loft 
 to every other fubjedl, when paintLng was fpoken of, he would difcourfe 
 upon it in a very rational manner. 
 
 He worked with the graver only, in a very neat ftyle, and produced a 
 moft powerful effeft, not by ftrengthening the ftrokes, according to the ufual 
 method, but by crofling them with additional ftrokes, equally neat, and 
 that five or fix times, one over another, in the deep ftiadows. Confidering 
 the precifion with which he executed his engravings, the freedom of 
 handling the graver, which may be difcovered in them, is v«ry aftonifiiing. 
 The weeds, and other parts of the fore ground, in that admirable print of 
 the Ceres, are verv finely exprefled. The heads of the figures are corredlly 
 drawn, and the other extremities are managed in a judicious manner. The 
 following are the feven prints by him, from Ellheimer, mentioned above : 
 
 Ceres drinking from a pitcher. An old woman appears holding a candle at 
 the door of the cottage, and a boy naked, Jlanding by her, is laughing, and 
 pi/intiirg at the goddefs ; for which contempt he was inetamorphofed by her into 
 a frog, a middling fized upright print. The powerful and ftriking effedl of 
 li!xis .engraving cannot be properly defcribed. The very deep ftiadows are 
 
 perhaps 
 
G O U [ 345 3 G O U 
 
 perhaps rather too fudden upon the ftrong lights, in feme few inftances ; but 
 in the fine imprefTions this is by no means fo confpicuous, as in thofe after the 
 plate had been retouched. This print was well copied by Hollar; who, 
 with the point only, has given us all the effc6t, though not the neatnefs, of 
 the original. It is diftinguiflied alfo by the name of riie/orf^rj. 
 
 The flight into Egypt, a large landfcape, length-ways : a 7iight Jcene, in 
 which the moon and ftars are introduced with great fuccefs. 
 
 The angel with 1'obit, who is drawing a fijlo by his fide, a fmall plate, 
 length-ways. The back-ground is a landfcape ; the weeds in the fore- 
 ground, and the branches of the trees in front, as well as the foliage and 
 weeds hanging from them, are beautifully exprefled. He fails mod in thofe 
 parts, where the graver alone is by no means adequate to the undertaking ; 
 namely, the diftant woods, and aflemblage of trees, which gradate one from an 
 other, and require that freedom of determination, which the point only 
 can give : when executed with the graver, they always appear flat and heavy. 
 
 The angel with Tobit, crojftng a ftream of water, Tobit holds the fifh 
 under his arm. The back-ground is a landfcape. This is a fmall print, 
 length-ways, confiderably lefs than the preceding. Hollar copied this print 
 with much fuccefs. 
 
 Baucis and Philemon entertaining Jupiter and Mercury, a fmall plate nearly 
 fquare. 
 
 A landfcape, called the Aurora, reprefenting the dawn of day, a. fmall print, 
 length-ways. The effeft is very beautiful. 
 
 The beheading of St. John inprifon, a very fmall upright oval print, which 
 is by far the fcarceft, 
 
 JOSEPH GOUPY. 
 
 Flourifhed, 1760. . 
 
 This painter refided in London, where he died fome few years fince. He 
 was a man of genius, and etched fevcral very fpirited plates, fome few of 
 them from compofitions of his own. He adopted the ftyle of Salvator Rofa, 
 and particularly excelled hi landfcapes, which he executed with great tafte, 
 and in a very mafterly manner. The following are by him : 
 
 Mutius Scavola burning his hand, in the prefence of Porfenna, a middling 
 fized plate, length-ways. 
 
 Diana hunting with her nymphs, the fame, from Rubens. 
 
 Zeuxis painting a woman who is nearly naked, the fame, from Solimene. 
 
 A fet of eight landfcapes, from Salvator Rofa. 
 . Variety of other fubjedts, from different mafters. 
 
 G O U R A N D. See Goyrand. 
 
 G O U R M O N T. 
 
 Flourifhed, 
 
 The name of an obfcure French engraver, affixed to the portrait of C&^r/« 
 ^'Oi.. I. y y duh 
 
G O U [ 346 ] G O Z 
 
 duke of Bourbon, Sec. His works were chiefly, I believe, confined W the 
 decorations of books. 
 
 GOUSBLOOM, 
 
 Flourifhed, 
 
 An obfcure engraver of no great merit, whofe name is affixed to the por- 
 trait of Leonard Vander Goes, &c. 
 
 G. VANDER GOUWEN. 
 
 Flourifhed, 17 16. 
 
 An engraver of no great note, who was apparently a native of Holland, 
 and refidcd at Amfterdam. By him we have fnme had prints for the Bible, 
 publifhedat that city, a. d. 1720, from the defigns of Picart and others. He 
 alfo engraved feveral ornamental frontifpieces, with figures, and other works 
 of the fame trifling kind, for the bookfellers. The name of Gouwt is alfo 
 affixed to one or two plates, in the fame work, which is meant perhaps for 
 GoHwen, hwx. mis-fpelt. The exadt fimilitude, between the fly le of engraving 
 on both thofe plates, feems greatly to favour this conjedlure. 
 
 JOHN JOSEPH VAN GOYEN, 
 
 Born, 1596. Died, 1656. 
 
 This excellent artifl: was a native of Leyden. He was the difcipfe of 
 William Gerretz, and afterwards fludied under Efaius Vander Vclde. H« 
 excelled in painting landl'capes, cattle, and fea-pieces; and his piftures are 
 held in the higheft eftimation. The works of this great mafler are too well 
 known, to render any comment upon them necefTary in this place. He re- 
 lided chiefly at the Hague, where he died, a. d. 1656, aged 60. He etched 
 fbme few fpirited land/capes from his own compofitions. 
 
 C L A U D li G U Y R A, N D; 
 
 Flourifhed, 
 
 This arcift was a native of France ; but he refided at Rome, where he en- 
 graved a fmall head with an ornamental border, to which he figns his name, 
 " CI. Goyrand Galls, fculpfit Romje." This is all graved in a near, taftelefs 
 ftyle. He does not appear by any means, to have handled the graver with 
 facility ; but we have a variety of neat, fpirited etchings by him, which con- 
 fift of landi'capes, views of ruins, gardens, and a variety of other fubjefts. 
 He engraved from Stella, Quefnel, Mauparche, Callot, &c. 
 
 J. GOZANDURUS. 
 
 Flouriflied, 
 A name, mentioned by Florent le Comre as an engraver of ornaments and 
 grotef que figures. None of his works are fpecified j neither am I acquainted 
 with, them 
 
 FRANCESCO 
 
G R A C 347 1 G R A 
 
 FRANCESCO DE GRADO. 
 
 Flourifhedj 1690. 
 An Italian artift, who, according to his own fignature, was a native of Na- 
 ples, where he appears to have chiefly refided. He was a very indifferent 
 engraver, and woriced, I believe, entirely for the bookfellers j and executed 
 his plates with the graver only, in a ftiff, taftelefs ftyle. By him we have the 
 portraits of illuftrious perfonages, publifiied at Naples, a. d. 1693. He 
 alio did part of the plates (or Bellori's Lives of the Painters, Sculpors, &c. 
 
 JOHN ANDRE GRAF. 
 
 Flourilhed, 1576. 
 A German painter, who is alfo faid to have engraved ; but this point, in 
 fny opinion, is by no means clearly proved. The prints marked with an 
 A. and a G. joined together, in the manner exprefTed on the plate at the 
 -end of the volume, are attributed to him. 
 
 CAMILLIO GRAFFICO. 
 
 Flnnrinied, 1588. 
 
 This artift was a native of Friuli in Italy. He engraved feveral devotional 
 iubjefts ; and worked entirely with the graver, in a ftyle greatly refembling 
 that of Cornelius Cortj but his engravings are by no means equally well exe- 
 cuted, or fo correflly drawn. We have by him, a holy family, wherein the 
 Virgin is reprefented giving the breaft to the infant Chrift, a large upright 
 plate, from Bernardinus Paflarii. He was an ingenious man, and invented 
 certain fountains of brafs, which would caft water upwards into the air ; and 
 brought them to very great perfedlion. It is faid, they would continue plav- 
 ing four and twenty hours, being fupplied from the midfl:, by a very curious 
 contrivance. They were bought by feveral of the nobility to adorn their 
 palaces J and Graffico amafTed a confiderable fun) of money by meajis of 
 this invention. 
 
 GRAFTON. 
 
 Flourifhed, 
 An Englifli engraver, fays Bafan, by whom we have feveral mezzotinto 
 prints. He has not, however, fpecified any of them ; nor can I meet with 
 any account of fuch an engraver. I am inclined to think, Balan has made 
 fonne miftake in the name. 
 
 CONRAD GRAHL. 
 
 Flourilhed, 1620. 
 This artift was a native of Leipfic. According to profefTor Chiift, the 
 mark compofed of a C. and a G. as expreffed upon die plate at the end of 
 the volume, is attributed to him. 
 
 Y y 2 L E 
 
G R A [ 348 } G R A 
 
 L E GRAND. 
 
 Flourifhed, 1750. 
 
 An engraver of no great note. His bed prints zre vipiettes, and /mall 
 
 Juhje^ls-, which he engraved from the defigns of Gravelot, Eifen, and other. 
 
 mafters.. Several of the plates for the new edition oi Ovid's Metamoi-phojes, 
 
 lately publilhed at Paris, are by him. He alfo engraved fome large 
 
 plates of ruins, &c. fufficiently neat, but without any great tafte. . 
 
 JACQUES GRANDHOMME, or GRANTHOMME.. 
 
 Flourifhed, 1600. 
 
 This artift was a native of Heidelberg. According to profeflTor Chrift, 
 he was pupil to Theodore de Bry ; which feems very probable; for his ftyle 
 of engraving greatly refembles that of De Ury. His beft works are in the 
 portrait line. His plates are executed with the graver only; they are fuf- 
 ficiently neat ; but ftifF and laboured; and do not difcover any marks of a 
 fuperior genius; though fome of them are by no means entirely deflitute 
 of merit. 
 
 He generally ufed a cypher, compofed of an I. and a G. joined together, 
 or elfe an I. with a G. an H. and a T. hiici wovcji with each other. See both 
 thefe marks, exprefled upon the plate at the end of the volume. Profeflbr 
 Chrift has, by a ftrange miftake, confounded Grandhomme, with John 
 Van Vliet, the difciple of Rembrandt. 
 
 I 111 all notice the following prints by this; mafter : 
 
 The portraits of the theological dehors and reformers of the church, or the 
 hereftarch, as they are ftyled, from a painter whofe initials are J. M. F. 
 
 T\\Q infant dauphin of France flrangling a/erpent, 2i. fmall whole-length, 
 dated 1 60 1. 
 
 Henry Smetius, a fmall upright oval, to which he adds the word fecit, which 
 feems to imply, that it was alfo drawn by him. 
 
 The death of Adonis, a very fmall upright plate, apparently from his owa 
 defign. 
 
 Venus and Adonis, its companion, the fame. 
 
 The murder of the innocents, a fmall upright print. 
 
 The apoftles, twelve fmall upright plates, from his own defigns. 
 
 The rape of Helen, a fmall plate, length-ways, copied from the print which 
 Marc. Antonio engraved after Raphael, &c. 
 
 D. D E S GRANGES. 
 
 Flouriflied, 1634. 
 
 An engraver of no note, who apparently refided in London. His name 
 is affixed to fome very indifferent frontifpieces, books and plates -, among 
 others, the ornamental title for the fecond edition of a fmall oftavo publi- 
 cation, entitled. Bethel, cr aFcnnfar Families, dated 1634, is by him. 
 
 HENRY 
 
G R A [ 349 J G R E 
 
 HENRY GRAVELOT. 
 
 Born, Died, 1773. 
 
 This ingenius artift was a native of France ; but he refided much in Lon- 
 don, about the year 1720. He was a man poflefled of great fertility of in- 
 vention, and compofed with much judgment, fmall fubjefts for vignettes, and 
 other book ornaments. He drew alfo admirably ancient buildings, tombs, 
 and pro/pe£is ; and he was employed in all theie branches by the artifts in 
 London. He had been, it feems, in Canada, as fecretary to the governor of 
 that province. But the climate difagreeing with him, he returned to Paris, 
 from whence he came into England, invited by Claude du Bofc. He etched 
 a great variety of plates for books ; among others, feveral for Sir Thomas. 
 Hanmer's edition q>{ ShakeJ-pere, in quarto; fome of which he defigned him- 
 felf; bui the greater part of them were compofed by Hayman. Alfo the cuts 
 to Theobald's Shakefpere, in oftavo, from his own defigns. The large print of . 
 Kirkftall Abbey, is a fine fpecimen of his abilities, as an engraver. He re-? - 
 turned to Paris, where he died, a. d. 1773, aged 74. . 
 
 G RAY. 
 
 Flouriflied, 
 
 He was apparently a native of England, and certainly refided at London,: 
 where he engraved a fet oi views, middling fized plates, length- ways, iaa 
 flight, coarfe ftyle, without any tafte. The work bears this title : ^Thirty 
 different Draughts of Guinea, by William Smith, furveyor to the Royal African 
 Company of England, fold by C. Clark, engraver and printfeller, Gray's- 
 Inn, The frontifpiece is by far the beft print. It reprefents an elephant ; and 
 is very freely etched, in a flyle greatly refembling that of Hollar ; but it is- 
 evidcntly not executed by Gray. 
 
 PETER GREBBER. 
 
 Plouriflied, 1600. 
 He learned the firft principles of painting from his father, Francis Peter 
 Grebber ; after which he became the difciple of Henry Goltzius. He ex- 
 celled in painting hiftory and portraits ; and his tafte is highly commended. 
 For his amufement, he engraved, our Saviour and the woman of Samaria^ ^ 
 fmall upright plate, from a compofition of his own. 
 
 J E R O M G R E F F. 
 
 Flourifli.ed, . 
 This artift was born at Franckfort j and, according to fome authors, he 
 learned the art of painting and engraving from Albert Durer. The prints 
 we have by him are wooden cuts, copied from Albert Durer, with fur- 
 prifing exaftnefs. Hence perhaps arofe the idea of his being the pupil 
 of that mafter. We have by him. 
 
 The Jfocdypfe of St. John, in folio, from Albert Durer, the fame fize as 
 
 the. 
 
G R E [ 350 ] G R E 
 
 the originals, and admirably well executed. See his monogram, compofed 
 of an I. an M. and an F. on the plate at the end of the volume. 
 
 J. GREEN.. 
 
 Flourifhed, 1758. 
 
 This young artift was a native of Owen in Shropfliire, He was pupil to 
 Bafirc, the map engraver. He fucceeded bell in iandfcapcs j and apparentl}', 
 had he been under a more able tutor, might have made a confiderable pro- 
 grefs in the arts. He was employed by the Univerfity of Oxford, to engrave 
 their Almanacks. We have alio by him a variety of views, and the plates 
 for Borlafe's /ifitiquities of Cornwall, together with fome few portraits. 
 
 CARLO GREGOKl. 
 
 Flourifhed, 1748. , 
 
 A modern Italian engraver. Part of the plates in the Mujeo Fiorentim 
 are by him, and feveral of thofe in the colleftion from the cabinet of the 
 marquis Gerini; alfo the antique Jiatues in the gallery at Florence, with a 
 great number of portraits. 
 
 Carlo Bartolomeo Gregori, and Ferdinando Gregori were, I 
 believe, the fons or Carlo Gregori, and afllfted him in the above-mentioned 
 works. 
 
 M. GREISCHER, or GRYSCHER. 
 
 F'louriflied, , , 
 
 This engraver was a native of Germany. By him we have feveral prints 
 from various mafters ; among others, the Virgin feated in a land/cape, holding 
 •the infant Chrift, and St. John is reprefented ftanding by her, from Fre- 
 deric Baroccio. 
 
 JOSEPH GREUT. 
 
 Flourifhed, 
 
 This artifl apparently flourifhed about the end of the lafl century, and 
 feems chiefly to have been confined to portraits, which he executed in a neat 
 flyle, entirely with the graver. They are, by no means, devoid of merit. 
 I fhall mention only the portrait of Hieronjmus BartholomaeuSf a fmall 
 upright plate. 
 
 MATTHEW GREUTER. 
 Flourifhed, 1585. 
 Strange confufion has been made, refpt cling the time of this artift's birth. 
 In the Abecedario, it is faid to have been in the year 1566. But Bafan and 
 other authors give us the fame year for the birth of his fon. I am in- 
 clined to agree with the latter account -, for the engravings of Matthew 
 Greuter are, feveral of them, dated as early as 1582; at which time 
 he could be only 16 years old. And though it is not impoflible, but that 
 
 he 
 
G R E C 351 ] G R E 
 
 he might engrave at that early age, yet it is not likely, that he fhoiild have 
 worked in fuch perfedlion, or have performed (o many plates, as we find by 
 him about that time. The generality of authors are however agreed, that 
 he was a native of Germany j though in the Abecedano, he is faid to have 
 been born at Strafburgh, in Alface. He is fuppofed to have learned the art 
 of engraving in his own country ; after which he went to Italy for improve- 
 ment, where he executed a variety of plates. The time of his death is 
 uncertain, unlefs we agree with the Abecedario; in which it is faid to have 
 been, a. d. 1638, at the age of 72. It is highly probable, that he was living 
 between the years 1620 and 1630 ; for he engraved, according to L,e Comte, 
 a cavalcade, in conjunflion with Lucas Vorfterman, whofe principal works 
 were executed during that period. 
 
 With refpedt to Matthew Greuter, he was a man of genius j and, though- 
 he never rofe to any very high degree of eminence, many of his engravings 
 poiTefs great merit. His drawing is, by no means, corre£t, efpecially with 
 refpeft to the extremities of his figures, which are in general heavy, and not 
 well marked. He fometimes executed his plates with the graver only, in a 
 very neat ftyle ; and fometimes he etched, and finilhed them with the graver, 
 in a flightcr mannerj when he did not fign his name at length, he fub- 
 ftituted the initials thus : M. G. F. the f, as. ufuid Handing for fecit ; and 
 generally he added the date. 
 
 Venus naked ft anding on a globe, with a variety of figures, emllematical of 
 'virtue and vice, very neatly finilhed, and entirely with the graver, marked 
 M. Greuter inv. et fecit, 1587, a middling fized place, length- ways. 
 
 Mary Magdalen feated in a landfcape, holding a book, leaning her right hand 
 upon afhull. M. G. F. 1584, from S. Gaetano. 
 
 A fet of fm all plates oiinjecis, etched in a ftyle, bearing fome refemblancc 
 to that of Gay wood. 
 
 The magnificent cavalcade of the emperor Charles V. engraved by him, con- 
 jointly with Lucas Vorfterman, a large print, length-ways, on feveral plates. 
 
 The burning of Troy, a middling iized plate, length- ways, mentioned by 
 Bafan, with the painter's name. 
 
 He alfo engraved feveral portraits ; among them, is that 0^ pope Sixtus V, 
 with his coinage, as an ornamental border. Alfo Innocent X. the fame ; 
 others with their monuments, and fmall ornamental figures, all middling fized 
 upright plates. 
 
 JOHN FREDERIC GREUTER. 
 
 Flouriflied, 1620. 
 B-afan, as before obferved, has given the year affigned by the author o£^- 
 riie Abecedario for the birth of M. Greuter the father, to the fonj who, fays 
 he, was born at Franckfort, a. d. 1566. Yet this afitrtion is alfo attended 
 with much difficulty. I have leen engravings by J. F. Greuter, as late as 
 1644; at which time he muft have been 78 years of age. Yet it is gene- 
 Bally allowed, that he died at the age of 72-: 1 rather fufpedl, there was another 
 artiil of the fame faxiily, whofe name was Frederic ; for I have remarked, that 
 the prints, with the latter dates, though fomething refemblingthofe which pre- 
 cede them, are not fo well executed, and have Frederic Greuter only, without 
 
 the 
 
G R I [ 352 ] G R I 
 
 the firfl: baptifmal name, John. But this I muft leave to better judgment. 
 John Frederic Greuter certainly refided at Rome, where he engraved a va- 
 riety of plates. He worked with the graver only, in a neat, clear ftyle; but 
 without much tafte. His drawing is often incorreft, and the extremities of 
 his figures are very poorly exprefled. 
 
 I Ihall mention the following only by this artift : 
 
 The Virgin and Child, with St. Francis kneeling, a middling fized upright 
 plate, arched at the top, from a defign of his own, dated 1623. 
 
 An emblematical Jubje SI , reprefenting the growth of Chriftianity, a large 
 plate, length-ways, from Romanelli. 
 
 The death of St. Cecilia, a fmall plate, nearly fquare, from Dominichino, 
 
 T\y<i. forge of Vulcan, a large plate, length- ways, from LanfranchL 
 
 A battle, from Anthony Tempefta, a large plate, length-ways. 
 
 The portrait of a cardinal, who is feated, with Uncc boys, portraits alfoj 
 a fmall upright plate. 
 
 He alfo engraved feveral other pcriraits, and a variety of other fubjefts, 
 from different mafters, as, Guido, Vouet, Stella, Andrea d'Ancone, &c. 
 
 See the mark attributed to him, on the plate at the end of the volume. 
 
 K. GreIjter is fubfcribed to a print, repreknung Hercules in the garden 
 of the Hejperides, from Pietro da Cortona. I fufpeft the K. was fubftituted 
 by miftake ix>v the F. I do not by any means believe it to be the work of 
 anotlier artift, with the fame family name. 
 
 Joseph Greuter is mentioned byFlorentle Comte as an engraver j but 
 i am not acquainted with his works. 
 
 SIMON GRIBELIN. 
 
 Born, 1661. Died, 1733. 
 
 This artift was born at Paris, where he learned the art of engraving* 
 Coming into England, he worked for the bookfellers, and was near twenty 
 years, before any particular notice was taken of his engraving. The tent of 
 Darius, which he copied from Girard Edelinck's print after Lc Brun, was 
 the firll plate, that raifed his reputation to the public view. He afterwards 
 engraved the cartoons, and engaged in other confiderable undertakings. But 
 as he was one of thofe painful, plodding artifts, who are obliged to fubftitute 
 laborious formality, and mechanical precifion, in the place of tafte, much 
 pleafure cannot be expefted, from the examination of his works, by the con- 
 noiffeur, or profit by the artift. They are executed entirely with the graver, 
 in a cold, neat ftyle. His drawing is incorreft ; the heads of his figures 
 'want expreflion, in general ; and the other extremities are by no means well 
 marked. 
 
 He caught cold, by going to fee the king in the houfe of lords, and died 
 in confequence of it, three days after, aged 72. He left a fon and a daugh- 
 ter. The following engravings are by him : 
 
 The cartoons, feven fmall plates, length-ways, from the pictures of 
 
 Raphael, then at Hampton court, but now at the Queen's palace. Thefe, I 
 
 I think, 
 
G R I [ 353 1 G R I 
 
 think, are his beft prints. Upon the title is engraved the portrait of queen- 
 Anney and the reprefentation of the room in which the pidurcs hung. 
 
 S'whiftorical flates, from the pidures in the royal colledtion at Kenfing- 
 ton, painted by Tintoret and other mailers. 
 
 The ceiling at IFhitehally after Rubens. 
 
 He alfo engraved feveral portraits, and a great variety of other fubjedls, 
 from different mafters. 
 
 G R I B E L I N. 
 
 Flourifhed, 1733. 
 He was fon to Simon Gribelin, mentioned in the preceding article. He 
 was alfo an engraver, and followed his father's ftyle. He went to Turkey, 
 in the retinue of the earl of Kildare, to dravf vieivs of the couniry ; but tie 
 returned in two years. 
 
 JOHN GRIFFIER. 
 
 . Born, 1645. Died, 17 18. 
 This celebrated painter of landscapes, cattle, and ruins, was born at Am- 
 fterdam, and became the difciple of Roland Roghman. He refided a confider- 
 able time in England, where he met with great encouragement from the 
 duke of Beaufort, and other noblemen. His pictures are held in the higheft 
 eftimation. By him we have feveral plates of birds and other animals, etched 
 in a very fuperior ftyle, from Barlow. They manifeft great freedom of the 
 point, and an excellent tafte. The animals are finely drawn, with much 
 fpirit ; and the effeft is very clear and pleafing. 
 
 J A C Q_U ES GRIGNON. 
 
 Flouriflied, 
 Florent le Comte calls him John Grignon. He was a native of France, 
 and flourilhed towards the end of the laft century. His beft works, I think, 
 are his portraits, which he executed entirely v/irh the graver ; and fom.e of 
 them do him great credit. That of Francis Maria Rhima, an ecclefiafiic, a 
 fmall upright oval plate, is executed in a very clear, good ftyle. His 
 hiftorical plates, and fubjedts with figures, are by no means equally me- 
 ritorious. They are dark and heavy, without effeft, and, in general, very 
 incorredly drawn. He engraved fome few of the plates for a work entitled 
 Les Tableaux de la Penitence, in fmall folio fize, from the defigns of Chauveau. 
 
 GIOVANNA FRANCESCO GRIMALDI, called BOLOGNESE. 
 Born, 1606. Died, 1680. . 
 
 This celebrated artift was born atBologna, and became the difciple of Anni- 
 bale Carracci ; from whofe fchool he went to Rome, where he was encou- 
 raged by the patronage of Pope Innocent X. He painted hiftory with great 
 fuccefs ; but he more particularly excelled in landfcapes. He alfo etched a 
 
 VOL. I, Z z confide rable 
 
G R I [ 354 ] G R U 
 
 'confiderable number of the latter, from his own defigns. They are finely 
 executed with great freedom, tafte and fpirit. The compofuions are grand, 
 and the effed of them is produced in a very mafterly manner. 
 
 ALESSANDRO GRIMALDI. 
 
 Flouriflied, 1670. 
 
 He was thefon and difciple of Giovanna Francefco Grimaldi, mentioned in 
 the foregoing article. He imitated the ftyle of his father ; but never equalled 
 him in merit : yet his works are held in no fmall degree of eflimation. By him 
 we have fome few engravings; and among them, the brazen Jer pent, from a 
 compofition of his own, which, though (light, is a fpirited, free etching, in 
 the ftyle of a painter. 
 
 JOHN GROENSVELT, or GROENVELT. 
 
 Flourifhed, 
 
 He etched, fays Bafan, feveral views and land/capes after Berghem, Van 
 Gogen, and other mafters. The name J. Groenvelt I have feen affixed to 
 feveral portraits ; among others, to that of an anonymous lady, from Van- 
 dyck, exceedingly neatly engraved ; but in a ftiff, taftelefs ftyle. The 
 face is almoft entirely finiihed with fmall dots. 
 
 GERARD GRONINGUS. 
 
 Flouriftied, 
 
 By this artifti have feen a fetof ten middling fized emblematical plates, 
 length-ways, reprefenting the life of man from ten to a hundred years. They 
 are etched in a flight, dark manner. The drawing of the figures is incorredl, 
 and the outlines are hard and heavy ; yet, notwithftanding all thefe faults, there 
 is fomething mafterly in their appearance; and fome of the compofitions are 
 by no means devoid of merit. They are marked " Ger. Gronigius invent. 
 " faciebat." Each plate has a Latin and French defcription in verfe 
 underneath it. 
 
 MADEMOISELLE GROSNIER. 
 
 Flouriflied, 1760. 
 
 This ingenious lady, a native of France, applied herfelf to the arts ; and 
 by her, according to Bafan, we have feveral plates, after different mafters. 
 
 HANS, or JOHN BALDUNUS, or BAUDOIN GRUN. 
 
 Flouriflied, 1 5 1 1 . 
 
 To this doubtful mafter profeflTor Chrift attributes thofe engravings, marked 
 
 with an H. a C. and a B. joined together cypher-ways, which are ufually 
 
 put upon a fmall tablet with the date below, and a fmall branch of a tree at 
 
 the top ; but he feems to build his conjefturcs upon a very flender founda- 
 
 2 tion. 
 
O R U [ 355 ] G U Q 
 
 tion. Grun in Germarij is equivalent to the word Green in Englidij he 
 therefore fuppofes,- it may have been die defign of the engraver to exprefs 
 his name by the fmall branch. I have not a doubt of his being the fame 
 artift with Hans or John Baldung, whofe cypher at lead was the fame, and 
 to which name the reader is referred. 
 
 MATTHEW GRUNWALD. 
 Born, Died, 1510. 
 
 ProfefTor Chrift afcribes to this artift, who, he informs us, was a native of 
 Afchafenbourgh, fome of thofe prints, which are marked with a cypher, 
 compofed of an M. and a G. in the manner reprefented on the plate at the 
 end of the volume. The works of this mafter are not fpecified ; but he is 
 faid to have imitated Albert Durer. 
 
 HANS, or JOHN GRUNWALD. 
 
 Flouriflied, 
 
 Probably of the fame family with the preceding artift. His cypher is 
 compofed of an H. and a G. joined together feveral ways, but especially 
 with the G. upon the cro(s bar of the H. in the manner reprefented on 
 the plate at the end of the volume. By him we have the Virgin and Childy 
 a fmall upright print, incorredtly copied from Albert Durer. A woman and 
 ajatyr, with another woman Jlr iking at her^ and a man warding off the blow., 
 a middling fized upright plate, copied the reverfe way from Albert Durer j 
 but not correftly. 
 
 We have alfo fome wooden cuts by this artift ; among others, a fmall 
 landjcape, length-ways, with a rock, and a view of the fea. 
 
 DERICK, or THEODORE GRYP. 
 
 Flouriftied, 1620. 
 
 By this engraver, a native, I prefume, of Holland, we have the map of 
 Tartary, for John Speed's Geography. The artift has introduced fome fmall 
 figures, boldly engraved, in a ftyle much refembling that of Claude du 
 Bofc : but they are very incorreftly drawn, and otherwife poflefs but 
 little merit. 
 
 GIACOMO GUAVANA. 
 
 Flourifhed, 1720. 
 This artift was a painter, born at Venice, where he refided. According 
 to Bafan, he etched feveral \^rgt fabulous JuhjeSfs, from compofitions of his 
 own ; but the particular ftories are not fpecified. 
 
 MICHAEL VANDER GUCHT. 
 
 Born, 1660. Died, 1725. ^vj 
 This artift was a native of Antwerp, and a fcholar of one of the Bouttats, 
 
 Z z 2 It 
 
G U C [ 356 ] G U E 
 
 It is uncertain at what time he came into England. Here, however, he 
 met v/ith encouragement, and refided in London. He was greatly afflidled 
 with tlie gout, which diforder put an end to his life, Oftober 16, 1725. He 
 died at his houfe in Bloomfbury, and was buried at St. Giles's. His chief 
 employment was to engrave anatomical figures ; but we have many other 
 fubjefts by him ; as, a very large print, length-ways, of the royd navy, from 
 Bafton. He alfo engraved feveral portraits ; among others, that of Mr. Savage. 
 The ingenious and induftrious Mr. Virtue was a difciple of this artift. 
 He left two fons, Gerard and John. 
 
 JOHN VANDER GUCHT. 
 Born, 1697. Died, ,,-^ 
 
 He was one of the fons of the above-mentioned mafter ; and learned the 
 art of engraving from his father j but he received inftruftions in drawing 
 from Lewis Cheron, and completed his ftudies at the academy, where he 
 defigned from nature. He was employed by Chefeld to draw and engrave 
 the plates for his OSfology, a work which does much honour to the artift. He 
 is faid to have had a great fliare in the engraving of the Cupola of St. Paul's . 
 There are fix academy figures by him, from the drawings of Cheron, which 
 fhew, that he had more knowledge in the art of defign than power of exe- 
 cution with his graver. A prodigious number of bool<. plates were engraved 
 both by this artift and by his father, but they are foreign from my purpofe. 
 
 Gerard Vander Gucht, the other fon of IMichael Vander Gucht, alfb 
 engraved for the bookfellers ; but he did no work of any material confequence, 
 
 J A QJJ ES GUCKEISEN. 
 Flourifhed, 1599. 
 This engraver refided at Cologne, about the conclufion of the fixteenth 
 century, where he engraved feveral plates ; but the fubjedls are not fpecified. 
 His mark, compofed of an L and a G. may be feen upon the plate of mo- 
 nograms, at the end of the volume. 
 
 G U E L O R D. 
 
 Flourifhed, 
 A native of France, who flourifhed at the commencement of the prefent 
 century. He engraved, according to Bafan, feveral prints from Oudry, 
 P. Van Bloemen, &c. 
 
 N. G U E R A R D. 
 
 Flourifhed, 1700. 
 
 He was a native of France, and an artift of no great note. We have by 
 him fome of the plates for a work of fla7is and views, entitled Les Edifices 
 Antiques de Rome, publidied at P.aris, by Antoine Defgodetz, 1682, in folio; 
 the frontifpiece to a book of ornaments, publifhedby Peter Bourdon, at Paris, 
 1703} and a fmall plate, length- ways, reprefenting /<?/</iVrJ marching, from 
 
 his 
 
G U E [ 357 ] G U E 
 
 his own defign. In this, as well as in feveral of his other works, he has 
 attempted to imitate the ftyle of James Calloti but he falls far fliortof that 
 inimitable mafler. 
 
 GUERCINO. See Barbieri. 
 
 • • RENE GUERNIER. 
 
 Flourifhed, 
 
 The name of an engraver, cited by Florent le Comte, who informs us, 
 that he excelled in ornaments and grot e/que figures. I am not acquainted with 
 his works. 
 
 LEWIS DU GUERNIER, 
 Born, 1677. Died, 1716. 
 
 He was a native of France, and the difciple of Chatillon at Paris. He 
 came into England a. d. 1708 ; and it is faid, that he improved confider- 
 ably in his drawing by frequenting the Academy, which at that time was 
 fupported by the private contributions of the artifts only. He was chofen 
 direftor of it ; in which poft he continued till his death, which was occa- 
 fioned by the fmall pox, in September 17 16, he being only 39 years of 
 age. Guernier was a man of fome genius j but whether through indo- 
 lence, or want of time, he neglefted the improvement of the mecha- 
 nical part of his engraving, I cannot tell j certain it is, that he never acquired 
 any tolerable maflery of the point or the graver. His works are coarfe and 
 heavy ; and that merit, which is really to be found in them, is hid, as 
 it were, by the rough garb, with which they are cloathed. His labours were 
 chiefly confined to the bookfellers ; and it is poffible they might procure him 
 much more profit, than credit. He was concerned in the engraving of the 
 battles of the duke of Marlborough, conjointly with Du Bofc. He alfo en- 
 graved a middling fized print, length-ways, reprefenting Lot and his tvjo 
 daughters, from Michael Angelo Caravagio, at the defire of lord HallifaXi 
 but the engraving does him no great honour. 
 
 WILLI AM GUEROULT. 
 
 Flourifhed, 1564. 
 
 I have feen an oftavo volume, containing a fet of fmall neat wood cuts, 
 entitled. Figures de la Bible, or Subjedls from the Bible, illujlrees de Huic- 
 tains Francois, illuftrated by verfes of eight lines in French, by Wilhani 
 Gueroultj who dedicated it to Catherine de Medicis, queen of France, a. d. 
 1564. 
 
 JOHN GUERRA. 
 
 Born, 1534. Died, 1612. 
 He was a man of fcience, born at Modena. His genius led him to the ftudy 
 of mechanics ; and he etched fome fingular machines of his own inven- 
 tion. He died 1612, aged 7 8 . 
 
 LEWIS L. GUERRE. 
 Born, 1663. Died, 1721. 
 _ An engraver of no great note. He was, I believe, a native of France, and 
 died A. D, 1721, aged 58. I am not acquainted with his works. 
 
 FRAN- 
 
G U E [ 358 ] GUI 
 
 FRANCESCO DE LA GUERRIERE. 
 
 Flourilhed, 1650. 
 A French artift, whom Le Comte diftinguifhed by the title of " painter to 
 " the king." According to this author, he drew and etched the grotefque 
 friezes, painted by Raphael Urbin in the Vatican, which he dedicated to 
 Edward Jabach. Bafan writes this name Guertiere. 
 
 G U I D O. See Reni. 
 
 ASCANIUS DON GUIDO. 
 
 Flourilhed, 1567. 
 This name I found affixed to a print, engraved from the laji judgment of 
 Michael Angelo, rather fmaller than that of Martin Rotaj which it 
 nearly equals in merit. It is executed entirely with the graver, in a very flcilful 
 manner. The date, 1567, proves it to have been done two years prior 
 to Martin Rota's, whofe ftyle of engraving it much rcfembles. The name of 
 the artift is written in this manner, Jfcanis. Boh. Guido faciebat. 
 
 RAFFAELLO GUIDI. 
 
 Flourifhed, 159S. 
 
 This artift was a native of Tufcany ; and judging from the flyle of his 
 engraving, I ftiould fuppofe he had been educated in thefchool of Cornelius 
 Cort, or Agoftino Carracci. He worked entirely with the graver, which in- 
 ftrument he handled with much facility. He drew correftly, and with great 
 tafte ; and the extremities of his figures are well exprefled. Though he cannot 
 be faid to equal Carracci, yet his prints manifeft the hand of the mafter, and 
 prove him to have been a man of very fuperior talents. I ftiall only notice 
 the following by him : 
 
 A repofo, where Jofeph ii holding fome cherries, the child points to his 
 vwuth, a fmall upright plate, from Francifco Vanni. 
 
 The entombing of Chriji, a middling fized upright plate, arched on the 
 top, from Frederico Barroccio, dated 1598. 
 
 The crucifixion of Chrift, a middling fized upright plate, from Chrifto- 
 pher Swartz, 
 
 Michael Angelo Guidi, fon to the above artift, was alfo an engraver, 
 and imitated the ftyle of his father ; but his works are by no means worthy 
 of a particular recital. 
 
 V. G U I G O U. 
 
 Flouriftied, 1676. 
 This engraver was a native of France; but of no great note. We have 
 by him fome bird's-eye views of palaces, and other edifices, in France, exe- 
 cuted in a very flight, ftiff" ftyle. He alfo engraved a variety of portraits 
 for books j which though fufficiently neat, are totally devoid of tafte and 
 effed. 
 
 SIMON 
 
G U 3 r 359 ] GUN 
 
 SIMON GUILAIN. 
 Born, 1581. Died, 1658, 
 
 This artift was a native of France. He excelled in fculpture ; and, for 
 his amufement, etched a variety of plates, in a flight, but mafterly flyle. 
 He died at Paris, a. d. 1658, aged feventy-feven. The following are by 
 him: 
 
 The life of Saint Diego, a ^t.iy confifling of twenty fmall plates, from the 
 defigns of Annibale Carracci. 
 
 The cries of Bologna, a fet of eighty fmall upright plates, from the fame. 
 In this woric he was aflilled by AleiTandro Algorgi. 
 
 GUILLEMART. 
 
 Flourifhed, 
 The name of an obfcure engraver, probably a native of France, affixed 
 to the portrait of Setani, Abbe de S. Genevieve. 
 
 HANS or JOHN GULDENMUNDT. 
 
 Flourifhed, 
 
 The name of a very old engraver on wood, a native, I believe, of Ger- 
 many. It is affixed at full length, together with his cypher, compofed of 
 an H. and a B. joined together, in the manner expreffed upon the plate 
 at the end of the volume, to a middling fized upright print, reprefent- 
 ing two foldiers ftanding ; the one holding an halbert, and the other a flag. 
 Over the firft is written Slept )Btlt)|bAti)et', &c. and over the fecond, iFciHincJ) ; 
 and the name, with the cypher, appears at the bottom. It is executed in a 
 bold, fpirited ftyle, and the figures are very correftly reprefented in the 
 drefs of the time. The heads are exceedingly well expreflTed ; and perhaps 
 they were defigned for portraits. 
 
 PETER VAN GUNST. 
 Flourifhed, 17 13. 
 This artift was a native of Holland. He pofTelTed infinitely more pati- 
 ence, than genius or good tafle. His flyle of engraving, which was with 
 the graver only, feems evidently formed upon the works of the Drevets. 
 His firft and fecond ftrokes are equally neat and powerful ; which gives them 
 a cold, filvery efFeft. The folds of his draperies, though not ill drawn, are 
 marked too harfhly, efpecially upon the outlines of the lighter parts of 
 them. His flefh is often extremely neat, and finifhed with fmall dots ; 
 but the lights are too much covered, which makes them appear heavy and 
 fatigued. His drawing is alfo exceedingly defeftive. His portraits are by 
 far the beft, as well as the largeft part of his works ; but they are, in great 
 meafure, liable to the fame objeftion as his figures and hiftorical fubjefts. 
 We have by him, the loves of the gods, nine middling fized upright plates, 
 from Titian. Smith engraved the fame plates in mezzotinto, 
 
 A.fe: 
 
GUT [ 360 ] GUT 
 
 A fet of ten portraits, of Charles the Firji, his ^uen, and the EngUJh no^ 
 hility of both /exes, whole length figures from Vandyck. This, I believe, is 
 his greateft work. Houbracken, father to the famous engraver of that 
 name, came over into England, a. d. 17 13, to make the drawings for him 
 to engrave from ; for each of which he received 160 guilders. The per- 
 fons, who employed him, were Mr. Cock, Mr. Comyns, and Mr. Swining, 
 formerly a direftor of the theatre. 
 
 The portrait of M. Chevreau, a fmall upright plate, from John Petitot. 
 This is the only print engraved after that mafter, who was a famous enamel 
 painter. 
 
 JOHN GUTTENBERG. 
 
 Flourifhed, 1440. 
 To this artift many of the German authors have attributed the invention 
 of the ufeful and noble art of printing. Others have argued as ftrenuoudy, 
 for his being the firft engraver on wood. His pretenfions to both are 
 however greatly difputed. The firft is out of my province to meddle 
 with ; and the fecond, I believe, will be difproved hereafter, in the Effay 
 on the Origin of Wood Cuts, which will precede the fecond volume of 
 this work. 
 
 GENNERO GUTTIERER, orGUTTIEREZ. 
 
 Flourifhed, 1760. 
 
 The name of a modern engraver, whofe works are, by no means, devoid 
 of merit. I have feen by him a large upright plate, reprefenting the Virgin 
 and Child in the clouds upon a globe, from Carlo Marratti. It is executed 
 in a neat ftyle, refembling that of Giacomo Frey; but not nearly equal 
 to the engravings of that great mafter. Several of the plates for the Mufeo 
 Fiorentino are bv this artift. 
 
 TABLE 
 
B L E I. 
 
 The Explanation of the Initial Letters ufed by the Engravers contained in 
 
 this Volume. 
 
 The firft letter, when there are two initials, if the fecond be not an S. or an F. is ufually 
 the baptifmal name ; the fecond letter muft therefore be referred to, and often the third, 
 when there are three or more letters. The firft letters are placed as nearly 
 alphabetical under each general fecond letter, as the nature of the arrangement would 
 admit of. 
 
 A. 
 
 A. OUPPOSED mark of Abraham de Bruin. 
 A. ivith an helmet, Anflielme. See the fecond table. 
 
 A. F. AVG. F. Agoftino or Auguflino fecit ; that is, Agoftino Carracci. 
 
 F. A. Frants Afpruck. 
 
 G. A. Giovanna Agucchia. 
 G. A. F. Girard Audran fecit. 
 G.A.P.F. l^ ^ ^ , ,. „ ■ ■ 
 
 GAS. F. I Gafper ab Avibus Pativinus fecit. 
 
 I. A. John Ammon. 
 
 I. A. F. John Almeloven fecit. 
 
 7iirirh i c66 I J"'^ '^' J^dicus Aiiiiuon Van Zurich. 
 
 N. V. A. Nicholas Van Aelft. 
 
 p, A. ■ Suppofed mark of Peter Aubry. 
 
 R.V.A.Gandenfis J Robert Van Audenaerd of Ghent. 
 
 Gandenfis. J 
 
 B. 
 
 'S.uponadye. Bartolomeo Beham. See the fecond table. 
 
 B. Y. J" Baeck fecit ; alfo Fittorio BaUini fecit. 
 
 A. Bl. 7 
 
 A. Bloem. > Abraham Bloemart fecit. 
 
 A. Bloem. fee. 3 
 
 Ag. Bononia. Agoftino Carracci. 
 
 B. B. Bartolomeo Bifcanio. 
 
 B, B. F. Bartolomeo Beham fecit ; alfo Bartholomew Breenberg fecit. 
 
 B. S. Fr. Bononienfis fculpfit. 
 
 C. B. inv. et fc. ) Charles Bertram invenit et fulpfit ; alfo Chriftbpher Brechtel; alfo C. Buno ; 
 lyrg. J alfo Cornelius Bus. 
 
 C. Bl. 1 Cornelius Bloemart. 
 
 Corm Bio. J 
 
 C, V. B. Charles Van Bockel. 
 
 D. B. Suppofed mark of Solomon Bernard. 
 
 F. B. Francis Barlow ; alfo Frederic Bloemart. 
 
 F. B. B. F. Frater Bonaventura Bifi fecit. 
 
 A a a F. B. V. 
 
[ 362 3 
 
 F. B. V. ■ ? rrederico Baroccio Urbinas fecit. 
 
 F. B. V. F. J ^ . ,r „ I. u 
 
 ■c V B Francis Van Bocholt. 
 
 H R ■ H. Borling; alfo Hadrian or AclnanBroimer. 
 
 "• "^^ r James Belli; alfo J- Bendieimer ; alio James Beutler; alfo James Binck; 
 
 I. B. [■' alfo John Birrgkmair ; alfo Julius Bonafona. 
 
 « j}^ Joachim Brechte' 
 
 j'_ Bo, t Julio Bonafona fecit, 
 
 ■fnlin n. F. i 
 
 ■fulio B 
 
 I. B. F. -) 
 
 ?. ^>'./f. f J°^''" Baeck fecit. 
 
 I.' B." ' J 
 
 I. B. fe. [ohn Bochlein. 
 
 l! B.' I. Blag, fculp. John Blagrave fculpfit. 
 
 lo. An. 1 Johannis Antonius Brixienfis. 
 
 lo.Anton.Brixian. J 
 
 I. C. B. James Binck. 
 
 L b' fc Laiirentius Beger fculpfit. 
 
 ]V1, B. " Martin Bouche ; alfo Michael Burghers. 
 
 N. B. 7 N-,(-oia^,5 Beatricius Lothcringus fecit. See the fecond tabic. 
 
 N. B. L. F. 5 
 
 N. B. fe. Nicholas Bonnart fecit. 
 
 N. de B. Nicholas de Bruin. 
 
 N. V. D. Berg. Nicholas Vander Berge. 
 
 p, B. Peter Bodart, alfo Peter Brughel. 
 
 r pietro Sante Bartoli fecit ; alfo Paulo Bianchi ; alfo Paul Berck ; alfo Paul 
 P. B. F. i Birckenhult ; alfo John Paul Blancus ; alfo Peter Bodart ; alfo Peter Vandec 
 
 C Borcht. 
 P. B. B. F. Peter Balthazer Bouttats fecit. 
 
 ^'''''''•'^■'•-^'"'{/"•/'"- 1 Pietro Sante BartohPerugino fecit, or fculpfit. 
 
 Roime. J 
 
 P. V. D. Bert'e. Peter Vander Berge. 
 •\V. B. "^ John AVIUiam Baur ; alfo W. Buitwech. 
 
 W. B. W. W. Buitwech. 
 
 c. 
 
 A. C. F. Annibale Carracci fecit. See the fecond table. 
 
 "^ '^A ,1 Agoftino Carracci ; he alfo ufed thefe marks, A, F. AVG. F. and A, 
 
 A|of. C. ' I "Bononi:.. 
 
 B. C. F. Bernard Capitelli, fecit. 
 
 ]}. C. Eques. Bartolomeo Coriolanus Knight. 
 
 C. C. F'. Camillo Congio fecit. 
 Do. CAP. Domenico Campagnola. 
 
 1). c. F. Domenico or David Cullodis fecit. 
 
 D. M. C. F. Domenico Maria Canuti fecit. 
 
 f Franchcfco Carracci fecit; ;ilfo. Francois Clein, or Klein, who fometime* 
 
 ^'' ^' \ ufed the initials F. K. 
 H. C. Hadrian or Adrian Collaert. 
 
 H. C. F. Hieronymus or Jerom Cock fecit ; alfo Hans or John Collaert. 
 
 H. V.'c. 1 Hans or John Van Culenback ; the laft mark I. C. is alfo attributed to 
 
 1. C. J Giacomo'or Jacopo Caraglio. 
 T. T. C. F. B. Joachim Theodorus Coriolanus fecit Bafileae. 
 
 L. C. \ Lfldovico Carracci. 
 
 Lo. C. J 
 
 L- C. 1 Lucas Ciamberlanus. 
 
 L. C. foulp. J 
 
 \ v'p I ^'"^^ Cranach. See the fecond table. 
 
 L. C. CIV. F. LodovicoCardi Civoli fecit, See the fecond table. 
 
 M. C. ]Martin Cleve. ' ,, , 
 
[ 363 ] 
 M.leC.deC.fcuIp. Monfieur le Corate de Cayliis, fculpfit. 
 n! c! f. I '^^'^'^°''" Cochin fecit.- See th>; fecoad tabic. 
 
 "' " " Nicholas Chaperon fecit. 
 
 I Paolo Cagliardi, called Paolo Verouefe. 
 Raphael Cuftos fecit. 
 
 i Stephen Carteron fecit. 
 
 Vincenzio Caccianemici. 
 William Carter. 
 
 D. 
 
 Anthony Vander Does. 
 
 C. Decker. See the fecond table. 
 
 Charles David fecit. 
 
 > Csefar Dominicus incidit. 
 
 Gulielmus Van Delphius, or William Van Delfto 
 Louis Daven. 
 Louis David, fecit. 
 Thomas Dudley. 
 
 N 
 
 C. F. 
 
 P. 
 
 C. 
 
 PA. CAL. 
 
 R. 
 
 C. F. 
 
 S. 
 
 C. 
 
 i6 
 
 ^5- 
 
 S. 
 
 C.F. 
 
 V. 
 
 C. 
 
 w 
 
 . C. 
 
 A. 
 
 KB. 
 
 C. 
 
 D. 
 
 C. 
 
 D. F. 
 
 Csf. Dom. 
 
 
 1614. 
 
 G. 
 
 V. D. 
 
 L. 
 
 D. 
 
 L 
 
 D. fee. 
 
 T. 
 
 D. 
 
 inc. 
 
 A 
 
 F. 
 
 Fee. 
 
 B. 
 
 F. 
 
 V.F. 
 
 D 
 
 F 
 
 
 F. 
 
 F. 
 
 
 F. 
 
 V.F, 
 
 HO. 
 
 F. F, 
 
 I. 
 
 F. 
 
 
 L 
 
 F. 
 
 V. S; 
 
 L 
 
 B. 
 
 F. 
 
 L. 
 
 V. 
 
 F. 
 
 M 
 
 . F 
 
 
 P. 
 
 F. 
 
 
 P. 
 
 V. 
 
 F. 
 
 S. 
 
 F. 
 
 
 s. 
 
 F. 
 
 fc. 
 
 s. 
 
 H. 
 
 F. 
 
 T 
 
 F. 
 
 
 V, 
 
 F. 
 
 
 G 
 
 R 
 
 B.F. 
 
 G 
 
 R 
 
 . F. 
 
 E. 
 
 A. V. E, Albert Van Everdingen, 
 
 C. E. George Charles Eimmart, 
 
 J, E. John Evelyn. 
 
 1, E; F, ]• Errar fecit. 
 
 r Perhaps Finguerra. See the defcription of plate IV. in the fixth chapter of 
 F. < the Ellay on the Art of Engraving at the beginning of this work. A lingle 
 
 C F. is alio one of the marks of John Ferdinand. 
 
 Antonio Faldoni fecit. 
 
 Baptifta Francus Venetus fecit.- 
 
 Dominico Maria Fontana. 
 
 J. Ferdinand fecit. 
 
 Frederic Van Falckenbourg, alfo Francis Van Ferg, 
 c Horatius Farinatus fecit ; to the etchings by this artlft, the following 
 < initials are alio ufually added, Pa. Fo. V. L that is, Paolo Farinato of 
 ( Verona inventor, who was his father. 
 
 John Fiflier; alfo the fuppofed mark of one of the family of the Feyerabands. 
 
 Jeremiah Falck, Van or of Stockholm. 
 - Jacobus Baptilla Fontana. 
 
 Lucas Van Falckenbourg. 
 
 The fuppofed mark of one of the family of the Feyerabands. 
 
 > Paolo Farinato, or Paolo Veronefe fecit. 
 
 Sigifmond Feyeraband. 
 
 Simon Frifius fculpfit. 
 
 The fuppofed mark of one of the family of the Feyerabands. 
 
 TobieFendt. 
 ? Vicenzio Francefchino ; alfo the fuppofed mark of one of the family of the 
 J Feyerabands. 
 
 G. 
 
 > Guidus Rheni Bononienfis faciebat. 
 ■* A a a 2 G. M. F. 
 
r 364 3 
 
 G. M. F. George Ghifi of Mantua fecit. See the fecond table, 
 
 , P ( Albert Glockeiithcn, See tlie feconcj table. Alfo the fuppofed mark of 
 
 I one of the family of the Gamers. 
 
 B. G. Bernard Gallo. 
 
 DTANA ) 
 
 DIANA IKCI- [ Diana Ghifi of Mantua. 
 
 DEB AT. J 
 
 G. de G. fee. Gulielmus, or William de Geyn fecit. 
 
 H. G. Hubert Goltzius ; alfo Henry Gokzius. See the fecond table, 
 
 M. G. M. Greifcher. 
 
 M. G. F. Matthew Greuter fecit. See the fecond table, 
 
 Mel. Giri. Fee. Melchior Giridana fecit. 
 
 Noel. G. Noel Garner. See the fecond table. 
 
 g' Q Y I Simon Guilian fecit. 
 
 V. G. V. Gamperlin. Alfo the fuppofed mark of one of the Gamer fkmil/. 
 
 TABLE 
 
c ^ c 
 
 (T 
 
 rM A A,/..»-A^ /B/\ y^ R y^ 
 
 
 )^ J{ K,^ M^ c^ ^ ^ /?/? A^Cla 
 
 12 
 
 IJ 
 
 T /^^ 
 
 '* IS 
 
 16 
 
 
 '7 
 
 / SM ^^f/^ BlsBNBlNBLT?^ 
 
 26 
 
 Ji J J 
 
 ¥b S 
 
 aj- 
 
 ^ fn SB 
 
 ■Mo^ 
 
 £ma 
 
 >8 ay //^ ^' -J "" '''' "* •'^ ^* 
 
 ^, 
 
 39 
 
 a i-Bo^ 
 
 'fl/??0 
 
 cisUvtvfe ^^6aS c>OT^ 
 
 ■iU 
 
 *# 
 
 *s- 
 
 f7 
 
 B) ABf 
 
 (fB BOSCHC^"^^ 
 
 ■f. 
 
 • ^Oi5 
 
 4 7 
 
 SO 
 
 S4- 
 
 (E^^^ 
 
 ss 
 
 S( 
 
 S7 
 
 S« 
 
 tB c/{iB>B wn 
 
 /f40 
 
 '!■» 60 
 
 (.1 
 
 c% 
 
 R \\8 rB mm 
 
 ^^ m Ci! 
 

 h 
 
 7^ 
 
 71 
 
 72. 
 
 7J 
 
 ^■^ 
 
 <f w 
 
 7S 
 
 7;^ 
 
 S (5 ^ 
 
 c9s 
 
 i>tf 
 
 s/ 
 
 SI 
 
 H 
 
 s>r 
 
 n W'H K DCyF D Bf&By h }€H 
 
 <D f)r cb 8«^A ND^o /^jf" w ©> B 
 
 
 
 //(? 
 
 /// //t 
 
 TF ilii shr'^iT (5/ /fe F afaf ,f 
 
 //J- //^ /^7 //8 /^ /io ^^^ / /;y 
 
 />7 
 
 m m nf 126 /n ,^q nTFrvTl • ' ^^^ _ /-^/ ^J2 
 
 ^ <E. ^ $ ^ fe [M G^f /if jAm 
 
 '^^ Z-?^ i3f '^^ /J7 4< ^- 
 
 /4(5 //.7 /4<J /•/ 
 
 
B L E ^ II. 
 
 The Explanation of the Monograms, Cyphers^ i^c. contained in the two 
 
 Flates annexed. 
 
 PLATE VIII. 
 
 A.. 
 No. 
 
 I H. Ahh. 
 
 3. Leonard Ahents, 
 
 3 P. Adam iiivenit et fecit. 
 
 4 Philip Adie:-. This mark is alfo attributed to Agnes Frey. 
 
 5 Ch'.rub'nri Albirti, Two inarks. 
 
 6 Henry ALdc^rcver. With o: without a tablet. 
 
 7 Alcljandro AlgarJi. 
 
 8 Albert Aitlorf:--. Andrea Andreani ufed the fame mark, adding the words, " inMautoua," 
 
 and frequently a date. 
 
 9 J'tft ^^ Jodcus Amman or Amman. Six marks. 
 
 10 Andrea Andreani. Three marks ; the iirfl relembles that of Albert Altdorfer. 
 
 1 1 Anjheln" fecit. 
 
 13 Silviui Antonianus. 
 
 1 3 John If^alther Fan AJJen. 
 
 14 Robert Van Audenaerd, 
 
 15 Gaffer ah Avibui 
 
 B. 
 
 16 Francis de Bahylone. 
 
 1 7 Alejjandro Badiale. 
 
 18 Johannjjlii Balduiig. Two marks, both of which were ufed by feveral other mailers. S^-e 
 
 No. 36, 37, 40, 46, 56, 62. 
 
 19 Nicolo Bcatrici. Three marks ; the firft of which was alfo ufed by Natalis Boniface. 
 
 20 Hans or John i'eba/d Beham. With or without a tablet. 
 
 21 Bartolomeo Bef^am. Two marks. 
 
 22 Dominica d-.l Barbiere. This mark was alfo nfed by Domenica Maria Bonavera. 
 
 23 John William Baur, The fame mark was uied by W. Buitwech. 
 
 24 Matthias Beitler. 
 
 29 Stefano de la Bella. Two marks. 
 
 26 Claus or Nicholas Berchem or Berghem, Three marks. 
 
 27 John George Bergmaller. 
 
 28 Solomon Bernard., called Le Petit or Little Bernard. 
 
 29 James Binck. This mark was alfo adopted by Hans or John Burgkmair. 
 
 30 John de Bifchop or Epifcopius fecit. 
 
 31 Cornelius Blecier. 
 
 32 Abraham Li,:emart, With or without a date. 
 
 33 Michael Blomh 
 
 34 George 
 
[ 366 ] 
 
 34 Gror^ Bockman. . • 
 
 3 c Abraham Blotdlii'^. 
 
 36 Hans or John Bockjbergtr. This mark was ufed by fcveral otlwr mailers. Sec 18, 37, 4.0, 
 
 46, 56,' 62. 
 »7 Hubert Boehm. See in the preceding number the different mafters by whom this mark was 
 
 ul'ed. 
 
 38 H. Boiling. This mark was alfo ufed by Horazio Borgiani. 
 
 39 Rene Boiviii. Theodore de Bry ufed the lame mark. 
 
 40 Hans or John Bol. 
 
 41 Boetlus Adams a Bolfxert. Tvvo^'marks. 
 
 42 Scbclnus a Bolfzvert. Three marks. 
 
 43 Domenico Maria Bonavera. The fame mark was ufed by Domenica del Barbiere and Bar-; 
 
 tolomeo Dolendo. 
 
 44 Naialis Boniface fecit. The fame mark was alfo ufed by Nicolo Beatrici. 
 
 45 Henry Vandcr Borcbt. 
 
 46 Horazio Borgiani, Two marks, both of which were ufed by other mafters. See No. 18, 
 
 36. 37' 38) 40. 56. 62. 
 
 47 Jcrotn Bofche. Three marks. 
 
 48 Andrezv Both. The fame mark was ufed by Andre Bretfchneider. 
 
 49 Ambrofius Brambini. 
 
 50 Peter Brebiette. 
 5 I D. V. Bremdcn. 
 
 5 z Hans or John Brefang. Two marks, the firft of which was ufed by Johannflen Baldungi ■ 
 
 53 Andre Bretfchneider. This mark was alio ufed by Andrew Both. 
 
 i^\ Crlj'pin J'anden Broeck. Thre6 marks. 
 
 55 J"'"'^ ^'"'^ Bronhhorfi. 
 
 5b Hans or John Brofamer, This mark was ufed by feveral other mafters. See No. 18, 36, 
 
 37, 4c, 46, 56. . 
 s7 Abraham de Bruin. Three marks, the firft of which is alfo attributed to Silvius Antonianus'. 
 
 58 Nicholas de Bruin. Tv\o marks. 
 
 59 Theodore de Brye., Rene Bovin ufefl the fame mark. 
 
 60 IV. Buitivech. John William Baur ufed the fame mark. 
 
 61 Michael Burghers. , 
 bi Hans or John Burghmair. Two marks. Several other mafters ufed. the fame marks. Se« i^ 
 
 No. 18, 29, 36, 37, 40, ^6, 56. ^- 
 
 I 
 
 63 Cornelius Bus, Four marks. 
 
 PLATE IX. V< 
 
 k\ Janus Callot. The fame mark, with the date 154^, is attributed to Jcrom Cock. n}^ 
 
 65 LoJovicoCordi, called C/t'i^//. Two marks; the firft of which was aUb ufed by Luca* ' 
 
 Ciamberlanus. 
 
 66 Carolus Rex Utriufque Sieilae, Charles, King of the Tiup Sicilies, 
 
 67 Annibale Carracci. 
 
 68 Francifco Carracci. . The fame mark was ufed by Francis Cheaveau. 
 
 69 Bernard Cajielli. 
 
 70 Gwfanni Benedetto CaJliglioni. Two marks. 
 Francois Cheveau. See No. 68. 
 
 Lucas Ciamberlano. See Xo. 65. 
 
 7 1 Qlceman. 
 
 72 Franecfco de Clein. 
 
 73 Hetiry fan Cle'v;. f 
 
 74 Martin Fan Clri-c. 
 
 75 Her^ian Coblcnt fecit. Hadrian and Hans or John Colkert, both of them ufed this mark alfo. 
 70 Nicholas Cochin, 
 
 -iTjerom Cock, James Callot ufed the fame mark, but without the date. 
 
 78 Peter 
 
I 
 
 [ i''? ] 
 
 78 Filer Cock or CorcL 
 
 "jg •Tho?/:as Cackj'o>i. 
 
 So Etic'ie or Suvoi ColhcnfMag. 
 
 Si JJdr-:an or Hadrian Collaert. Four marks. See alio No. 75. 
 
 Hansor John Collaerl. See No. 7;. 
 82 Ciimillo Coii'^io. 
 ^^ ConicHuiCort FanHooni. Two marks. 
 
 84 Peter Cottart 
 
 85 Michael Coxis. 
 
 86 Luca CranaJi. Four Marks. 
 
 87 Theodore Cruger. Two Marks. 
 
 88 Matthias Cruder. 
 
 89 Diriek or Theodore Fan Cuerciifxrt. Two niaiiS. 
 
 90 Bernardino Curti. 
 
 91 Domcnieo Ciijios Augtifia fecit. : 
 
 D. 
 
 92 Peter Daret. 
 
 93 Jeror,! David. Three niarks. 
 
 94 Louis David. 
 
 95 Hicronymusor JeromDavidloo, Two marks. 
 
 96 C Decker. Two marks. 
 
 97 GulieJmiis Jacohus Delphius, or William James Delft. 
 
 98 Nicholas JMaiiurl Deutfch. 
 
 99 Rodolphc Manuel Deutfch. 
 
 100 Wendel or Fander Dictlerlin^ 
 
 101 Bartholomc'v Dolendo, 
 
 102 Zachary Dolenda. 
 
 103 ^. Drcbher. 
 
 104 Albert Durer, Five marks.. 
 
 105 yo'('« Duvet. Ttt'O marks. 
 
 i-o6 Three marks attributed to Efigelhecht. 
 
 F. 
 
 107 William Faithorne. Two marks. 
 
 108 Domenico Falcini. Two marks. 
 
 109 Two marks attributed to artifts of the family of the Feyerahands. 
 
 1 10 Odardo Fialetti fecit, 
 
 111 Albert Flatten. 
 
 112 Francis Floris. 
 
 113 Antonio Font lizzi. This artift, a native of Italy, flouriflied towards the middle of the fix- 
 
 teenth century. He etched a confiderabie number of plates in a coarfe ftyle, not a little 
 refembling that of Tempella ; but the outlines of his figures are by no means correctly 
 drawn. He worked chiefly from Primaticcio, and his prints are ufually dated from 1540 
 to 1550. We have alio feme few etchings by him from his own defigns. 
 
 *^* This article vjas omitted by mijiake in the body of the ivork, -where it fhould have been infertcd. 
 It is referred to, hoivever, in the Errata. 
 
 J 14 George Frenzel. Francis Clein uied this mark alfo, but without date or infcription beneath it. 
 Agties Frey, See No. 4, plate 8. 
 
 ■ 115 Louis Frg. 
 
 116 Adam Fuchs. .ja. 
 
 117 Sebajiian Fi^ck. Two marks. 
 
 118 Peter Furnius, Two marks. 
 
 119 Giovanni Batifa Galejiruzzi. 
 
 120 Philip Galle. Two Marks. 
 
 G. 
 
 121 F. 
 
I 
 
 C 363 3 
 
 121 J". Gamperlin. 
 
 122 Hod Garner. 
 
 123 Antchic Gamer. 
 
 124 Leo>,ard Gaulter. 
 lit Sig'/'iionJ Gcknius, 
 
 126 Jacinto Gemignano, 
 
 127 Abraham Genocls. 
 
 128 James de Gheyn. 
 
 1 29 ycA« Baptijla Gh'ift, of Mantua, alfo without the tablet. 
 
 130 George Ghift, of Mantua, fecit. Two Marks. 
 
 131 Ada'ai G/;///, of Mantua, fculpfit. 
 
 132 Hans or John Henry Glafer. 
 
 133 Albert Glockentbon. Three marks. 
 
 134 Fan Goar, Three marks. 
 
 135 Henry Goltzius. Hans ur Jol\n Guldenmundt ufed the lame cypheft 
 
 1 36 John Andre Graf. 
 
 Conrad Grahl. See the firft mark No. 142. 
 
 137 Jaques Grandhomtiie fecit. 
 
 138 JeromGreff. 
 
 139 M. Greifcher. 
 
 I j^o G. Greater. Two Marks; 
 r4i John Frederic Greuter, incid. 
 
 142 Mattheiv Greuter. 
 
 143 Bartholomew Groen. 
 
 1 44 Bartholome-ixi Groennig. 
 
 145 C. P. Gerard Gron-ngus. 
 
 146 Hans or John Gritn-'Mald. 
 
 147 Matthew Gninivald of Afchaffenbourg. 
 
 1 48 James Guckeifen. 
 
 Hans or John Guldenmundt. See No. 1 3 J. 
 
 1 49 Guido Rheni, 
 
 END OF THE FIRST VOLUME. 
 
 \ 
 
'y\ 
 
 
 Al3A:U lyvif EVK 
 
 
/^(f/Uftfr/ 4 ^r/r//,^ r/nr T '/"fiz/f,-* r/r/ 
 
BIOGRAPHICAL DICTIONARY; 
 
 CONTAINING AN HISTORICAL ACCOUNT OF ALL THE 
 
 ENGRAVERS, 
 
 FROM THE EARLIEST PERIOD OF THE ART OF 
 ENGRAVING TO THE PRESENT TIME; 
 
 A SHORT LIST OF THEIR MOST ESTEEMED WORKS. 
 
 WITH 
 
 THE CYPHERS, MONOGRAMS, AND PARTICULAR MARKS, USED BY 
 
 EACH MASTER, ACCURATELY COPIED FROM THE ORIGINALS, 
 
 AND PROPERLY EXPLAINED. 
 
 TO WHICH IS PREFIXED, 
 
 AN ESSAY ON THE RISE AND PROGRESS OF THE ART 
 OF ENGRAVING, BOTH ON COPPER AND ON VV^OOD. 
 
 WITH SEVERAL CURIOUS SPECIMENS OF THE PERFORMANCES OF THE 
 
 MOST ANCIENT ARTISTS. 
 
 By y s E p H s r R u rr. 
 VOL. n. 
 
 LONDON: 
 PRINTED BY J. DAVIS, 
 
 FOR ROBERT FAULDER, NEW BOND STREET, 
 
 M.DCCytXXXVIv 
 
A N 
 
 E 
 
 ON THE 
 
 ART OF ENGRAVING, 
 
 WITH AN ACCOUNT 
 
 OF ITS 
 
 ORIGIN AND PROGRESS. 
 
 CHAPTER L 
 
 An Introdunion to the Continuation of the EJfay on the Art of Engravings isfc. containing a Jhort 
 Examination of the Difference^ in the Style of Drawings between the Artijls of the Italian 
 and the Artijii of the German School., at the Commencement of the ftxteenth Century. 
 
 BEFORE I proceed with the EfTay on the Origin and Progrefs of Engraving, 
 I wifh to make fome few general obfervations upon the different ftyles of the 
 German and Italian fchools, at the commencement of the fixteenth century ; 
 and I mean to confine myfelf entirely to the engravings of that period, and principally 
 to that part of them, which refers to the expreffion of general forms, or what may pro- 
 perly be called drawing ; for with refpeft to the invention, compofition, expreffion, and 
 the other effential requifites in painting, they do not immediately concern the prefent 
 defign. 
 
 On examining the works of the German artifls at this period, the eye is difo;urt:ed by 
 the flifFnefs and inelegance of the general forms. If we look at the draperies, the folds 
 are either long and narrow, or fubdivided into a multiplicity of fmall parts, interl'eiitino- 
 one another at right angles, and refembling the crumpling up of paper, rather than the 
 flowing lines, produced by the eafy fall of any fpecies of cloth. And the pains, which 
 they took to exprefs each fold with fuch laboured minutenefs, proves, that this defe£l 
 proceeded not from want of attention, but from a vitiated tafte, formed from long ha- 
 bit upon a Gothic original. It is indeed by endeavouring to produce fomething fuperior 
 to nature, that they have funk fo far below her. There is another fault, which ftrikes 
 us, equal in magnitude to the former ; efpecially when we confider the female figures, 
 and fuch as required beauty and elegance in the compofition ; and this is the frequent neg- 
 ledl of expreffing the indication of the limbs, as they muft occafionally appear beneath 
 the drapery ; which gives them the appearance of the wax dolls, drelled up by children. 
 The heads and the hands are perhaps moulded with fome pains ; but it will require the 
 exertion of a fertile imagination, to fubftitute any tolerable fhape for the body or dimen- 
 fions for the limbs ; for the fpeftator has commonly fufficient fcope allowed him for 
 the employment of his ideas. 
 
 Albert 
 
2 ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 Albert Durer, and the fucceeding ancient German mafters, took great pains in the ftudy 
 of the human figure ; but it appears to have been a theoretical, rather than a pradical ftudy ; 
 and we may juftly be furprifed to find the naked parts of their figures fo very incorreftly 
 drawn, not only with refpeit to the outlines, but alfo with refpec^ to the mufcular markings. 
 Indeed the mufcular parts of the limbs are, in general, fo poor and thin, that they have 
 the appearance of belonging to pcrfons emaciated by ficknefs ; while, on the other 
 hand, the extremities are large and the joints protuberating and heavy. It feems as if 
 they paid little attention to the appearance of nature ; or, if they did, copied her under 
 her worft forms. For large extremities are not only inconfiftent with beauty and ele- 
 gance, but always convey to the mind the idea of weaknefs. Another fault in the 
 works of the artifts of Germany, at this period, is the great want we difcover ia 
 them of diverfity of character, with refpedt to the drawing of the naked parts of the hu- 
 man figure. The fame meagre ftyle of outline appears in the reprefentation of a Sampfon 
 or a Hercules, that prevails in an Adam or an Adonis ; but this dcfeft is particularly 
 ftriking in the female figures. Henry Aldergraver, who was probably the pupil of 
 Albert Durer, feems to have been aware of this, and in his beft works he has, 
 in a great meafure, avoided it. John Sebald Beham followed his example ; and 
 George Penz, with Barthelmy Beham, his contemporary, who both of them are faid to 
 have ftudied at Rome, in the fchool of Marc Antonio Raimondi, quitted almoft entirely 
 the Gothic ftyle of their countrymen, and adopted that of the Italians. 
 
 Simplicity of outline and beauty of form were as much ftudied by the Italian, as 
 they were neglefted by the Germ.an artifts. The antique fculptures, which the for- 
 mer had continually before their eyes, were, without doubt, the fources, from which 
 thev derived thofe ideas of beauty and elegance. Raphael, with the other eminent 
 artifts of this period, obtained fo great an advantage from the ftudy of them, that the 
 fucceeding mafters not only followed their example, but laid it down as a rule to their 
 fcholars, to confider fuch a ftudy, as a very elFential part of their education, if 
 they meant to excel. Hence it i^, that the great Italian artifts have fo uniformly pre- 
 ferved the fame ftyle of defign. They were taught from their infancy to look with ad- 
 miration upon the antique fculptures, and to conlider them as the moft excellent models 
 to form their tafte upon ; by this means the ftudy of them became habitual, and as it 
 were a thing of courfe. 
 
 The fimplicity of ftyle, which fo evidently marks the beft Italian prints of this period, 
 has been cenfured, with no fmall feverity, by the modern French artifts. They fpeak 
 of the ftudying of the antiques as carried too far ; and remark, that the fwellings of 
 the mufcles, and markings of the joints are too equally round and uniform, wanting 
 the flat parts, v^'hich appear in nature, and not only give a beautiful variety to the 
 form of the outlines, but add greatly to the fpirit and expreflion of the drawing, efpe- 
 cially in ftrong and mufcular figures. 
 
 It is certainly true, that the ftudy of the antiques fhould be blended with the ftudy 
 of nature. Where the latter is wholly neglefted, in preference to the former, the 
 works of fuch an artift, though corredlly drawn, have always much of the coldnefs and 
 inanimation of marble ftatues. And where nature alone is attended to, without 
 the ftudy of the antiques, the defeiTts, in general, will be more exceptionable than in 
 the former cafe. For, as we have feen in the works of the German artifts, a bad, 
 vitiated manner is contrafted, which impoveriflies the compofitions even of the greateft 
 mafters. And this arifes from the ereat difficulty of meeting with nature, truly fine 
 and perfect in all her parts. Fine forms have been felefted by the ancient ftatuaries, 
 from variety of different fubjefls, and united by a proportion, which has generally been 
 confidered as very excellent. To thefe forms, and to this proportion, we ftiould care- 
 fully turn our eyes ; but nature furcly ought not to be negleiSted. 
 
 Thefe obfervations, it is prefumed, are juft in themfelves ; but the objections, upon 
 which they are founded, cannot be applied to the beft works of Marc Antonio ; and 
 whenever they have been fo, it mull have arifen from the critic's not having carefully 
 
 5 examined 
 
ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 3 
 
 examined the engravings by that great maftetv It is granted, that his outlines are 
 fometimes harfh, and the terminations of the fhadows defedtive in harmony, and want 
 thofe gradations of light and fhadow, which produce an agreeable efFect ; but whoever 
 will give himfelf the trouble of tracing thofe very prints, will find the outlines corredl 
 and beautiful ; he will obferve, that the form of the mufcles are jufl ; and that the 
 knitting of the joints, and the markings of the extremities, are very finely expreffed. 
 Thev will hold far better with George Ghiili of Mantua, and thofe who followed his 
 ftyle of engraving. GhiiTi, though a man of abilities, was a great mannerift, and cer- 
 tainly paid little or no attention to the beautiful variety of forms, which are found in 
 nature. 
 
 Bernard Picart, a French artift, w^ho flourifhed at the commencement of this century, 
 may be placed at the head of the party, who have fet their faces againft the works of 
 old matters ; and thofe, in particular, of Marc Antonio and his fcholars. " The out- 
 " lines of their figures," fays he, " when they worked from the defigns of Raphael, 
 " are hard, equal lines ; the engraving part is neat, but meagre, and without round- 
 " nefs, or gradation of light and (hadow, which the connoiileurs pretend to applaud, 
 " and call improperly the gout dcRafad. But," adds he, " when the prints are compared 
 " with the drawings, they are found, not only to be very inferior, but by no means per- 
 " feci copies ; the engravers, in m.any inftances, having taken unwarrantable liberties, fuch 
 " as adding back-grounds, where there are none, and working over parts, which are left 
 '• clear and light in the originals." But in this inffance he either was not informed, or 
 had forgotten, that Marc Antonio and the greater part of his difciples worked imme- 
 diately under the eye of Raphael ; and thofe alterations were mofl: probably made by 
 the painter himfelt. So alfo, if we look at the Saint Cecelia from Raphael, as engraved 
 by Marc Antonio, and compare it with the engraving by Strange, from the piifture at 
 Bologna, we fliall find the compofition confiderably varied ; and fome of the figures, 
 that efpecially of A'lary Magdelen, totally changed. But the reafon is evident, the print 
 by Marc Antonio was taken from the original drawing ; and the alterations took place, 
 when the artift painted his defign upon the canvafs. Indeed not only he, but his 
 difciples, alfo, worked, in general, from the drawings of Raphael, and very feldom from 
 his pictures. 
 
 By way of foftening the feverity of his other remarks, he adds, "Give Marc Antonio 
 " and the old mailers their due, for they claim indulgence. It is extraordinary, that 
 " they fhould have pulhed the art fo far as they did, at fo early a period. But," con- 
 tinues he, " when the advocates for them pretend to fay, that the art of engra\'ing has 
 " not been improved fince their time, they talk abfurdly." Without doubt, if any one 
 did pretend to affert fo manifeft a falfehood, it would be abfurd ; but till the old mafters 
 do meet with fo extraordinary an advocate, no arguments on the contrary are neceiTary: 
 the fa£l: is too generally known, even by people, who are not judges, to need them. 
 Therefore, fo much of his difcourie, at leaft, might reafonably have been fpared. He 
 writes, he informs us, to remove the prejudices, which many of the admirers of the 
 ancient mafters had formed againft the modern artifts. But I cannot conceive that it 
 is neceffarv, in order to elevate the fome of the moderns, to ftrip antiquity of all its 
 laurels, and blot out, with a ftroke of the pen, the merit of many very great artifts, 
 only becaufe that merit was become the obje£t of admiration. Neither is this violent 
 method of proceeding by any means well calculated to remove the prejudices, which 
 any might have imbibed ; nor even to prevent the elFefts of the prevalence of cuftom, 
 which has led and does lead many to venerate the produflions of the ancients ; though, 
 in reality, they have never difcovered one of the beauties, for which alone they are in- 
 titled to refpedt. Certainly when we fpeak of the mechanical part of ensjravinff, the 
 tafte and beauty of finifliing, the judicious diftributions of light and fliadow, the works 
 of the old mafters will bear no comparifon with thofe of the modern ones. But perhaps 
 it may be added, that tlae mechanical part of engraving is too much the objed in view, 
 
 ia 
 
4 ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 in the prefent day ; while the more eflential parts, namely, correctnefs and purity of 
 drawing, in which the ancients excelled, are often haftily overlooked. 
 
 It would perhaps h.ive been more advantageous to Picart, if he had never entered the 
 field againft theancients, or, at leait, if he had ccafed hoflilities, when he had laid down 
 his pen. But not contented with abufing their works, his vanity prompted him, in an 
 evil hour, to take up the point and the graver, to convince the world how much it had been 
 impofed upon. For this purpofe he imitated the etchings and engravings of various mafters, 
 and called the collection the innocent impojhrs. but they lufHciently prove his want 
 of abilities to execute the work in fuch a manner, as to deceive an experienced 
 judge. The two following engravings are all I fliall take notice of. The firft is a Ve- 
 nus and Cupid, copied from a drawing by Raphael, in the King of France's cabinet. 
 This drawing was engraved by Marc Antonio. The fecond is a Bacchanal, from a 
 drawing by the fame mafler, in the fame cabinet ; and it was firft engraved by Agoftino 
 de Mufis, the Venetian, who was the fcholar of Marc Antonio. Having difcovered 
 the original drawings, he gravely tells us, that he thought he could produce fomething 
 better, than what had excited fo long the admiration of the curious ; and with this 
 laudable refolution he fet to work, and appears to have been well fatisfied with the pro- 
 ductions of his graver. - But can the voice of candour fay he has been fuccefsful ? I ap- 
 prehend not. I have not, it is true, feen the original drawings, from which the prints 
 «re engraved; but if they are faithful tranfcripts of thofe drawings, 1 fhould not hefitate to 
 declare, that Raphael learned the art of defign in the French academy ; and, what is 
 more extraordinary, drew in the very ftyle adopted by Picart himfelf. It appears to me, 
 that Picart, like his countryman Nicholas Dorigny, has fo much Frenchified the Italian 
 painter, that he would find it a difficult tafk at firlt fight to know his own compofition. 
 
 Picart was certainly a very able artift in his way ; but not being fond of the graver, 
 his prints are never highly finiihed. His great excellence lay in defigning and engrav- 
 ing fmall compofitions for vignettes and other book plates ; and his works in this line 
 are exceedingly meritorious. In juftice to him we ought to obfer^•e, that he did not live 
 to publifn the above-mentioiied work ; but being approved of by his friends,' it was 
 given to the public after his death. It is much to be lamented, that they had not judg- 
 ment fufficient to fupprefs it. His misfortune was fuch as many other great men have 
 experienced through the zeal of their friends, to pubiifh all their producftions, which zeal 
 has often been more prejudicial to their fame, than all the malevolence of their enemies. 
 
 It is probable that Picart's judgment was milled by his vanity ; but this motii e 
 can hardlv be attributed to a writer of our own country, who pofl'efl'ed of very little more 
 knowledge in the arts, than what is difplayed by a lift of technical terms, and a few theo- 
 retical obfervations, has taken a decided part with Picart, and levelled his anathemas 
 againft the old malters, in general, tlirough the medium of Marc Antonio. 
 
 Picart was not the firft artift, who attempted to deceive the unwary connoifleurs. Henry 
 Goltzius, a German mafter, and a man of fuperior abilities, being difgufted at the pre- 
 ference which was given to the works of Albert Durcr, Lucas of Leyden, and other 
 artirts of thofe fchools, when compared with his own, (for he had attempted to improve 
 the tafte of his country, and this attempt was not immediately relilhed) undertook in a 
 deciiive manner to prove, that his talents were not inferior to thofe of his predeceflbrs. 
 In order to diveft his contemporaries of fo unreafonable a prejudice, he engraved a plate 
 reprcfenting the circumcifwn of Chrift, in the ftyle of Albert Durer, which we are in- 
 formed, and, indeed, we can eafily credit the information, being printed on foiled paper, 
 and torn to give it the appearance of antiquity, was really fold as a curious performance 
 by that mafter. He then proceeded to engrave the adoration of the tvi/e men, in the ftyle of 
 Lucas of Leyden, and was equally fuccefsful. Tliefe prints, which confift of fix, are 
 called his maftcrpieccs, and they are by no means undeferving of that appellation. The 
 lall of them reprefents a holy family, and is in his own ftyle. This admirable print is 
 greatly fuperior to any of the others ; and, without doubt, it was the original intention 
 of the artift, that it fhould be fo. 
 
 But 
 
ON THE ORIGIN AND PROGRESS OF ENGRAVING. q 
 
 But to return from this long digreflion. In order to iUuftrate more clearly the ob- 
 fervations I have offered to the pubhc, rerpe6ting the corrednefs of outline, which is 
 ib diftinguifhabie in the works of ivlarc Antonio, 1 have attempted to copy ;/;i7 Ada?ii and 
 Eve, engraved by that artift from Raphael, which is a very icarce and valuable print. 
 (See the frontifpiece.) I have not imitated the ftyle of engraving, in which the original 
 is executed; but have finiflied it as neatly, as I conceived was confiftent with the de- 
 fign ; and have caufed the back-ground to be covered with a light aqua tinta, in order to 
 bring the figures more forward, and to produce a greater degree of harmpny If thefe 
 liberties fiiould be thought to require an excufe, I could wilh that it might be recol- 
 ledted, that the fole purpofe, for which this plate is given, is to fhow the ftvle of draw- 
 ing, which prevails in the beft engravings by Marc Antonio. I have therefore con- 
 fidered the print as a drawing only, the effeft of which I was to produce in the neateit 
 and moii: agreeable manner I could. And I hope thofe defefts, which may be difco- 
 veredinthe copy, are fuch only, as naturally mult arife from the difficulty of irhitating 
 the beauties of one of the fineft prints, by one of the greateft mailers of the earlv Italian 
 fchool, affifted by Raphael himfelf. The outlines of the figures, and fuch parts as re- 
 fpect the drawing only, are, I believe, exprefied with fome degree of correclnefs, fuf- 
 ficient, at leaft, to dcmonllrate the beauty and elegant flow of lines, which fo evidently 
 diftinguifhed the works of the Italian fchools, when compared with the mannered re- 
 prefentations of nature by the Germans, under, fuch forms as are by no means agreea- 
 ble to the eye. In order further to confirm m.y obfervation upon the fimplicity of ftyle, 
 adopted by the Italian artilts, I have copied a fecond print, originally engraved by 
 Marc Antonio from Raphael ; which is ftill more rare than the precedino-. (See plate 
 IV.) The fame liberty is taken with the engraving of this plate, as with the other, 
 and for the fame reafon. It reprefents St. Jerom upon his hues, devoutly meditating 
 upon the fatal confequences of the fall of mp.n. The figure has all the fimplicity of 
 nature herfelf, without the leaft appearance of art; and yet, on examination, much art 
 may be difcovered in the judicious contraft of the feveral parts one with another. The 
 reafon, indeed, afligned by the moft fkilful writers upon the beauties of painting, why 
 the works of Raphael make fo little impreffion upon the mind, at the firft fight, is, 
 they refemble nature in that pure and (imple ftate, in which the eye is conftantly ac- 
 cuftomed to fee her ; but, on re-examination, they improve upon the fpeiflator ; and 
 the beauties, which at firft were hidden, develop themfelves by degrees, and excite in 
 the end the higheft admiration. Thefe obfervations have been made, with refpecft to 
 the wonderful performances by that great mafter in the Vatican at Rome. 
 
 If we look at the mechanical part of the engraving, whilft we are fpeaking of the 
 comparative merit of the German and Italian artifts at this period ; the decifion. 
 muft be made entirely in favour of the former. Albert Durer, Lucas of Leyden, 
 Henry Aldegrev«r, and fome few other artifts of this time, have produced 
 fuch performances, as cannot be viewed without admiration. The firft of thefe 
 mafters, in particular, handled the graver with fo much facility and judgment, that 
 his beft works, in point of neatnefs and precifion, have rarely been equalled, much lefs 
 furpafled. Marc Antonio and his fcholars appear, in general, to have made this branch 
 of the art, a fecond confideration only : it was kept in fubordination to the drawing and 
 expreffion. Not but that it muft, in many inftances, be acknowledged, that if more 
 neatnefs and precifion had been added to their engravings, they would have been much 
 lefs objedlionable, to the common eye efpeciallv. 
 
 The refult of thefe obfervations therefore is, that if we look for beauty of form, or 
 correftnefs of outline, in the works of the old German mafters, we {hall not be likely 
 to fucceed in our refearches. Neatnefs and precifion was the characteriftic of this 
 fchool, as beauty and elegance of form was of that of the Italians. 
 
 VOL. II. b CHAP. 
 
ON THE ORIGIN AND TROGRESS OF ENGRAVING. 
 
 CHAP. II. 
 
 Ttje Examination of the W<rrki of the Gernim Maflers continued, from the Fifth Chapter cj the 
 Effay on the Art of Engraving in the Firjl Volume. 
 
 I concluded the tew general obfervations, ,, which I made in the former volume, ujion 
 the engravings of the early German artiks, with fome account of die works of Mar- 
 tin Schocn and Ifrael Van Mecheln. In the prefent volume I have given two plates ; 
 the one reprefenting St. SebajViantied to a tree, (fee plate II, copied from a print by A'lar- 
 tin Schoen of the fame fize) ; and the other St. Agnes, from an engraving by Ifrael Van 
 Mecheln. I have felefled the beft naked figure I could find by the firll artiil: ; but 
 the drawing of the latter is fo exceedingly defective, that I chofe a draperied figure, 
 and one, which, I conceive, is by no means a bad fpecimen of the abilities of the artift. 
 It now remains to ofFer to the perufal of my readers fome few obfervations, in a ge- 
 neral manner, upon the Rate and progrefs of the art, in Germany and the Low Coun- 
 tries, from the commencement of the fixteenth century ; at which period flourifhed feve- 
 ral very eminent artifts. Michael Wolgcmut was a man of abilities, though the beauty 
 of his works is much obfcured by the Gothic ftiffnefs, which prevails in them. To 
 him Albert Durer owed his firft inftruclions in the arts of defign and engraving, efpe- 
 cially on wood, in which ilyle Wolgemut principally employed himfelf. 
 
 -Albert Durer may juftly be confidered, as one of the molt eminent artifts that Ger- 
 many ever produced. His compofitions are fuch, as do him the greateft credit ; and in 
 point of ex'preffion, the heads of his figures may vie with thofe of almoft any mafter. 
 This excellent artift appears to have made the works of Martin Schoen the model, upon 
 which he formed his ftyle of engraving on copper : That is, with refpecl to the mechanical 
 part of it, which was carried to very great perfection by him. Indeed the mechanical 
 part of engraving appears to have been confidered bv Albert Durer, as a very important 
 objetSl ; and his prints poflefs a clearnefs and delicacy of ftroke, which has been rarely 
 equalled. He has carefully attended to the minutia;, and diftinguifhed, with great pre- 
 cifion, the fmalleft part of his compofitions. A beautiful fpecimen of this kind by him 
 is the celebrated print oi St. Jerom. The faint jis reprefented in the infide of a room, 
 feated at his writing defk. The perfpeitive of the room is admirable. The floor, the 
 ceiline, the walls of the room, the window, and the furniture, many parts of which 
 are exceedingly minute, are fo diftinftly expreffed, that thev have the appearance of ob- 
 ie<5ts reprefented in the camera obfcura, faving only tlie want of variety of colours. 
 "Contemporary with Albert Durer was another artift of great eminence, though not 
 entirely equal to him, namely, Lucas Jacobs, better known by the appellation- of Lucas 
 Van Leyden. He handled the graver with great facility ; and his works are very neat 
 and delicate, and indeed too much fo to produce that force of colour, \vhich the deep 
 maftes of (hadow required. P'or this reaibn his prints have not that brilliancy of cffedt, 
 which is difcovered in die works of his friend and competitor, Albert Durer. Anodier 
 inconvenience arofe from the extreme neatnefs of his engraving, which Avas, that the 
 plates could not produce many good impreffions. Hence it is, that thefineimpreffionsof 
 his works are fo exceedingly rare. 
 
 Henry Aldegrever, the two Behams, and moft of the engravers of this period, dif- 
 tinguifhed by the appellation of litde mafters, may be confidered as the difclples of Albert 
 Durer ; for fuch of them as did not immediately ftudy under him evidently formed their 
 Ityle of engraving from his works. Henry Aldegrever ftands the foremoft in the lift 
 of his fcholars ; for George Penz, having firft learned the art of engraving in his own 
 country, finiflied his ftudies at Rome, under the diredtion of Marc Antonio. He adopted 
 much of the Italian ftyle, and had the honour to aflift Marc Antonio infcveral of his ca- 
 pital undertakings. 
 
 After 
 
ON- THE ORIGIN AND PROGRESS OF ENGRAVING 7 
 
 After the death of Hans Sebald Beham, the art met with no kind of improvement ; 
 but, on the other hand, feems to have declined for a few years. The fucceeding little 
 mafters did not even attend to the neatnefs and clearnefs of the mechanical part of their 
 prints, which had before been confidered as one of the great effentials in engraving. 
 Thev feem as if they had been fludyina; to excel one another in number, rather than 
 in the beauty of their produdions. Towards the conclufion of the fixteenth century 
 flourifhed the Wierix's, who not only regarded exceffive neatnefs, as neceffary to-« 
 wards the formation of a fine print, but facrificed almoft every other requifite, except 
 correftnefs of drawina;, to produce it. The works of thefe artifts muft excite the ad- 
 miration of every one, who examines them. The prodigious delicacy, with which 
 they are finiflied, far furpafled any thing, that had been produced before their time ; 
 and from the great number of their engravings we may conclude, that they met with 
 much encouragement. They had a reprehenfible cuftom of making dark outlines to 
 their figures ; which, together with the laboured ftiffnefs, apparent in the management 
 of the graver, gives an unpleafing effevS to their prints, notwithftanding all their neat- 
 nefs andde i:acv. Adrian Collaert, and Hans or John Collaert, his fon, flourifhed alfo 
 at this time ; but they refided a confiderable time in Italy, where they acquired a greater 
 degree of tafte, Hans Collaert in particular. His works, though not altogether equal 
 in neatnefs to thofe of the Wierix's, are fuperior in tafte and exprelTion. 
 
 At the fame time flourilhed John and Raphael Sadeler, Philip, Theodore, and Cor- 
 nelius Galle the elder, Peter de Jode the elder, and the younger, with John Baptift 
 Barbe, and other artifts, who may juftly be confidered as men of great abilities. Ge- 
 nerally fpeaking, they drew correctly, and certainly pofleiTed fufficient genius to 
 have m.ade very confiderable improvements in the art of engraving, efpecially as the 
 greater part of them had the opportunity of ftudying at Rome. But they feem to have 
 contented themfelves with the liyle of workmanfliip, which they faw before them ; and 
 ■worked rather for emolument than praife. The prodigious number of bible cuts and 
 religious fubjefts, in fets, executed feparately or conjointly bv thefe artifts, almoft ex- 
 ceeds belief. They are evidently haity produiSlions, in which no exertions of genius 
 vv'ere employed. And though the defe<5ts are not very powerful, the beauties, on the 
 other hand, are by no means very obvious. 
 
 While the art of engraving remained in this torpid ftate in Germany, Henry Goltzius, 
 one of the greateft artifts of that country, completed his ftudies at Rome, and, returning 
 home, adopted a new ftyie of handling of the graver ; and his prints poftefs an aftonifh- 
 ing degree of freedom and fpirit. They not only excited the attention of the con- 
 noifleurs, but the envy of feveral of his contemporaries, who raifed cavils againft them, 
 and fet up the works of Albert Durer, Lucas of Leyden, and other old mafters, as the 
 inimitable models for beauty and excellence. Goltzius, piqued at the ignorance and mia- 
 lice of his oppofers, convinced them of his own fuperior abilities, by compofing and en- 
 graving feveral prints, in the ftyle of thofe mafters, in fo accurate a manner, as to de- 
 ceive the judges themfelves. By this he proved, that it was not for want of power, that 
 he quitted the ftyle, adopted by thofe mafters ; but becaufe he wifhed to introduce an- 
 other, infinitely fuperior. As the works of Goltzius foon after became popular, and his 
 ftyle of engraving was much admired, we fti'all not wonder, that it became the objeft 
 of imitation among the artifts of that time. John Mullcr and Jaques Mathem were his 
 difciples ; and John Saenredam imitated his ftvle. The works of Muller are fpecimens 
 of freedom of engraving, carried to very extravagant lengths ; and Lucas Kilian fol- 
 lowed him, at no great diftance. Mathem and Saenredam were more reafonable imi- 
 tators of the ftyle of Goltzius ; and their works poffefs more delicacy and corretStnefs. 
 Frederic Bloemart was another fuccefsful imitator of the ftyle of this great artift. At 
 the commencement of the feventeenth century flourifhed the two Bolfwerts. Their firft 
 exertions with the graver were in the ftyle of Goltzius, received probably through the 
 medium of Frederic Bloemart ; but under the inftrucHon and patronage of Rubens. 
 They changed that ftyle for one, better adopted to reprefent the finifhed and pidturcfque 
 
 b 2 beauties 
 
S ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 beauties of the paintings by that great mafter. And in this fchool Paul Pontius, Lucas 
 Vorfterman, Peter de Jode, and other excellent Dutch- and Flemifh artifts, vvhofc 
 works may juftly he efteemed as an honour to their country, completed their ftudies. 
 After the death of Rubens, the arts gradually declined, not only in Germany, but in the 
 Low Countries. For as thofe admirable engravers, which he had brought forward, dif- 
 appeared, there were none found of equal abilities to fucceed them, efpccially in the hif- 
 torical line. Houbraken, indeed, as an engraver of portraits, has excited our admira- 
 tion ; and his works juftly defcrvc the attention, which has been paid to them by the 
 experienced colledfors. 
 
 CHAP, in. 
 
 The Examination of the Works of the Italian Artl/ls, from the Commencement of the ftxteenlh 
 Century^ with a Jhort Jccount of the Improvements, made ly the French Engravers. 
 
 N order to fhow more clearly the difference between the two ftyles of engraving, 
 
 adopted bv the firft Italian artifts, mentioned in the fixth Chapter of the Eflay on 
 
 the Origin and Progrefs of Engraving, prefixed to the firft volume, I gave two plates : 
 one, a copy from a print in the celebrated edition of the works of Dante, printed at 
 Florence 1481, which was engraved by Sandro Boticelli, or by Baccio Baldini his afTo- 
 ciate, from bis defign ; fee plate VII. The other, a copy from a print engraved by 
 Andrea Mantegna ; fee plate VI. With refpe£t to the former, plate Vll. it muft be ob- 
 ferved, that the original plate was not printed upon the leaf of the book itfelf, but on a 
 feparate paper ; and was afterwards cut clofe, and parted upon the blank fpace of the 
 leaf, left for that purpofe. And it has been remarked to me, that, for this caufe, the 
 originality of the engravlcg copied might be difputed. Now it appears, that two only 
 of the original plates were printed upon the leaves of the book ; and thofe are the firft and 
 fecond. The ethers, which, in the moftperfcfl edition of this book, amount to feven- 
 teen, making nineteen in the whole, are pafted upon the blank fpaces, at the beginning of 
 each canto. The reafon why no more than two engravings were printed upon the 
 leaves might be, the inconveniency they found in placiiig the plate properly upon the 
 blank defigned for it, and the difficulty in taking the impreffion with the rollers, with- 
 out damaging the leaf itfelf, which is of the largeft folio fize. In taking the imprefllons 
 of the plates feparately, the difficulty was not fo great; neither was it of fo much con- 
 fequence, if they happened to fpoil a hw of the prints in the courfe of the operation.. 
 Upon examining the prints pafted upon the blanks, and comparing them with thoie 
 printed upon the leaves thcmfelves, I think it is fufficiently evident, that they were^ in 
 ijoth inftances, the work of one artift. But in order to remove every pofTible objeJfion, 
 I have, in the prefent volume, given a copy of a fecond plate from the Dante, which 
 is printed upon the leaf itfelf, at the head of the fecond canto. See plate III. 
 
 It was evidently from the works of Boticelli, or of his fcholars, that Marc Antonio 
 {ormedhis firft ftyle of engraving. And it is highly probable, that at Venice he might 
 meet with feveral of the engravings on copper by Albert Durer, as well as with his 
 wood cuts, though he chofe to copy the latter, rather than the former, for the fake of 
 expedition. The neateft and beft perfo.mances by this great artift are certainly from 
 the defigns of Raphael : under his tuition he completed his ftudies. 
 
 It is true, indeed, that the engravings by Marc Antonio are often defeftive, in point of 
 harmony, and the fkilful management of the light and (hadow, which gives them an 
 unfiniflied and, fometimes, difguftful appearance to the common eye. On the other 
 hand, a graceful flow of outline, joined with purity and correcSnefs of drawing in its 
 greateft latitude, are found in the bcft works of this mafter ; but thefe beauties rarely 
 attract the general notice, without the affiftance of neatnefe, or what is more properly 
 called high finifliing, efpecially in the prefent day. 
 
 The 
 
ON THE ORIGfN AND PROGRESS OF ENORAVING. Q 
 
 The eye, long accuftomed to neatnefs and delicacy of finifhing, efpecially where the 
 judgment is not capable of diftinguifliing the greater efTentials of the art, will necelTarilv 
 confider that neatnefs, as the criterion of excellency. Hence it is, that the works of 
 the old mafters are fallen into fuch general difrepute, their beauties are overlooked, and 
 their faults are \ iewed through a magnifying medium. And it is perhaps becaufe Marc 
 Antonio Hands the firft among the old mafters, that he has received a greater (hare of 
 cenfure than the reft. 
 
 The excellency of this mafter confifts in tlie correflnefs of his drawing, the character 
 of his heads, and the pure idea his works convey of the fimplicity and elegance of the 
 originals they are taken from ; and they may be confidered as admirable drawings, not 
 highly finifhed indeed, but fufficiently fo to preferve the defign and fpirit of the mafters, 
 from whom he worked. 
 
 That perfons, poffeffed of little judgment in the arts, fhould not difcover the merits 
 of this engraver, cannot furprife us ; but that artifts themfelves, and experienced col- 
 ledlors, fhould join in the common cenfure, is much more extraordinary. In thefe in^ 
 ftances we may conclude, he has been too haftily, as he certainly has been unjuftly, 
 condemned, without a proper examination of his works in their native ftate. Such as 
 generally appear at fales, and too many of thofe in the hands of collectors, are either 
 worn-out impreflions, or, what is ftill worfe, retouched ones. In thefe the primitive 
 beauty is entirely loft. Let any one, for inftance, examine the common impreffions of 
 that admirable engraving by this mafter, reprefenting the martyrdom of St. Laurence, from 
 Baccio Bandinelli, which is the largcft of all his prints, and he will find tlie outlines 
 darkened with black ftrokes upon the lights, and the demy tints upon the flefti increafed, 
 fo as nearly to equal the deep (hadows ; by which means all the breadths of light are de- 
 ftroyed, and cut into a variety of difagreeable divifions, which produce a difguftful and 
 unharmonious eft'eft. But in a fine impreffion of the fame plate, there are none of thefe 
 difagreeable crudities to be found; the fhadows are judicioufly foftened, and blended 
 into the lights, and harmonized with each other ; the outlines are neat and corredl ; 
 and the characters of the heads admirably well exprefled. In ftiort, he would fcarcely 
 believe it poffible, that the fame plate fhould furnifli impreffions, ib beautiful in one 
 ftate, and fo truly execrable in the other. But the wonder ceafes, if he be told, that 
 the plate, paffing through a variety of hands, has been frequently retouched, and that 
 by carelefs and unfkilful men. We may further add, that as die name of Marc Antonio 
 ftands high among the curious colledtors, the ignorant are too frequently impofed upon 
 by bad copies, or fpurious productions. It is indeed become cuftomary to write the 
 name of Marc Antonio with a pen, at the bottom of any old print, which bears even 
 the leaft diftant refemblance to his manner of engraving ; and, in feveral inftances, I 
 have feen both his cypher and tablet ingenioufly copied upon prints, that are a difgrace 
 to any mafter. 
 
 The great reputation, which Marc Antonio acquired by his works, in fome meafure 
 eclipfed the fame of the German fchools. Young artifts from every quarter flocked to 
 Rome, being defirous of ftudying under this excellent mafter; and the improvement 
 which they made was fo evident, that it was foon afterwards confidered as neceffary for 
 an engraver, as for a painter, to vifit Italy. So that, by degrees, the Italian ftyle of 
 engraving became the ftandard of excellence ; and upon it the greateft artifts formed 
 their tafte ; and that manner, which had been confidered in Germany, as moft excellent, 
 under the aufpices of Albert Durer, Lucas Jacobs, Henry Aldegrever, and Hans 
 Sebald Beham, declined by degrees, and was almoft totally difufed, at the conclufion of 
 the fixteenth century. 
 
 The fcholars of Marc Antonio followed his ftyle of engraving, with very little varia- 
 tion. Among them, Agoftino de Mufis and Marc de Ravenna were the moft fuccefs- 
 ful: the former principally excelled in neatnefs, and the latter in a more bold and open 
 manner. 
 
 Agoftino de Mufis was the inventor of a new fpecies of engraving, which was per- 
 
 forine<^ 
 
 .y 
 
to ON THE ORIGIN AND PROGRESJ OF ENCRAVIN'O. 
 
 formed with dots only ; but for what reafon he did not carry it to a greater extent, 
 cannot eafily be alcertaincd. He introduced it into one or two of his firft productions 
 onlv ; and there it was confined to the flefh. In the account of this artift, given in 
 the' body of the work, a plate, with the head of an old man, finiflied with dots only, is 
 defcribed. Probably this might be feen by Giulio Campagnola, who adopted a mode 
 of engraving, much refcmbling this, upon a more extenfive plan than that of de 
 Mufis ; but not with fufficient fuccefs, to render it an object worthy of the imitations 
 of the contemporary artifts. Stephen de Laulne, a native of Germany, and a very in- 
 genious man, followed the fteps of Campagnola ; and many of his (light works are 
 executed in dots only. Profcflbr Chrift, fpeaking of De Laulne, and mentioning this 
 mode of engraving, calls it improperly Opus Mallei, or the uuirk of the hammer \ but it 
 ■differs gready from that ftyle of which Janus Lutma appears to have been the inventor, 
 and is properly named Opus Mallei, being performed with the point, held upright upon 
 the copper, while the impreflion is made by a flight ftroke of the hammer. Thefe 
 blows are repeated, and the point moved backwards and forwards, till a fufficient depth 
 of colour is produced. A very fharp fcraper is parted gently over this work, to take off 
 fo much of the barb railed by the repeated percuflions upon the copper, as would pre- 
 vent the dots appearing difHn£tIy upon the print. In feme inftances, and in etching 
 particularly, two, and fometimes three points, joined together, have been very fuccefs- 
 fully ufed. Defmarteau at Paris praftifed this mode of engr.iving, and carried it to great 
 perfetElion. It is admirably adapted to the rcprefentations of drawings in red chalk, and 
 flight academical ftudies. The head of the old man, in the print by Agoftino de Mufis, 
 is executed with the point of the gra\er ; but the prints by Campagnola and Stephen de 
 Laulne, were done with the dry point, or fomc inftrument of fimilar conftrudtion ; 
 and the dots have all the appearance of being made by hand, regularly one after another. 
 John Boulanger, a French artift, who flourifhed in the middle of the feventcenth cen- 
 tury, improved greatly upon this mode of engraving, and pradtifed it with much fuccefs; 
 while his contemporary, Nicholas Van Plattenberg, finifhed a dead Ckrijl almoft en- 
 tirely with dots, made with the point of the graver, in a very powerful manner. 
 
 After the difperfion of the artifts, educated in the fchool of Marc Antonio, which 
 happened upon taking of the city of Rome by tlie Spaniards, the Ghiflii of Mantua 
 made a very confiderable figure, efpecially George, who laying before him the Neptune 
 of Marc Antonio for a model, improved upon the mechanical part of engraving, and 
 harmonized the light and fhadows with dots, judicioudy inferted and intermixed with 
 *he ftrokes. 
 
 In the mean time, Cornelius Cort, a Dutchman, who refided a confiderable time in 
 Italy, and worked in general from the Italian painters, followed by Agoftino Carracci, 
 Cherubino Alberto, and Francefco Villamene, introduced a ftyle of engraving entirely 
 jiew. It was bold, powerful, and mafterly; and, at the fame time, demonftrated much 
 more freedom of execution, than had been attempted before. Henry Goltzius approved of 
 this ftyle, and introduced it into the Low Countries, and many excellent artifts were formed 
 under his inftrudfions. From this time the boldnefs and freedom of execution with the 
 graver became an indifpenfible requifite ; and, in many inftances, corredlnefs of drawing, 
 charadler, and beauty, were facrificed to the twifting and twirling of the ftrokes, and 
 the clearnefs, with which the artift could cut the copper. But one very great defe£l, 
 in the works of all the artifts, from the commencement of engraving, to the time we are 
 now treating of, is, their want of attention to the proper diftribution of the light andflia- 
 dow. They do not feem to have formed to themfelves the leaft notion of harmonizing 
 the effed, by the fubordination of the lights upon the diftant objects, in order, to bring 
 out, and give confequence to the principal figures. On the contrary, the lights are juft 
 as powerful and glaring upon the diftant mountains, as upon the objefts neareft to the 
 «ye in the fore-ground. This, of courfe, prevents the gradation of the maffes, and 
 gives a harfli and unfinifhed appearance to the moft excelknt performances of that age. 
 2 Cornelius 
 
yN THE ORIGIN AND PROGRESS OF ENGRAVING. II 
 
 Cornelius Bloemart feems to have been one of the firft, who attempted, by covering 
 the diftant lights, to increafe the effect of the front figures, and harmonize the different 
 parts of the engraving, with each other ; and he was followed by Francois de Poilly, 
 Francois Spierre, Girard Edelinck, and other great maiters ; and this improvement was 
 carried by the French artifts to a very great degree of perfedbion. 
 
 Prints, executed entirely with the graver, efpsciallv when the back-grounds confift of 
 landfcapes, muft always have a cold, inanimate effeA in proportion as they are highly 
 iiniflied. I am now fpcaking of large hiftorical fubjeits. Portraits require neatnels 
 and precifion ; and, in this fpecies of engraving, the French artills have been pecu- 
 liarly excellent. If the works of Scheltius Bolfwert {hould be produced, in anfwer to 
 the propofition above mentioned, it is to be obferved, that though they are executed 
 entirely with the graver, it is in a ftyle peculiar to themfelves ; and in the back-grounds, 
 we find a pleafing negligence and roughnefs, which imitates the point. And the more 
 that imitation is perceptible, the more the effeQ. is agreeable. The continual famenefs,^ 
 which appears in the works of the greateft French maflers, widi the graver only, gives 
 them a heavy appearance, and a flatnefs of efied:, when compared v/ith the animated 
 performances of Girard Audran. 
 
 While the point remained in the hands of the painters only, no great improvement 
 could be fuppofed to take place. Their attention was necefTarily turned to objeiSIs of 
 greater importance, and etching was confidered by them, in general, as anamufement» 
 They were, therefore, content with the ftate of the art, as they found it ; but 
 feldom attempted to go any great lengths towards the improvement of it; efpecially 
 with refpedlto the mechanical part. And by the eniiravers the point was too much ne- 
 glected. They feem to have regarded it, as a thing of fmall confequence, till fuch time 
 as Girard Audran, by uniting it with the graver, produced thofe excellent perform- 
 ances, which are an honour to himfelf and to his country. Not that I would, by any 
 means, be fuppofed to infinuate, that Girard Audran was the firft artift, who 
 joined the graver to the point ; but all attempts, prior to his time, were fo feeble, when 
 compared with his, that he may be juftly confidered, as the firft that brought it to per- 
 feftion. John James Frey, and many other excellent artifts, both French and Italian, 
 followed the manner of Audran with great fuccefs. From France, Planders, and 
 Holland, engravers of portraits and hiftory came into England; but the art of engraving 
 itfelf never flourifhed, in any great degree, among the natives, till within thefe late 
 years. And the aftoniOiing progrefs, which has been made in fo fhort a time as the fpace of 
 thirty years, gives us great reafon to believe, that in the courfe of a very little time, the 
 Englifh hiftorical engravers will equal, if not exceed, the exertions of the moft fkilful fo- 
 reign artifts. In landfcape engraving, and fcraping of mezzotintos, they have already 
 .gained fo decifive a preeedency, that even envy herfelf muft hide her head in filence^ 
 
 CHAP. IV. 
 
 General Obfervations en the Antiquity of Seals and Stamps^ with an Account offcveral very 
 
 ancient ones. 
 
 IT will be needlefs to enter into a long difcuflion concerning the origin of feals or 
 ftamps. The former, we are affured, are as ancient as the time of the Patriarchs. 
 Judah, the fon of Jacob, meeting with Tamer his daughter by the way, left his fignet 
 with his bracelets and ftaff", as a pledge for the reward, which he was to give her. 
 The engraver of fignets or feals is exprefsly fpoken of by Mofes ; and the fkill of the 
 artift feems to have acquired him a confiderable ftiare of reputation and efteem. 
 
 The greater part of the fignets or feal?, mentioned in facred and prophane hiftory, 
 veere, without doubt, hollow, and the impreffions, of courfe, which were taken from 
 them, whether upon wax oi any other ductile fubftance, protuberated- in proportion to 
 
 the 
 
Ta "ON THE ORIGIN AND PROGRESS OF ENGRAVING. 
 
 .the depth of the engraving, But from the application of the word Signet in feveral 
 inftances, there is great reafon to believe, that it was alfo given to a ftamp or brand, 
 in this fenfe it fcems particularly to be ufed by St. John, in the Apocalypfe, where he 
 fpeaks of fealing tlie foreheads of the eled, as intimating thereby, that fome peculiar 
 mark was fet upon them, as we find it was upon the worfhippers of the beaft. 
 
 That rtamps or brands,every way proper for the purpofe of marking fuch things as required 
 diflinftion, v/erc actually in being at that time, is pofitivcly certain ; and I have given 
 the reprefentation of fix of them upon the fifth plate in this volume. The originals are 
 in the Britifli Mufeum ; and were, with many others, brought from Italy by Sir William 
 Hamilton. They were found in the ruins oi Herculaneuni and Pompeii ; and fome of 
 them bear the marks of great antiquity. I have given two reprefentations of thofc 
 marked, I. II. IV. V. and VI. The laft of thefe ftamps, the handle of which is broken, 
 differs from all the relT-. The letters, and the ornamental line of the edge, are hollowed 
 from the furface ; and the impreffion it makes upon the paper is directly contrary to 
 that of any one of the others, the letters being white, and the ground black. I 
 ■have given the impreffion of No. I. marked A. and of No. VI. marked B. at the top 
 of the plate. The original ftamps are of the fame fize with the reprefentations upon the 
 plate ; and are hollowed out from the furface of the letters and ornaments, an eighth of 
 an inch, and fometimes more. No. I. is a rude attempt at the form of a fiih. No. 
 III. is in the form of a fhicld ; and No. VI. is in the form of the bottom of a fandal. 
 The letters are reverfed upon the ftamp, of courfe, that they might appear the right 
 •way in the impreflions, as reprefented A. B. at the top of the plate. The Greek word 
 riANcMAl is very legible upon No. I. The other infcriptions, except that of No. V. are 
 not fo eafily decyphered. The impreflions from No. V. were, I apprehend, confidered 
 as an amulet, or charm, to fecure the wearers of it from certain difeafes, or dangers, 
 to which they were expofed. The infcription is evidently FELICIS AMVLLl 
 GEMELi'E. There is a variety of forms among the other Itamps at the Mufeum ; 
 particularly one of a. /hip., with the word ASPER upon it. Another in the form of a 
 ii-art, with this infcription, BASILEI SEXIS TERT. Another as a tablet, in the 
 middle of which is a reprefentation, nearly obliterated, of an animal, infcribed LEONTI 
 VINCAS. Another fmall one, in the fhape of a tablet, on which is infcribed 
 C + PVB + lANVARI. Some have infcriptions at full length ; others again have 
 only monograms, as No. II. They have all the appearance of being firft call, and 
 afterwards repaired with the chifel. They are made of a kind of mixed metal, refem- 
 bling brafs. 
 
 Whatever may have been the purpofe, to which thefe curious relics of antiquity 
 were applied, we cannot but wonder, that, having fo nearly, nay, we may fay, acSfually 
 difcovered the art of printing, in a fmall degree, they did not gradually appropriate it to 
 jnore extenfive purpofes ; efpecially as we fee they had, in one inftance, No. V. produced 
 xhree lines following each other* 
 
 CHAP. V. 
 
 A Jhort EJjfay upon the Art of Engraving on Wood. 
 
 IT is generally allowed by the beft authors upon the fubje£f of printing, that prior to 
 the invention of moveable types, there were books, coniifting of rude delineations cut 
 on wood, with fhort explanations of the fubjeifts, contrived for the convenience of 
 thofe, who could not afford to purchafe manufcript copies of the Old and New Tefta- 
 ment, from whence thefe fhort mementos were chiefly taken. Of this fpecies are the 
 books entitled, Hijloria Sancti "Johannis Evangelijiae, ejufque Vifiones Apocaiypticae^ or, the 
 Hijiory of St. John the EvangeUfiy and his Apocalyptical Vifiom ; and Hijloria Veteris et 
 
 Novi 
 
ON THE ORIGIN AND PROGRESS OF ENCRAVIKG. J^ 
 
 Novl Tejiavienti, or, the Hijiories of the Old ami New Tejiament, commonly known by the 
 appellation of the Poor Man's Bible. Thefe are ranked among the earlieft proclu6tions 
 of this kind ; but from their having no date, or any indication of the year, in which 
 they were printed, the difficulty of affixing the exa£l period of their appearance is in- 
 furmountable. They are fmall folio volumes. A fmgle block of wood was appropri- 
 ated to each leaf, which was printed only on one fide ; and two of thefe leaves being 
 parted together had the appearance of a fingle one, printed on botli fides. Befides the 
 two above-mentioned books, there are feveral others, printed in the fame manner : 
 namely, Hijhrla beatae Mariae Firginis, The Hijhry of the blejfei Virgin Mary. 
 Ars Memorandt^ or, an Jfjijlant to the Memoij. Ars Mariendi, or, the Art of Dying. 
 Speculum Hu?nana Salvatior.is, or, the Mirrour of Hutnan Salvation. But none of thefe 
 are fo ancient, as the two before mentioned. I have therefore chofen from them the 
 fpecimens, which accompany this eflay. 
 
 Papillon indeed tells us of eight engravings on wood, the account of which was 
 given to him by a Swifs officer. Thefe muil have been confiderably more ancient, 
 than any thing now known ; and upon which a decided opinion may be given, with 
 refpecl to the date. The title, according to that author, ran thu«, Les Chevaleurei/:f 
 faits en figures du grand isf Magnanune Macedonian Roi, le preux isf Faillant Alexandre^ 
 dedie, £?V. " A reprefentation of the Warlike Actions of the great and magnanimous Mace- 
 " donian King, the bold and valiant Alexander, dedicated, prefented, and hum.bly offered 
 " to the Moft Holy Father, Pope Honorius IV. the glory and fupport of the church; 
 " and to ourilluftrious and generous Father and Mother, by us, Alexander-Alberic Cunio, 
 " Chevalier, and Ifabella Cunio, twin brother and filter : firft reduced, imagined, and 
 " attempted to be executed in relief, with a fmall knife, on blocks of wood, made even 
 " and poliftied by this learned and dear filler, continued and finilbed together at Ra- 
 " venna, from eight pictures of our invention, painted fix times larger than here re- 
 " prefented ; engraved, explained by verfes, and marked upon the paper, to perpetuate 
 " the number, and to enable us to give them to our relations and friends, in remem- 
 " brance of friendfhip and affeiStion. Thefe were compleatly finished by us both, at the 
 " age of fixteen only." 
 
 If this ftory be true, and fuch engravings with the foregoing title ever did exift, they 
 muft have been executed in the years 1284 or 1285; for Honorius IV. to whom the 
 work is dedicated, fat only thofe two years in the Papal Chair. But as Papillon gives 
 this ftory upon the fole evidence of the Swifs officer, and had never feen any part of 
 the engravings, the generality of authors have not been inclined to give much credit to 
 the fadl, which at beft is exceedingly doubtful. 
 
 The moft probable conjectures, concerning the origin of this fpecies of engraving, 
 is, that it was introduced into Germany by the jjciffiiialcriC, or painters of the playing- 
 cards, who cut the outlines of the figures on wood, and ftamped them upon the paper, 
 to fave the trouble of making a feparate drawing for every card ; and afterwards co- 
 Toured tliem by hand. In this manner precifely were executed the blocks for the cuts, 
 in the edition of the Apocalypfe, which is nowpreferved in the Bodleian library at Ox- 
 ford ; part of one of which is very faithfully copied plate VI. of this volume. 
 
 Baron Heineken afferts, that cards for playing were invented in Germany, where 
 they were in ufe as early as the year 1376, though the reafon he gives is not, by any 
 means, conclufive : parce qu'on Ics connoijjoit vers ce terns en France, " becaufe tliey were 
 " known about this time in France." Other autliors, with Bullet at their head, as 
 confidently aflert, that they were invented in France. The difputes upon this fubjeit 
 ferve only to prove the difficulty, if not the impoffibility of afceriaining the sra of the 
 invention of cards, or the country in which they were firft produced. This, how- 
 ever, is of no confequence to the prefent enquiry, unlefs it could alfo be proved that 
 a part of them was printed on blocks of wood, at the time of their firft invention. 
 There feems to be very little doubt, but that they were drawn and painted by hand. 
 
 Thefe card makers did not entirely confine themfelves to the printing and paintins; 
 
 VOL. II. c (5f 
 
14 ON THE ORIGIN AND PROGRESS OF ENGRAVIWC. 
 
 of cards, they alfo produced fubjcfts of a more devout nature. " We find," fays 
 Baron Heineken, " in the library of Wolfenbuttel, a variety of prints, reprefenting 
 " different fubjects, talcen from holy writ, and devotional compofitions, w^ith the ex- 
 " planatory text facing the figures ; the whole engraved on wood. Thefe prints are 
 " precifely of the fize with our playing cards ; that is, a little above three inches high, 
 " by two inches and a quarter in width. There are alfo in the fame library, five prints, 
 " at the end of a book entitled, Jrs jVIoriendi, reprefenting different figures of angels, 
 " devils, dying perfons, and faints. They are of the fame fize with the playing cards ; 
 " and each print is marked with a letter of the alphabet." He adds further, " that they 
 " engraved the fame fort of images upon a larger fcale ; and that, in a convent at 
 " Buxheim, near Memmingen, he faw a print reprefenting St. Chrjjhpher., carrying the 
 " infant Jefus over the fea. Facing the faint is reprefented the figure of a hermit, hold- 
 " ing up his lanthorn to give them light; and behind him a peafant, climbing to the 
 " top of a mountain, with a bag at his back. This print," continues my author, " is 
 " of a folio fize, engraved on wood, and illuminated in the fame manner as the playing 
 " cards are done. At the bottom is this inicription, CfiffofCVi fattaill, UtC (|Ua- 
 
 " tuittiHe tucriiS. %\\a ncmpc tite irocre mala noii movims, iT'illEftmo 
 
 *' CCCC° XX° tCrtio, This print proves at lead, that the images of faints, with letters, 
 " were engraved on wood, as early as the year 1423. It is parted upon the infide of 
 " the cover of an old book, probably by fome religious perlon of the convent, in order 
 " to preferve it." 
 
 The fixme author informs us, that in vifiting the convents, monafteries, and other 
 religious houfes, he frequently found fpecimens of this kind, parted into books of the 
 fifteenth century ; " which," fays he, " confirmed me in my opinion, that the firrt expe- 
 *' riments of engraving on wood, after thofe of the playing cards, were the images of 
 " flints, and devotional fubjefts ; which, being difperfed among the laity, were lort by 
 " degrees ; and thofe which were preferved, were fuch only, as the monks and other ec- 
 " clefiartics parted into the early printed books, which ornamented their libraries." 
 
 Thefe images of faints, and other devotional fubjefts, being firrt produced, fets of 
 fubje£ls witli the letters of the alphabet followed ; and thefe were taken from the bible, 
 or legendary hirtories, which in former times were confidered of almort equal confe- 
 quence with the bible, and the prints were conrtantly accompanied by infcriptions, 
 either for inrtruftions, or the exciting of devotion, in the manner of the Apocalypfe, 
 and the Poor Man's Bible, &c. 
 
 The next dated work of this kind is the Chiromancy of Dr. Hartlieb, confirting of 
 twelve leaves, printed on both lldes, the firrt and laft pages only, which are blank, 
 forming three divifions, marked at the bottom ji. Jj, f. each divifion confirting of eight 
 pages ; to which may be added two leaves more, the one for the title, and the other 
 lor the conclufion, both of them infcribed 2)((> JK.ttnfl' CpfOlItaUtia, upon the top 
 of an ornamented fquare border. At the beginning of this curious book, which is in 
 fmall folio, is a large vignette, reprefenting Dr. Hartlieb kneeling, and prefenting it 
 to the Princefs Anne, who is feated upon her throne ; and the names of thefe two 
 perfonages are engraved at the bottom of their portraits. The prints in this book are 
 exceedingly rude ; but have not, as far as one can judge from the copy of one of them, 
 given in the Idee generate d'une CojleBion complctte d'e/lampes., the appearance of being fo 
 ancient, as thofe in the Apocalypfe, or the Poor Man's Bible. This curious compilation 
 isdated 1448 ; and the nameofjocg ^tljapff XH ilugfpurg, '^^e artirt, who is fup- 
 pofed to have performed the engravings, appears upon the fourth page. 
 
 I had intended to examine the claim, which the Dutch have laid to the invention of 
 this fpecies of engraving ; but, on confideration, I find it is entirely ufelefs, on the pre- 
 fent occafion, to enter into that controverfy ; and particularly, as the matter has been 
 fo fully treated by Baron Heineken, in the book above-mentioned ; and alfo in a late- 
 publication, by an author of our own country. In thefe works all the evidences, which 
 
 are 
 
on THE ORIGIN AND PROGRESS OF ENGRAVING. 15 
 
 are given by the Dutch in fupport of Laurence Cofter, are carefully examined ; and as 
 ftrongly refuted by the Baron, as they are fupported by the Englifh author. But the 
 arguments of the former are, in my opinion, much more powerful, than thofe of the 
 latter. 
 
 After the invention of moveable types, the incfltltllCtS continued to vend their pub- 
 lications for a confiderable time ; bat when the engravings on wood were annexed to 
 the books, printed with the moveable types, they were gradually difcontinued. How- 
 ever, the art of engraving itfelf continued in an improving ftate ; and towards the 
 conclufion of the fifteenth century, there were feveral artifts of great reputation, who 
 feem to have been principally employed by the printers to ornament their publications. 
 
 In 1493, appeared at Nuremberg, the folio Chronicle by Schedel, ornamented with a 
 large number of engravings on wood, greatly fuperior to any thing, which had appeared 
 before that time. They v/ere executed by William PleydenwurfFand Michael Wolge- 
 mut. The latter of thefe artifts was the tutor of Albert Durer, whofe admirable per- 
 formances, in this ftyle of engraving, are juftly held in the higheft efteem. From the 
 time of Albert Durer, it became cuftomary for almoft every one of the German en- 
 gravers on copper, to engrave on wood alfo ; and the works of many of them were 
 better on wood, than on copper ; for example, thofe of Albert Altdorfer, Hifbel Pen, 
 Virgil Solis, &c. 
 
 Many excellent engravings on wood were produced by the German artifts ; but none 
 more extraordinary than the dafjce of Death, by Hans, or John Holbein the younger, 
 which, for the freedom and delicacy of execution, has hardly been equalled, but never 
 furpafled, by any artiil ancient or modern. Italy, France, and Holland, have pro- 
 duced many capital artifts of this kind, whofe names may be found in the body of the 
 work, and, of courfe, need not be repeated here. But, for boldnefs and fpirit, we muft 
 fee the prints of Chriftopher Jegher, who worked under the diredlion of Rubens, and 
 was, without doubt, affiited hy that great artift. Among the moderns, Papillon may 
 certainly be confidered as an excellent artift. He publilhed at Paris two volumes, and in 
 them he gives a full explanation of the manner in which the engravings on wood of 
 every fpecies are performed, with a hiftory of the art itfelf, deduced from the earlieft 
 asra of its appearance to his own time, together with an account of all the artifts, and 
 their works. And thefe volumes are replete with his performances, which do him 
 great honour. 
 
 Before I quit the prefent fubjedt, it is necellary that I fliould give fome {hort account 
 of another branch of this art, namely, that fpecies of engraving on wood, which is diftin- 
 guifhed hy the appellation of chiaro-fcuro. And firft, with refpe£l to the invention of 
 it, which is claimed by the Germans, and by the Italians. The latter aflert, that, foon 
 after the commencement of the fixteenth century, Ugo da Carpi, a man of great in- 
 genuity, difcovered a mode of imitating flight drawings by the means of different blocks 
 of wood. The Germans, on the other hand, produce feveral engravings by Mair, 
 which are dated 1499, and one by Lucas Cranach, dated 1500, which are prior to the 
 time, afExed by the Italians for the invention by da Carpi. This circumftance, even 
 if we fhould fuppofe, that the prints by Mair are the firft attempts in this ftyle of en- 
 graving, is fufficient to prove the priority of the exercife of it in Germany. Baron 
 Heineken is of opinion that the works of John Ulric are ftill more ancient than thofe by 
 Mair ; but I think the appearance of the prints themfelves, which are admirable fpeci- 
 mens of the art, do not by any means juftify the afTertion. 
 
 There is, however, a material difference between the chiaro-fcuro's of the old Ger- 
 man mafters, and thofe of the Italians. Mair and Cranach engraved the outlines and 
 deep fhadows upon the copper. The imprefnon taken in this ftate was tinted over, by 
 the means of a fingle block of wood, with thofe parts hollowed out, which were defio-ned 
 to be left quite white upon the print. On the contrary, the mode of engraving, 
 adopted by Ugo da Carpi, was to cut the outlines on one block of wood; the dark ftia- 
 dows upon a fecond ; and the light fhadows or half tint upon a third. The firft being 
 
 S imprelfed 
 
l6 ON THE ORIGIN AND PROGRESS OP ENGRAVING. 
 
 imprefled upon the paper, the outlines only appeared ; this block being taken away, 
 the iecoiid was put in its place ; and being alfo imprefled upon the paper, the dark 
 fhadows were added to the outlines ; and the third block being put in the fame place, upon 
 the removal of thefecond, and alfo imprefled upon the fame paper, made the demy tints ; 
 and the print was completed. In fome few inftances, the number of blocks were in- 
 creafed ; but the operation was flill the fame ; the print receiving an imprefllon fjrom 
 every block. Andrea Andreani carried this fpecies of engraving to great perfeftion. 
 Both the German and Italian ftyle of engraving in chiaro-fcuro have been pradlifed 
 Tjy different artifts of every ' country ; and in France, many excellent works of this 
 kind have been produced. The attempts of Jackfon, Kirkail, and others of our coun- 
 try, were not equally fuccefsful. 
 
 CHAP. VI. 
 
 A D^criptlon of the Jirji eight Plates, contained in this Foliiine; and of Plate Vll. in tht 
 
 former Volume. 
 
 FRONTISPIECE. 
 
 ADAM and Eve, from a very curious engraving, by Marc Antonio Raimondi, 
 ■^ after a drawing by Raphael. 
 
 PLATE II. 
 St. Agnes, copied from an engraving, exadlly the fame fize, by Ifrael Van Mecheln. 
 
 PLATE II. 
 
 St. Sebajiian, from an engraving by Martin Schoen, of the fame fize as the original. 
 
 PLATE III. 
 
 This engraving, together with plate VII. in the firft volume, is taken from the 
 rare edition of the works of Dante, publiflied at Florence, a. d. 1481. The defigns 
 for thefe prints were made by Sandro Boticelli ; and they were either engraved by 
 him, or by Baldini his aflbciate. The greatefl: number of plates ever feen in this fcarce 
 book are nineteen. Wilbraham, Efq. poliMy lent me his copy, which is eft:eemed 
 
 the moft- perfeft one in Europe: and as the prints are rarely to be ietn complete, I (hall 
 the lift of them, as follows : 
 
 I. The attthor, frighted hy a wolf meeting his guide Virgil in the wood. 
 
 II. St. Beatrice appearing to the author and his guide. 
 
 Thefe two plates only are printed upon the paper of the book ; thofe that follow are 
 palled on. The fecond is copied ; fee plate III. as above. 
 
 III. The entrance into Hell. Charon is reprefented as a frightful demon with wings, 
 a monftrous vifage, and covered with hair. 
 
 IV. Tlie interview of the author with Homer, and the appearance of HeSlor a>id Alexander. 
 
 V. The interview with Minos, who is reprefented as a demon, covered with hair, 
 having large wings, with great horns, and a ferpent's tail. 
 
 VI. Thejhower of hail. Charon is reprefented again in this print, with ugly fpedlres 
 of feveral kinds. 
 
 VII. The interview with Pluto, and the appearance ofGhoJls rolling heavy Jlones. 
 
 VIII. The approach to the tower of Dis. 
 
 IX. The guide hiding the eyes of the author; at the entrance into the place of torment. 
 
 X. The approach to the flaming fepuUhres. 
 
 XI. TJh 
 
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 <^=>. 
 
ON THE ORIGIN AND PROGRESS OF ENGRAVING. I7 
 
 XI. TJje author and his guide, feated in view ofthejieep rocks and flaming fepulchres, 
 
 XII. TJoe centaurs and other fpeSires. 
 
 XIII. T^he wood, vjith the Harpies, who have fe/nale faces. 
 
 XIV. The wood, with the ghojis of the poetical heroes. 
 
 XV. The author fpcaking to a ghojlwhofe perfon was known to him. 
 
 XVI. The guide cajls a cord into the gulph, and the head of the monjler Fraud appears 
 rifing up to them. .. • 
 
 XVII. The monjier Fraud, luith the guide feated upon his hack, defiring the author to follow i 
 his example. This print is copied ; fee plate VII. of the firft volume. "^ 
 
 XVIII. The burning pits. 
 
 XIX. Tlie monjier Fraud, with the ghojls upon the burning lakes. ' 
 
 P L A T E IV. »■ 
 
 5/. Jerom, copied from a print engraved by Marc Antonio, after Raphael. The 
 original of this plate is exceedingly rare. 
 
 PLATE V. 
 
 Six ancient feals or Jlamps, ufed by the ancients. The originals are at the Britifli Mu- 
 feum, and were found in the ruins of the Herculaneum. / . 
 
 PLATE VI. :.< 
 
 An accurate copy of one of the ancient engravings on wood, contained . jiu- a book, 
 entitled, Hijioria Sanoii 'Johannis Evangelijia ejus que Viftones Apocalyptica, oif^the Hil- 
 tory of St. John the Evangelift, and his Apocalyptical Vifions. This curious book is ia 
 fmall folio ; and, generally fpcaking, every leaf contains two prints, engraved on one 
 block, and printed, of courfe, on one fide only. Every other leaf is marked with a letter 
 of the alphabet, and the number of the leaves amount to forty-ei^ht. The prefent 
 engraving is taken from the upper part of the Vlth print, and coloured, in imitation of 
 the original. It reprefents the man on a white horfe, who appeared to St. John at the open- 
 ing ofthefirjlfeal. The book itfelf is preferved in the Bodleian library at Oxford. 
 
 PLATE VII. 
 
 Is an accurate copy taken from the middle part of one of the ancient cno-ravino-s on 
 wood, in a book, entitled, Hijlcria Vctei'is et Novi Tcfiamcnti, or, the Hiftories of the Old 
 and New Teftament. The book is in fmall folio. It confifts of fiftv enffravin^s 
 printed on one fide of the leaf only. In the middle part of every oneof the'fe engravirTc-s 
 are three compartments, in each of which is reprefented fome hiftorical faft, taken from 
 the facred writings. At the top, over the middle compartm.ent, are tv/o half fio-urc? 
 ftanding in two arches, reprefenting two of the Patriarchs or Prophets. The /paces 
 on each fide are filled up with extracts from the fcriptures ; and at the bottom, under the 
 middle compartment, are two more half figures in arches, refcmbling thofe at the top • 
 and the blank fj-jaces on each fide are filled up in the fame manner as above. The pre- 
 fent engraving is taken from the Xth. print of this book. In the firft compartment is re- 
 prefented Ejau jelling his birthright ; in the fecond, the temptation of cur Saviour; and in 
 the third, jidam and Eve, taking the forbidden fruit. It is coloured in imitation of tlie 
 original. This book is preferved in the Bodleian library at Oxford. I did not 
 copy the whole of the print, becaufe it would then have been too large for the book 
 and, of courfe, rtiu'r have been folded up. Behdes, as this is inferted merely as afpe- 
 cimen of theftyle of engraving, the upper and lov.-er parts, confiliing chiefly jof letters, 
 could be of little or no fervice. 
 
 VOL. II. d d 
 

DICTIONARY 
 
 O F 
 
 ENGRAVERS. 
 
 H. 
 
 I 
 
 N. H A B E R T. ^ 
 
 Flourifhed, 1700. 
 
 AN engraver of no great note, who worked chiefly for the bookfellers. 
 By him we have feveral portraits ; among others, that of Jobn Milton, 
 and 'Thomas Parr the old man. 
 
 ALEXANDER VAN HACKEN. 
 
 Flourifhed, 1740. 
 
 This artift, who was a defigner, as well as an engraver, was a native of 
 Holland. He refided a confiderable time in London, where, I believe, he 
 died. We have many portraits executed by him in mezzotinto j fome of 
 which are by no means devoid of merit ; among others, the following : Dr. 
 Pepufch, from Hudfon, and Laurence Delvaux, the fculptor, from Ifaac Wood. 
 
 JOHN HACKAERT, or HAKKERT. 
 Born, 1635. Died, 
 
 This artift is faid to have been born at Amfterdam, about the year 1635. 
 His genius lead him to landfcape painting ; and he greatly excelled in roman- 
 tic fcenes., with rocks, caves, and grottos. His pi£lures are very valuable, as 
 well on account of their intrinfic merit, as for the charming figures they 
 
 VOL. XI. B frequently 
 
HAD [ 2 ] H A F 
 
 frequently have, by the hand of Vander Velde. He alfo etched a fet of 
 fix land/capes, middling fized plates, length-ways, in the ftyle of Waterloo. 
 They are limple copies of nature, executed with great judgment. The fourth 
 plate in particular, is in my opinion a very beautiful one. He figns his 
 name " Joannes Hackaert inv. et fecit." They were publifhed at Am- 
 fterdam. 
 
 HADELER, or HAEYLER. 
 
 Flouriflicd, 
 
 Both thefe names are certainly meant for John Sadeler, the fecond being 
 mifpeltj the letter, miflaken for an H. only, is evidently an I. and an S. 
 joined together, with a crofs bar, which may indeed be taken as an H. 
 with the laft ftroke lengthened into an S. In one inftance, reading the bap- 
 tifmal name John, in the other Hans j both of which bear the fame mean- 
 ing in different languages. 
 
 NICHOLAS VAN HAEFTEN, or HAPTEN. 
 
 Flourifhed, 
 
 This artift was a native of Holland. He both etched, and engraved in 
 mezzotinto, a number oi ludicrous fubjeSlSy which, however, have no great 
 merit to recommend them to public notice. I fhall only mention the fol- 
 lowing by him : A Dutch burgomajler toying with his kitchen maid, with fome 
 French verfes underneath, a middling fized upright plate, very poorly etched. 
 
 €fe HAELWEGH. 
 
 Flourifhed, 
 
 One of the induftrious ornamentors of books. His works are chiefly por- 
 traits, which he performed with the graver, in a ftifF, dark ftyle., I fliall 
 mention by him, 
 
 Jacob Oldenborg, Phil. DoSl. a half-length figure, a middling fized upright 
 oval plate, from A. Houbraken. 
 
 The duke of Argyle in armour. i 
 
 The reverend patriot, Mr. IValker, governor of Londonderry, &c. 
 
 MELCHIOR FIAFFNER. 
 
 Flourifhed, 1680. 
 
 The name of an engraver of no fuperior merit, who appears to have worked 
 for the bookfellers only. By him, among other things, is a frontifpiece re» 
 prefcnting the infide of a large library, executed entirely with the graver. 
 It was for a book, entitled, Bibliotheca Realis Univerjalis, publiflied at 
 Francfort 1685, where the engraver refided ; but his chief work appears to 
 have been the portraits for a work entitled Templum Honoris, publifhed by 
 Theopelus Spizelius, at Vienna, 1673. Some of them are neatly engraved, 
 and tliofe appear to me to be the be(l in which the flefh is executed with 
 dots only. 
 
 JOHN 
 
H A F [ 3 ] H A I 
 
 JOHN CHRISTOPHER HAFFNER. 
 
 Flourifhed, 
 
 An obfcure engraver, by whom we have a book of ornaments, executed in a 
 very coarfe indifferent ftyle. 
 
 H A F T E N. See Haeften. 
 
 COUNT DE HAGEDORN. 
 
 Flourifhed, 1745. 
 This nobleman was not only a great lover of the arts, but an artifl him- 
 felf 5 and his works prove him to have been a man of genius and judgment. 
 He refided at Drefden. By him we have a fet of caricatures ; and a fet of 
 twenty-four fpirited little land/capes, from his own defigns, flightly etched in 
 the flyle of Waterloo. He alfo etched fome plates from Verjuch and other 
 maflers. He marked his plates with a monogram, compofed of an H. with 
 a D. joined together, and a fmall v. under the H. in the manner exprefTed 
 on the plate at the end of the volume. 
 
 C. H A G E N S. 
 
 Flourifhed, 1664. 
 An engraver of Amflerdam, of whom I find no account. His name is 
 afHxed to a portrait of William Davidfon, refident in Holland for Scotlahd, 
 and commifTioner for England and Scotland, drawn by himfelf, from the 
 life, in the city of Amflerdam. 
 
 JOHN JAMES HAID, or HAYD. 
 
 Flourifhed, 1750. 
 
 He was an engraver and printfeller, eflablifhed at Augfburg, in Germany. 
 By him we have a confiderable number of mezzotintos j fome of them by 
 no means devoid of merit. His great work appears to be the portraits of 
 the illujirious perjonages of Germany, which, with their lives written by Jacob 
 Brucker was printed in a large folio volume, containing one hundred prints, 
 at Augfburg, a. d. 1741, entitled ffiilucr &al. 
 
 JOHN GOJPFRID HAID, or HAYD. 
 
 Flourifhed, 1760. 
 This artift was fbn to John James Haid, mentioned in the foregoing article. 
 He came into England, and refided in London a confiderable time. We 
 have fevcral very refpeftable mezzotintos by him ; among others, that of 
 Foot, in the character of Major Sturgeon, a large plate, length-ways, from 
 ZofFany. G«rnV^, in the Farmer's return from London; and feveral por- 
 traits, from Sir Jofhua Reynolds and other maflers. 
 
 B 2 JOHN 
 
H A I [ 4 ] HAL 
 
 JOHN ELI AS HAID, or HA YD. 
 
 Flourifhed, 1760, 
 A modern engraver of the fame family with the two preceding artifts. He 
 engraved a great nvimber of mezzotintos -, but I am not well acquainted 
 with his works. 
 
 ELIAS HAINZELMAN. 
 Flouriflied, 1684. 
 
 He was born at Augfburg in Germany, and went to Paris, where he be- 
 came the pupil of Francois de Poilly, whofc manner of engraving he imitated 
 with great fuccefs ; and had his drawing been equally as corred, as his mecha- 
 nical execution was commendable, his works would have ranked with thofc 
 of the greateft mafters. They poifefs, however, (his portraits efpecially) a 
 very confiderable Ihare of merit. Among other prints by this matter are the 
 following : 
 
 TheftUnce, an engraving fo called, reprefenting the infant Chrift fleeping, 
 and St. John coming towards him, whilft the Virgin holds up her finger to 
 prevent his difturbing him j a middling fized plate, length-ways, from 
 Annibale Carracci. Picart, Michael LAfne, and Mr. Bartolozzi have alfo 
 engraved the fame fubjeft. 
 
 A holy family, in the back-ground fome women are reprefented wafliing 
 linen ; a large upright plate, from Sebaftian Bourdon. 
 
 A holy family, with St. John prefenting a lamb to Chrift, a large plate, 
 length-ways, from the fame. 
 
 A holy family, v^\xh. Si. John, who prefents an apple to the infant Chrift, 
 the fame, from the fame. 
 
 The. ^ovtrzitoi Leonard Weifs, a middling fized upright plate. 
 
 Several other portraits, and a variety of different fubjeds,, from Jofeph 
 Verner, Albano, &c. 
 
 JOHN HAINZELMAN. 
 
 Flouriftied, 1684. 
 
 An engraver of the fame family with Elias Hainzelman, mentioned in the 
 preceding article ; and probably a near relation. We have by him a variety 
 of portraits, executed entirely with the graver, in a clear and neat, but ftiff 
 llyle. Among others, is that of John III. king of Poland, a fmall upright 
 plate, marked " J. Hainzelman del. et fculp." He appears chiefly to 
 have drawn tlie portraits, which he engraved, from the life. 
 
 Daniel Hainzelman, and another, whofe baptifmal name begins with 
 an S. were alfo both of them engravers, and of the fame family. 
 
 H A K K E R T. See Hackaert. 
 
 JOHN HALBECK. 
 
 Flouriftied, 1618. 
 This engraver was a native of Copenhagen. By him we have a variety 
 of prints, executed with the graver only, in a ftyle, that does him but little 
 
 credit. 
 
>»^ 
 
 HAL [ 5 ] HAM 
 
 credit. I Ihall only mefttion the following : A fet of grotefque ornaments, 
 dated i6 1 8. A large whole-flieet print, containing the heads of the emperors, 
 from Julius Csefar to Ferdinand the Second. 
 
 ARENT VAN HALEN. 
 Flourifhed, 
 
 This artift was a native of Holland, and engraved a variety of fortraits, 
 and other fubjefts, in mezzotinto. He fometimes figned his plates with 
 the words aquila sculpsit. Aquila in Latin and Arent in Dutch, are 
 equivalent, and fignify an eagle. The name is thus expreffed under the 
 portrait of Jeremiah Dekker^ a fmall upright plate, from Rembrant Geretz. 
 
 CHARLESHALL. 
 Born, Died, 1783. 
 
 This artift was a native of England, and refided the greater part of his 
 life in London. He was brought up as an engraver of letters ; but being an 
 ingenious man, he wiflied to appear in a more confpicuous branch of the 
 art. His beft works are portraits, of which he engraved feveral very faith- 
 ful reprefentations, at leaft, of the originals from which he copied them. He ^ 
 likewife performed a number of plates of Jeals, coins, medals, and other 
 antiquities. It is remarked of him, (with a cenfure on the engravers, which 
 I hope is not juft, in fo great a latitude as it is drawn,) that he was what the 
 generality of his profeflion are not, a religious man. He died, February 
 5, 1783, at hfs lodgings in Grafton-ftreet, Soho, London. The fol- 
 lov/ing are his moft efteemed performances, namely, Thomas Howard, duke 
 of Norfolk, who gained the viftory at Flodden Field. Henry Fitzallen, earl 
 of Arundel, from Holbein, ^een Mary, Sir Anthony More and Alexander 
 Sterling, from Marfhal. Catherine marehionefs of Pembroke, from Pafle. 
 Mary Sidney, countefs of Pembroke, from the fame. Sir Francis Worthy ^ 
 from Hertocks. fack Adams, &C.- 
 
 NOELHALLE. 
 
 Born, 1 65 1. Died, 17 13. 
 He was the fon of Claude Halle, a fea officer, and native of France. He 
 refided at Paris, was a member of the Royal Academy in that city, and is 
 fpoken of as a painter of fome eminence. We have feveral etchings by him, 
 from compofitions of his own ; among others, Antiochus cajt from his cha^ 
 riot, and its companion, fmall plates, length-ways. 
 
 A. B. D U H A M E L. 
 
 Flourifhed, 1760. 
 
 A modern French engraver, who refided, I believe, at Paris. His en- 
 gravings appear to have been chiefly portraits ; among which are the fol- 
 lowing : Joliot de Crebillon, and Jean Jacques Roujfeau, 
 
 R. HAN- 
 
HAN [ 6 ] H A R 
 
 R. H A N C O C K. 
 
 Flourifhed, 
 An engraver in mezzotinto, by whom we have the portrait of R. Lovet, 
 4utbor of the Philofophical EJay, from J. Wright. 
 
 FRANCOIS HANDERIOT. 
 
 Flourifhed, 
 
 By this engraver, according to Florent le Comte, we have a print, reprc- 
 fenting the cajiitig of St. John into the caldron of boiling oily from a pidurc 
 by Le Brun. 
 
 WILLIAM HANIUS. 
 
 Flourifhed, 
 
 The name of an obfcure engraver affixed to a print executed with the 
 
 graver only, in a coarfe, flifF ftyle, and very badly drawn. It reprefents 
 
 d figure praying in a pulpit fur-rounded by a numerous congregation, and the 
 
 word n^n' furrounded with rays of light appears in the clouds above. 
 
 MARC ANTONIO HANNAS. 
 
 Flourifhed, 
 
 An ancient engraver, mentioned by profefTor Chrift. The prints marked 
 with an M. and an I. with a fpecies of the Italian A. in the manner exprefTed 
 on the plate at the end of the volume, are attributed to him. 
 
 A. HANZELET. 
 
 Flourifhed, 
 This artift, a man of no note ; was a native of Lorrain, and flourifhed about 
 the middle of the lafl century. Florent le Comte mentions him, among others, 
 as the engraver oi certain machines, engines, and mechanical inventions. His 
 works, however, are faid to have been very indifferent. 
 
 ISAAC HARBECK. 
 
 Flourifhed, 
 
 He is mentioned by Florent le Comte as an engraver. But his works 
 are not fpecified : I am not acquainted with them. 
 
 MICHAEL HARDOUIN. 
 
 Flourifhed, 1680, 
 He was, I believe, a native of France, and refidcd at Paris, where he en- 
 graved the plates for a work, em'nhd, Livre de Plans, Profiles, et Elevations 
 de Chafleau de Clayny pres de Verfailles ; or, A Book cf Plans, Profiles, and 
 Elevations of the Palace of Clayny near Verfailles ; in a very large folio, pub- 
 lifhcd at Paris by M. Coffin, engraver to the king. Thefe plates are exe- 
 cuted chiefly with the graver, in a neat, dry ftyle, widiout much tafte. 
 
 BERNARD 
 
H A R [ 7 ] H A R 
 
 BERNARD HAREFELDT, or HAREVELD. 
 
 Flourifhed, 
 An indifferent engraver, who, according to Bafan, fiourifhed in the 4aft 
 "" century, and refided at Antwerp. We have feveral prints by him ; among 
 others, the crucifixion of Chriji, a middling fized upright plate, from Rubens. 
 
 P. A. H A R N S I U S, 
 
 Fiourifhed, i6i i. 
 
 This artift fbmetimes figns his plates with the word Harlingenfis ; becaufe 
 he was a native of Haerlem ; they are etched in a (light, fpirited ftyle, and 
 are evidently the proJuttions of a painter. Among other things by him is 
 an eccehofito, afmall upright plate, in which only half of the figures appear. 
 It is from a defign of his own, and dated 1 6 1 1. 
 
 FRANCIS HARREWIN* 
 
 Fiourifhed, 17 lo. 
 
 By this artifl, who pofTefTed no fuperlative degree of genius, we have a 
 confiderable number of etchings, from his own compofitions. He was a 
 native of BrufTels, and the difciple of Romain de Hooghe ; but he never 
 equalled his mafler. According to Bafan, he refided at BrufTels, about the 
 beginning of the prefent century. By him, among others, are the portraits 
 of Albert, archduke of Auftria, kneeling, and its companion, Ifabella infanta of 
 Spain, kneeling ; with St. Margarita prefenting her with a crown of flowers, 
 two large upright plates, from Rubens. He alfo engraved a fet of views, 
 caftles, &c, for Le Roy's Account of the Brabant Family, publifhed 1699. 
 
 J. HARRIS. 
 
 Fiourifhed, 1700. 
 
 He was, I believe, an Englifliman ; but, as an artift, is not greatly to be 
 commended. His beft prints appear to me to be fome architeSfal views, 
 which he executed for the fourth volume of Vitruvius Britannicum, publifhed 
 at London, 1739. We have alfo by him a large two-fheet map of the world, 
 from Edmund Halley, dated 1700. A whole-lheet plan of the encamp- 
 ment of the royal army on Uounjlow Heath, dated 1686, figned J. Harris, in 
 fletus, dec. 
 
 MOSES HARRIS. 
 
 Fiourifhed, 1778. . 
 
 He engraved a book of infers, to which he prefixed his own portrait, 
 drawn by himfelf frona the life, a whole length. This artifl was a native of 
 England. 
 
 M. HARTLEY. 
 Fiourifhed, 1764. 
 By this very ingenious young lady, we have a pretty etching ofjedediah 
 Buxton, the celebrated arithmetician, from the life, dated 1764. 
 
 X , JOHN 
 
HAT [ 8 ] HAY 
 
 JOHN HATTIN, or HATTINS. 
 
 ,^., Flourifhed, 
 
 This obfcure engraver was apparently a native of England ; by him we 
 have, among other things, a view of old St. Paul's, a Imall plate, length- 
 ways, executed entirely with the graver, in a ftiff, bad ftyle, fufficiently 
 neat, but devoid of tafte. 
 
 JOHN HAUSSARD, or HAUSSART. 
 Flourifhed, 1720. 
 
 This artift was a native ©f France, and apparently refided at Paris. By 
 whom he was inftrufted in the principles of drawing and engraving does not 
 appear ; but he certainly imitated, and with no fmall fuccefs, the ufual 
 ftyle of Benoit Audran. He drew correftly ; and his prints are, many of 
 them, executed with great tafte. He engraved feveral plates for the Crozat 
 colleftion ; among which are the following : 
 
 Jupiter and Semele, from Julio Romano, a middling fized plate, length- 
 ways. 
 
 Mojes ftriking the rock, from Romanelli, a middling fized upright plate. 
 
 Chrijl driving the merchandizers from the temple, half figures, a middling 
 fized plate, length-ways, from Bart. Manfridi. 
 
 The four ages, finall plates, length-ways, apparently from his own 
 defigns. 
 
 JOHN HAVER. 
 
 Flourifhed, 161 2. 
 
 He was a native of Altenbury. By him we have a fet of large portraits 
 
 of the eleilors of Saxony, on wood, executed in conjunftion with Mofes 
 
 Thym. He alfo engraved feveral fmall plates on copper. See his mark on 
 
 the plate at the end of the volume. 
 
 CHARLES DE LA HAYE. 
 
 Flourilhed, 1660. 
 
 He was a native of France ; but refided a confiderable time in Italy. His 
 ftyle of engraving greatly refembles that of Cornelius Bloemart, with whom 
 he was contemporary, and fometimes worked conjointly. He performed his 
 plates entirely with the graver, in a very neat manner, and the fccond ftrokes 
 are ufually crofled fquarely upon the firft. His prints want harmony j the 
 fhadov/s are marked with hard outlines, and the lights too equally difpofed. 
 His drawing of the naked parts of the figure is heavy; but not often very 
 incorreft. His wotks, however, have a confiderable fliare of merit to re- 
 commend them. 
 
 I iliall mention only. 
 
 The Virgin and Child appearing to Saint Filippo Ncri, a large upright 
 plate. 
 
 N I C O L O 
 
HAY [ 9 ] H E ;(: 
 
 NICOLO FRANCESCO HAYM. 
 
 Flourifhed, 17 19. 
 
 He was, fays profeflbr Chrift, a native of Rome, who refided at London in 
 the year 17 19, and etched the greater part of the plates for his work, en- 
 titled, 'TefoYO Britannico, witli his own hand. The cypher which he affixed to 
 his engravings, may be feen on the plate at the end of the volume. 
 
 FRANCIS HAYMAN. 
 
 Flourilhed, 1760. 
 
 He was a native of England, a man of great genius, and particularly 
 excelled in defigning frontifpieces and other book plates. His piftures (for 
 he painted alfo) are not held in very high eftimation. They are exceed- 
 ingly defeftive, both in drawing and colouring. He was librarian to the 
 Royal Academy, and died a few years fince. He etched a few fmall plates j 
 and among them, one, on which is reprefented Faljiaffjeated upon a drum. 
 
 WILLIAM HAYNS WORTH. 
 
 Flourifhed, 
 
 A very indifferent artift, who flourifhed during the laft century. He was 
 apparently a nativeof England ; but I find no account of him. The fol- 
 lowing engravings are by him : 
 
 Geffroy la Grandent de Liifignan^ a fmall upright plate, copied with the 
 graver, in a flifF, dark flyle, from a print of the fame fize, by Jerom David, 
 which belonged to a fet of heads of heroes and great men. 
 
 Richard, lord ■protestor, a large whole-Iheet print, &c. 
 
 JOHN VANDEN HECKE. 
 Flourifhed, 1656. 
 
 This artift was born at a village named Quaremonde, near Oudenarde, 
 about the year 1625. He went to Rome in the early part of his life, and was 
 patronized there by the duke of Bracciano ; and his works were highly 
 efteemed. He principally excelled in fiowers and fruit ; but he painted 
 landfcapes alfo in a very fuperior ftyle, which he enriched with figures and 
 animals, executed with great tafte and propriety. In the latter part of his life 
 he refided at Antwerp, where, I believe, he died. We have etched by him, 
 in a free fpirited liyle, feveral plates from his own compofitions j among 
 others, a fet of twelve fmall prints, length-ways, of animals, dated 1656. 
 
 LEONARD HECKENAVER. 
 
 Flourifhed, 1680. 
 
 This indifferent artift, I believe, was a native of Augfburg in Germany. 
 He refided at Nuremberg, wkcr,e he engraved feveral of the plates for San- 
 drart's Academy of Fainting, publilhed 1683. I have feen by him alfo a 
 fmall upright holy family, from Petrus Liberi, dated 1675. His plates 
 are executed entirely wiih the graver, in a ftiff heavy tlyle. 
 
 VOL. ir, C ' James 
 
H E C [ lo ] H E I 
 
 James William Heckekaver, probably of the fame family with the 
 above-mentioned artift, was alfo an engraver By him we have a fet of 
 prints from the pidures in the Brunfwick gallery, publifhed 17 lo. 
 
 ABRAHAM HECKINS. 
 Flouriflied, 1634. 
 
 By this artift, who, probably was a goldfmith, we have a book of orna-, 
 merits for goldfmitbs and jewellers, executed with the graver only; and, as 
 far as my judgment goes, in a good ftyle. There are feme figures occa- 
 fionally introduced ; but thefe are by no means correftly executed. He 
 iigns his name, Abraham Heckins invent, et delator. They are dated 1634. 
 
 ROBERT HEC Q^U E T. 
 
 Flourifhed, 176,0. 
 
 A native of Abbeville, who refided a confiderable time at Paris, where 
 apparently he learned the art of engraving. He never arrived at any great 
 pitch of excellence ; neither did he execute many plates, He returned to 
 Abbeville, where, probably, he died fome few years fince. We have by 
 him, 
 
 ne labours of Hercules, copied on four fmall plates, from the prints en- 
 graved by J. RouQet, after the pictures of Guido. 
 
 Women bathing, a fmall upright plate, from Nicholas Pouflin. 
 
 MARTIN HEEMSKERCK, See Veen. 
 H E I D E N. See Heyden. 
 
 W. C. H E I M. 
 
 Flourifhed, 1650. 
 A name affixed to the head of John Buxtorf, engraved for Boiflard's Col- 
 le(5tion of Portraits. It is executed entirely with the graver, in a coarfe, 
 dark ftyle. 
 
 ZACHERY HEINCE. 
 Flouriftied, i68o. 
 He was, I believe, a native of France ; at leaft he refided there a confider- 
 able time. He engraved, conjointly with Bignon, the portraits of the illuf- 
 trious perfonages, which Simon Vouet had painted in the gallery of the 
 Royal Palace. They are large folio prints, furrounded with ornamental 
 borders, in wh'ch are introduced many little hiftorical fubjefts, etched in a free 
 ftyle. The portraits themfelves are executed with the graver only, and are 
 fufficiently neat, but ftifF and taftelefs. 
 
 W. C. H E I N S. 
 Flouriftied, 1640, 
 This artift appears to have confined himfelf chiefly to portraits j and by 
 him we have a fufficient number, executed entirely with the graver, in a ftiff, 
 
 flight. 
 
HE! [ ^i 1 H E K 
 
 flight ftyle. Amorrg others, he engraved many of the plates for the con- 
 tinuation of Boijfard's Bibliotheca Chakographica. 
 
 H E I N S. 
 
 Flouriflied, 1730. 
 
 This artift, born in Germany, was very probably of the fame family with 
 W. C. Heins, mentioned in the preceding article. He was a portrait 
 painter, and refided at Norwich. He painted the portraits of many members 
 of the corporation ; feveral of which he fcraped in mezzotint©, in a very ftifF, 
 taftelefs ftyle. He is alfo faid to have etched fome few plates. Among others 
 by him, is the portrait of "Thomas Gooch, bijhof of Norwich, a half length 
 figure, reprefented fitting in a chair, marked, " Heins Pinx. et feeit, 1741." 
 
 J. HEINS. 
 Born, Died, 1770. 
 
 He was fon to the foregoing artift, and born in England. His father 
 placed him, as an apprentice, to a manufafturer in fome branch of the Nor- 
 wich ftuffs. But, contrary to his parents will, he became a painter, and worked 
 both in oil and miniature. His chief excellence lay in etching, or rather 
 fcratching ; for it was done, without the afliftance of aquafortis, with the 
 dry point, in a manner fomething refembling that of Worlidge, many of 
 whofe heads he copied. He engraved his plates nnmediately from nature, or 
 the pidture, upon the copper, without any previous drawing or tracing. He 
 drew the views and monuments for Mr. Bentham's Hijlory of Ely, to perform 
 which, he learned perfpedtive. 
 
 He died of a decline at Chelfea, about the year 1770. 
 
 I have feen by him a cat with kittens, a fmall plate, length-ways, from 
 Collet. His portraits are chiefly private plates. Among them were thofe 
 of Mr. Groffe's brother and of his wife. Mr. Groffe obligingly furnifhed me 
 with the account of this artift and his father. 
 
 H E I N Z E L M A N. See Hainzelman. 
 
 ELIAS CHRISTOPHER H E I S S. 
 
 Flouriftied, 1693. 
 This artift engraved very large plates, in mezzotinto. The mechanicaJ 
 part of them is executed in a dark, heavy ftyle. His drawing of the naked 
 parts of the human figure is very indifferent ; the '' extremities are badly 
 marked, and the heads devoid of charafter. We have a confiderable num- 
 ber o( portraits by him ; alfo the falutation of the Virgin, with many angels, 
 a large upright plate, three feet one inch high, by two feet two inches wide, 
 from Alexander Mafchefinus ; and a crucifixion of Chrifi nearly the fame fize. 
 
 AUGUSTINE HEKEL. 
 
 Born, Died, 1770. 
 
 He was born at Augftjurg in Germany. His father was a chafer, and 
 
 C a brought 
 
H E L [ 12 ] HEM 
 
 brought him up to that bufmefs. After working in moft of the capital cities 
 in Germany, he travelled to Paris, and from thence came into England. He 
 was efteemed the beft workman of his time, efpecially in thofe defigns which 
 required the reprefentation of the human figure. He was a man of great 
 integrity, fobriety, and induftry, and acquired a fufFiciency to enable him to 
 retire to Richmond in Surry, where he amufed himfelfwlth painting land- 
 fcapes and flowers in water colours, which he occafionaUy difpofed of, though 
 he did not follow painting as a profefTion. He drew feveral views in 
 and about Richmond, which were engraved by Bowles and Sayer. He 
 etched eight fmall plates of that place, and its environs ; A horfe from 
 Wootton ; and a hook of flozvers. He alfo defigned the battle of Culloden, 
 engraved by Sullivan. 
 
 He died at Richmond, a. d. 1770, aged nearly eighty. 
 
 Hekejl, filter to the above-mentioned artift, alfo engraved many plates 
 for Kilians Bible, which flie executed in a neat ftyle. She drew the human 
 figure very correftly. 
 
 Mr. Grofle obligingly favoured me with the account of thefe two artifts. 
 
 STEPHEN HELLER. 
 
 Flourifhed, 
 
 An engraver, mentioned by profeflbr Chrifl, without any reference to his 
 works. The prints marked with the initials S. N. H. are attributed to him j 
 but I own much obfcurity appears in this interpretation. 
 
 SEGRES JACQUES VAN HELMONT. 
 
 Born, 1683. Died, 1726. 
 
 This artift was a native of Antwerp, and the fon of Matthew Helmont, 
 from whom he learned the firft principles of hiftorical painting. He refided 
 much at Bruffels, where he met with great encouragement, after the death 
 of his father, which happened whilft he was yet a youth. He is fpoken of 
 as an artift, with the warmeft commendations -, and his pidures are held in 
 high eftimation. His fame would probably have been more extenfive, but 
 too much application to bufinefs overcame his conftitution, which was remark- 
 ably delicate. He died, a. d. 1726, in the forty-third year of his age. 
 By him we have feveral fpirited etchings, from his own compofitions. 
 
 C. H. H E M R I C H. 
 
 Flourifhed, 
 This artift, who was probably a foreigner, refided in London, and flou- 
 riftied apparently about the beginning of the prefcnt century. By him we 
 have a fet of butterflies and infeSls, from Roefel, neatly executed, but without 
 tafte. They were fold by him at No. 19, Martlet Court, Bow-ftreet, 
 Covent-Garden. 
 
 MARTIN H E M S K E R K E. See Veen. 
 
 ISRAEL 
 
HEN r 13 ] HER 
 
 ISRAEL HENRIET. 
 Born, Died, 1664. 
 
 This artift learned the firft principles of defign from his father, Claude 
 Henriet, who was a painter, ellabliflied at Nancy^, where Ifrael was born. 
 He went to Rome, in order to improve himfelf, in company with Dervet, 
 where he became the difciple of Antonio Tempefta, and praftifed painting. 
 He came at laft to Paris, where he eftabliflied himfelf, and carried on a very 
 confiderable commerce in prints, publifhing not only his own engravings, 
 but many of thofe of Callot, Delia Bella, and Ifrael Silveftre, who all of 
 them worked for him. He imitated the ftyle of Callot (with whom 
 he was united in the bonds of a moft perfeft friendfliip), and he fuc- 
 ceeded much better in engraving than painting. He died at Paris, 
 A. D. 1664. Ifrael Silveftre, his nephew, inherited his plates and ftock in 
 trade, to a great amount. We have a variety of views and Jmall JubjeSfs 
 by this mafter. 
 
 HENS. See Heusch. 
 
 JEROM VAN HENSBERG. 
 Flourifhed, 1662. 
 He is mentioned by profeflbr Chrift, as an engraver, who flourifhed about 
 the middle of the laft century. The prints on copper, marked H. V. H. 
 are attributed to him, fuppofing the baptifmal name to be written, Hierony- 
 mus. It was indeed very common with the engravers of that age, to infcribe 
 their names in Latin. 
 
 H E N S H A W. 
 
 Flourilhed, 
 A name affixed to a private etching of Mr. Gray, a fmall oftavo plate. 
 
 A. H E R I S S E T. 
 
 Flourifhed, 1740. 
 
 An engraver of no great note. He was a native of France, and refided, 
 I believe, at Paris, Part of the plates for the large folio publication, con- 
 taining a variety of WTOJ ofVerJailles, chiefly drawn by P. Menant, are by 
 him. They do him no great credit. The fame may be laid of fome plates 
 o( fortification, publiflaed 1757. He alfo engraved from De Troy the 
 younger, and other mafters. 
 
 GEORGE HERMAN. 
 
 Flourifhed, 
 The name of an engraver, mentioned by Florent le Comte, and by him 
 f^iid to have excelled in the ornamental line, for goldfmiths, jewellers, &c. 
 
 JOHN 
 
HER [ 14 ] H E U 
 
 JOHN BAPTISTA HERREGOUDTS. 
 
 Flouriftied, 
 
 He was probably a native of Bruges, in Flanders ; at leaft, his fignaturc 
 fcems to countenance this opinion. His etchings are in the flight, mafTy 
 ftyle of a painter. Among other prints by this artift, is St. Cecilia fur' 
 rounded ivifh many angels, a middling fized upright plate, marked "J. Bap- 
 *' tifta Herregoudts f. et invent, a Brugge. 
 
 A. HERTOCKS. 
 
 Flourilhed, 1660. 
 
 An induftrious engraver, by whofe labours many of the publications of the 
 laft century were adorned with fculptures. The partiality of parents to their 
 children cannot perhaps be better proved, than in inftances relative to the 
 arts. If a boy be difcovered tracing out uncouth forms upon a wall, the 
 father, proud of the difplay of genius, which he conceives to be evident in the 
 performance of his fon, refolves to make an artift of him. The youth is per- 
 fuaded, and a matter is accordingly procured without further confultation. 
 By this hafty determination much ufeful time is often loft, and a bad artift 
 left to ftruggle with poverty, who in any other more eligible purfuir, might 
 have procured a comfortable fubfiftence for himfelf, and benefited the reft of 
 mankind. But even fuppofing fuch a lad to be fond of the purfuit himfelf, 
 if he miftakes that partiality for a natural genius, all his produdlions will 
 manifeft the laboured formality and ftifFnefs of praflice and ftudy, unaflifted 
 by tafte. To one of thefe caufes it was probably owing, that we meet with the 
 name of Hertocks in the lift of the artifts. He worked with the graver only, 
 in a neat, ftifF ftyle. His portraits are the beft part of his works; for 
 where he attempted the naked figure, as in fome of his frontifpieces, his 
 drawing is below criticifm. I fhall mention only the following : 
 
 Sir Thomas Wortley, knight, prifoner in the Tower of London, in armour, 
 dated \6^i,z fmall half-ftieet plate. 
 
 Gideon Harvey, a fmall upright oval print. 
 
 A. Brome, dated 1661, a fmall upright print, in an oval frame. 
 
 Sir Edward Nicholas, fecretary of ft ate, an oval print, on a fmall half-fheet. 
 
 JOHN DANIEL HERZ, or HERTZ. 
 Born, 1599. Died, 1635. 
 He was born, according to Bafan, at Nuremberg, and painted both hifto- 
 rical fubjefts and landfcapes. But as an engraver, I believe, he is more 
 generally known. We have by him feveral etchings from his own compo- 
 fitions, and thofe of Rotenhamer and other mafters. Among the firft, i§ 
 St. Paul preaching at Athens, a large plate, length-ways. 
 
 J. HEUDELOT. 
 
 Flourifhed, 1760. 
 
 A modern French engraver, of no great note. We have feveral engravings 
 
 by 
 
H E V [ 15 ] H E U 
 
 by him, from Adrian Van Oftade, and Lingelbach ; alfo the portrait o^ Mar- 
 garite de Gojen, wife of John Steen, from a pidture painted by Steen himfelf. 
 
 CORNELIUS HEVISSEN. 
 Flourifhed, 1536. 
 
 This is a name, given by the interpreters of the ancient monograms, to an 
 engraver on wood, who flouridied between the years 1530 and 1540. His 
 works, it is true, do not manifcft a fuperior genius ; but fome of them arc 
 by no means devoid of merit j and certainly they poflefs a fufficient fliare, 
 to claim a place in this work. I have therefore admitted them under this 
 name, which indeed bears no reference to the mark to which it is attri- 
 buted. But as I know not to whom I can, with any degree of probability, 
 alTign it, and it has paffcd current for a confiderable time, I fhall confider the 
 works, rather than the name ; and leave the mark to diftinguifh the mafter, 
 till he fhall be difcovered by the refearches of the curious. In this fingular 
 monogram we fee two capital letters, a C. and a T. divided by a ftrange cha- 
 rafter, which, profeflbr Chrift fuppofes, is defigned for a balance, to which 
 however in my opinion it does not bear the leaft diftant refemblance. See 
 this mark faithfully copied on the plate at the end of the volume. 
 
 We have by this mafter a fet of fmall upright prints, reprefenting the 
 virtues and the vices, fingle figures, neatly cut, but not with much tafte. 
 
 Mutius Scavola thrufiing his hand into the fire, a very large upright fingle 
 figure, dated 1536. In this he has imitated the crofs hatching of a pen, 
 with tolerable fuccefs. 
 
 Awoman Jlanding on a ferpent, holding the repre/entation ofajunin her 
 right handy and a Jceptre in her left, a middling- fized upright plate, by no 
 means devoid of merit. 
 
 GEORGE DANIEL HEUMAN. 
 
 Flourilhed, 1724. 
 This artift appears to have been a native of Germany, and to have refided 
 at Nuremberg, where he engraved fome architeSIal views of the churches and 
 other religious iuildings, ztVicnm, which were publifhed by John Andrea 
 PeetFel, at Augfburg, 1724. They are executed in a neat, careful manner, 
 but without tafte. He has, however, often introduced little figures, which 
 are executed in a very pretty ftyle. 
 
 WILLIAM DE HEUSCH, or HENS. 
 Born, 1638. Died, 
 He was a native of Utrecht, where he learned the firft rudiments of paint- 
 ing ; but going to Rome, he became the difciple of John Both. He excelled 
 in landfcapes, which he enriched with excellent little figures, employing them 
 as the fuhjeft of his landfcapes required. We have feveral etchings, from his 
 own compofuions, o( landfcapes with figures and animals^ &c. 
 
 a J ^ C O B 
 
H E U [ i6 ] HEY 
 
 JACOB DE HEUSCH, or HENS. 
 Born, 1657. Died, 1701. 
 
 He was a native of Utrecht, nephew to Williann de Hcufch, mentioned 
 in the preceding article, and by him inftrudled in the art of landfcape-paint- 
 ing. Hf afterwards went to Rome, and imitated the ftyle of Salvator Rofa 
 with great iliccefs. His pidlures are held in higher eftimation than thofe 
 of his uncle. He died, a. d. 1701, aged 44 years. We have by his hand 
 a few etchings oi land/capes, from his own compofitions. 
 
 ABRAHAM DE HEUSCH, or HENS. 
 -- .. Born, 1650. Died, 
 
 This artift was of thcfl^me family with the two preceding painters. He 
 was born at Utrecht, and ftudied under Chriftian Stricp. He excelled in 
 painting plants and infcfts, which he finifhed in a wonderful manner. His 
 pidlures are very rare, not only on account of the time he beftowed upon the 
 finifhing of them, but alfo, becaufe he did not work fo clofely in the latter 
 part of his life, having accepted a commiffion in the army. We have 
 by him feveral fmall upright land/capes, from his own compofitions. 
 
 J A QJU ES VANDER HEYDEN. 
 
 Flourifhed, 16 15. 
 
 This artift was a native of Franckfort upon the Maine. He is cited by 
 profeflbr Chrift, as an engraver on copper, who worked from 16 10 to i6'20; 
 and, according to Florent le Comte, engraved after the defigns of Odoardo 
 Fialetti. See the marks attributed to this matter on the plate at the end of 
 the volume. 
 
 JOHN VANDER HEYDEN. 
 
 Born, 1637. Died, 17 12. 
 This admirable artift was born at Gorcum, where he learned the firft prin- 
 ciples of painting from a very inconfiderable artift. He fo much improved 
 upon the inftruclions he received, by application, and the ftrength of his own 
 natural genius, that he became one of the moft admired matters of the Dutch 
 fchool. He excelled in painting landfcapes, palaces, and buildings, whether 
 ancient or modern. His colouring, and the harmony of his pictures, as 
 well as the fuperior knowledge he difcovered in the management of the 
 chiaro-fcuro, are fpoken of with the warmeft commendations. He died 
 1712, aged 75 years. We have by him feveral etchings of fmall land/capes, 
 &c. from his own compofitions. 
 
 GONZALES VAN H E Y L E N. 
 
 Born, Died, 1730. 
 
 He was a native of Antwerp, and engraved on wood, in a very free, fpirited 
 
 ftyle. Papillon mentions, by this artift, a little iilphabet ornamented with 
 
 faintSi which, he fays, is well executed, and marked at the bottom Gonzales 
 
 J L ■ Van 
 
H I B [ 17 ] H I L. 
 
 Van Hey len^ invent, et fecit ^ Antwerp^. I have feen by him a frontifpiece 
 for a bookj on which is reprefented a head,/urrounded by ornaments, relative 
 to the arts, marked " G. V. Heylen," and dated 1694. 
 
 W. H I B B A R T. 
 
 Flourifhed, 1760. 
 
 This artift, it feems, refided chiefly at Bath, and, I believe, painted por- 
 traits ; at lead, his etchings have very much the ftyle of a painter, and 
 refemble thofe of Worlidge. The following are by him : 
 
 A fmall upright head, under which is written, Macarius, from Falman, 
 dated 1689. Laurence Delvaux, the fculptor. Samuel Derrick of Bath, &c. 
 
 H I G M O R E. 
 
 Flouriflied, 
 
 This name is affixed to fome large portraits in folio, very indifferently 
 executed ; among others, to that of Le Sage, the author of Gil Bias. X'^Js 
 engraver was probably a native of France. 
 
 H I I S. See Huys. 
 
 NICHOLAS HILLIARD. 
 
 Born, 1547. Died, 16 19. 
 This extraordinary artift was the fon of Nicholas Hilliard, a gentleman 
 refiding at Exeter, where the younger Hilliard was born. He was firft 
 brought up as a goldfmith and jeweller i but by his own application he 
 became both a painter and an engraver. Not having a proper mafter to 
 inftruft him, he ftudied afliduoudy from the works of Holbein; and, in the 
 neatnefs of his pencilling, is faid to have equalled that artift, though not in 
 the other requifites of the art. At the age of eighteen, according to report, 
 he painted a portrait of Maiy queen of Scots, in water colours. Queen Eli- 
 zabeth honoured him by fitting leveral times for her portrait, which he exe- 
 cuted greatly to her fatisfadiion. A pifture, in which he reprefented that 
 princefs, feated upon her throne, is fpoken of with the warmeft commen- 
 dation by the authors of that day ; and Dr. Donne palfcs this high enco- 
 mium upon him, in his poem on the ftorm, in which the earl of ElTex was 
 furprifed, as he was returning from the Ifland voyages. 
 
 J hand or eye, 
 
 By Hilliard drawn, is worth a hiftorye. 
 By a worje ■painter made. 
 
 He was in ftill greater favour with James the Firft, who not only employed 
 him to paint his own portrait, and the portraits of his family, but granted him 
 -a patent prohibiting, for twelve years, their being drawn or engraved for 
 lale, without his licence, by any other perfon. In the patent he is called 
 the principal drawer of fmall portraits, and cwboJJ'er of tnedals in gold,. It 
 VOL. II. D was 
 
H I N [ 18 ] H I R 
 
 was granted him, in reffeEl of his extraordinary Jkill in drawing, graving, 
 and imprinting. This patent contributed not a little to his emolument ; for 
 he engraved himfelf, and employed Simon PaiTe and others to engrave for 
 him, the portraits oi the royal family, on fmall plates, which were ufed for 
 counters. He alfo fold licences to other artifts, which brought him a con- 
 fiderable profit. He died January 7, 16 19, aged 7 a, and was buried at St. 
 Martin's in the Fields, in which parilh he refided. 
 
 H I N D E. 
 
 Flouriflied, 
 
 The name of an obfcure engraver, affixed to fome few portraits, and, 
 among them, to that of Robert Earl of fVarmick, baron of Liege. 
 
 LAWRENCE DE LA HIRE, or H Y R E. 
 Born, 1606. Died, 1656. 
 
 He was a native of Paris, and learned the principles of painting from his 
 father, Stephen de la Hire. He painted both hiftory and landfcapes ; but 
 as he could not by any means draw the human figure correftly, he fucceeded 
 far better in the latter, than the former. It is remarked of him, that, at the 
 time when all the artifts of France followed the ftyle of Simon Vouet, he 
 was the only one that thought proper to judge for himfelf, and eftablilh a 
 tafte of his own ; which, if not fuperior to that of Vouet, has at Icaft, the 
 merit of originality. He died, a. d. 1656, aged 50. 
 
 He was a man of fertile genius, and we have by his hand many flight, and 
 
 • fometimes but indifferent etchings, retouched with the graver ; thofe efpe- 
 
 cially are liable to cenfure, in which the figures are made the principal 
 
 objedls. His landfcapes are very prettily touched, in a fliglu, but free ftyle. 
 
 I Ihall mention the following engravings only, from his own compofitions: 
 
 yf repoje, where the Virgin and Child are furrounded by many angels. This 
 is executed in a rough, heavy ftyle, refembling that of Michael Dorigny, a 
 middhng-fized plate, length-ways. 
 
 The converfton of St. Paul, a middling-fized upright plate. 
 
 Venus and Jdonis, a middling-fizcd plate, length-ways. 
 
 Different fets of children playing, in the form of friezes, &c. 
 
 Several fmall land/capes of various fizes. 
 
 AUGUSTIN HIRSCHFOGEL, or HIRSCHVOGEL. 
 
 Flouriflied, 1545. 
 An ancient German mafter, born at Nuremberg. He was, I prefume, a 
 painter ; for his etchings, of which we have a fufficient number, appear from 
 their ftyle, to have been the produftions of his leifure hours, rather than the 
 the work of a man, who applied his whole time to the art of engraving. 
 Some of them are by no means devoid of merit. His landfcapes, in par- 
 ticular, have the touch of a mafter in them. But the human figure, whenr 
 ever he has introduced it, is incorredb and heavy -, and the nalced parts 
 efpecially, are very badly drawn. This artift ufed a very fingular mo- 
 nogram, 
 
H I R C 19 I H O A 
 
 nogram, to which he ufually added the date. It is copied on the plate at the 
 end of the vohime. There is a fet of engravings, publifhed at Nuremberg, 
 A. D. 1543, marked with an owl, attacked by two fmall birds, which 
 profeflbr Chrift attributes to this artift, becaufe it bears an allufion to his 
 name. 
 
 Part oi the flanghter of the innocents, from a fketch by Raphael, different 
 from that of Marc Antonio Raimondi, dated 1545. 
 
 A {^i of fix landjcapesy middling-fized plates, length-ways, apparently 
 from his own defigns, dated 1646. 
 
 A land/cape, into which is introduced a naked woman, badly drawn, holding 
 an afp to to her breaft : intended, I fuppofe for Cleopatra. The back- 
 ground is very flight; but the figure is finifhed with fmall dots; a middling 
 fized plate, length-ways, the fame, dated 1547. 
 
 Two fmall views, length- ways, of/ea-ports with Jlnpping, dated 1549, 
 
 NICOLAS HIRSCHFOGEL, or HIRSCHVOGEL. 
 
 Flourifhed, 1550. 
 
 To this artift are attributed the fmall neat engravings, marked with a W. 
 having an I. tranfverfly placed upon it, and furmounted by a crofs, in 
 the manner reprefented on the plate at the end of the volume ; but I own, 
 I cannot difcover the reference of the monogram to the name. M. Hei- 
 nekcn, with much more propriety, calls this artift Viet Hirschvocel ; 
 and then we may fuppofe the mark to be intended for two Vs. and an 
 H. which certainly bears a greater appearance of truth, 
 
 H I S B E N S. Sec Beham. 
 
 H I S P E A N. See Pen. 
 
 H O A M-G E. 
 
 Flourifhed, 1700. 
 
 According to Papillon, this ingenious nr^an was a native of China, 
 and brought into France by the Jefuit mifTionaries, at the age of about 
 eighteen years. He engraved on wood, and was employed in compleating 
 a fet of Chinefe charaSlers ; but he died a few years after, in the flower of his 
 age. 
 
 WILLIAM HOARE. 
 
 Flourifhed, 
 
 A modern artift, who refided at Bath, where he painted portraits with 
 fuccefs. He alfo etched a few plates for his amufement ; and; among them, 
 the following : Ralph Allen of Bath, marked ad viv. IFill. Hoare. Bijhop 
 Warburton, &c. 
 
 Da COR- 
 
HOC [ 20 ] HOE 
 
 CORNELIUS HOCGEEST. 
 
 Flourifhed, 
 
 He is cited by Florent le Comte, as an engraver oi friezes and ornamental 
 architeilure, military exerci/es, &c. but his works are not fpecified by that 
 
 au 
 
 thor. 
 
 MELCHISEDECK VAN HOEREN. 
 
 Flouriflied, 
 
 This name is only mentioned by Abbe MaroUes, and thofe authors, wlio 
 immediately follow him. He tells us, that he was one of the ancient Ger- 
 man mailers ; but has not fpecified either his mark, or a fingle print engraved 
 by him. If he had given us his authority for the name, it might have led 
 to the difcovery of the mafter, and confequently of his works, which would 
 be of fome importance i becaufe many of the engravings by the old mafters 
 are confounded with one another, for the want of proper light, by which we 
 might be able to diftinguifh them. Perhaps he might mean to attribute to 
 this artift thofe prints, marked with an M. and an H. — or with an M. an H. 
 and an F. joined together, with a fmall knife underneath them, in the man- 
 ner expreffed upon the plate at the end of the volume -, and which, if there 
 really did exift an artift of this name, may have been executed by him. He 
 engraved on wood, in a dark, rude ftyle. Among other prints executed by 
 him with this mark, is a view of the city of Frankfort, dated 1549. 
 
 FRANCIS HOFFMAN. 
 
 Flourifhed, 17 11. 
 
 This engraver, of whom I know but little, refided probably in England, 
 where he might execute the following print, containing the portraits of the 
 right honourable Henry St. John, Efq. one of the principal fecretaries of ftatej 
 the right honourable IVilliam Bromley, Efq. fpeaker of thehoufe of commons ; 
 and the right honourable Robert HarUy, Efq. chancellor of the exchequer. 
 They are whole-length figures, and etched upon a large plate, length-ways, 
 in a very coarfc, taftelefs ftyle, without the leaft merit to recommend them, 
 underneath is a printed account of the tranfaftions of the houfe of commons, 
 for the year 17 1 1. It is figned, " Francis Hoffman, fecit aqua forte." 
 
 Hoffman. This name is alfo affixed, conjointly with that of Z,frfi», to a 
 large print, length-ways, on three plates, exhibiting a view of the city of 
 Brandenburg, in Germany, which they engraved and publifhed at Vienna, 
 from a drawing by Nypoort. It is etched in a coarfc, heavy ftyle, with- 
 out cffe£t, fomething refembling that of Romain de Hooghe. The figures 
 with which it is embelliflied are very poorly drawn, and as badly executed. 
 I am by no means certain, that both thefe names belong to the fame artift. 
 
 GEORGE HOEFNAGLE. 
 
 Flouriftied, 1580. 
 
 He was a native of Antwerp, a painter and defigner, and feems chiefly to 
 
 have 
 
HOE [ 21 ] HOG 
 
 have engraved views and maps for books. He worked with the graver ; but 
 his prints have little more than their fcarcity to recommend them. Accord- 
 ing to AmeSj he engraved a map of Brijlol ; and it is well known, that there 
 is a large view of Nonjuch by him, which is to be found in Bruin's or Braun's 
 Civitates Orhis Terrarum. He was alfo employed by Abraham Ortelius, for 
 his work, entitled, Theatrum Or bis Terrarum, conjointly with Francis 
 Hogenbergh and other mafters. 
 
 JAMES HOEFNAGLE. 
 
 Flouriftied, 1592. 
 
 This artift is faid to have been born at Franckfort. He was the fon 
 of George Hoefnagle, mentioned in the preceding article. He is alfo fpo- 
 ken of as a painter ; and he alfo engraved a fet of near fifty plates of birds, 
 beafls, flowers, infects, &c. from the drawings of his father. Thefe were 
 executed, a. d. 1592, he being then only 18 years of age. He alfo en- 
 graved ieveral plates from his own compofitions, and from thofe of other 
 mafters. 
 
 WILLIAM HOGARTH. 
 Born, 1697. Died, 1764. 
 
 This extraordinary artift is fuppofed to have been born, a. d. 1697, at Lon- 
 don, in the parilh of St. Bartholomew. He was firft placed, as an apprentice, 
 with Mr. Ellis Gamble, a filverfmith, reftding in Cranbourn-ftreet, Leicef- 
 ter Fields -, and his inclination for painting is faid to have appeared before 
 he was out of his time. When he became his own mafter, he attended the 
 Academy in St. Martin's Lane, in order to ftudy the human figure from 
 nature. His employment as an artift, was at this time in a very inferior line. 
 Arms,fhop-bills, and book-plates, were the productions of his graver. The 
 plates for Htidibras firft recommended him to the public notice ; and on the 
 iuccefs of thofe plates, he commenced painter. 
 
 In the year 1730, he married the only daughter of Sir James Thornhill. 
 It was a ftolen marriage ; and his father-in-law was not eafily reconciled j 
 but the reputation Hogarth afterwards acquired, at laft effefted the matter. 
 
 In 1753, he firft appeared as an author j and the Analyfis of Beauty was 
 given to the public ; which is generally allowed to be a very ingenious 
 performance. 
 
 In the year 17 57, he was appointed feijeant painter to the king ; and con- 
 tinued in that office till the time of his death, which happened Oiftober 
 26, 1764, at his houfe in Leicefter Square, he being 74 years of age. He 
 was buried at Cliifwick, where a monument was ereftecl to his memory. 
 
 The merit of his works, and the admirable turn he poflefled, of fatyrifing 
 the vices and follies of the age he lived in, are fo generally known, that 
 nothing need be faid upon that head, in this place. I ftiall only add, thai 
 the engravings, which he has finiftied with his own hand, though not fo neat 
 or excellent, with refpeft to the mechanical part of them, as thofe executed 
 by profeffed engravers, convey, however, more of the original gtniu5, and 
 
 fire. 
 
HOG [ 22 ] HOG 
 
 fire, if I may fo exprefs myfelf, of the artift, than can be found in the beft 
 copies from his defigns ; and for this reafon I fhould prefer the prints, 
 engraved by himfelf^ to any of the reft- They are eafily diftinguifhed, 
 and of courfe need nofeparate lift. 
 
 J. H O G E N. 
 
 Flourifhed, 
 
 The name of an obfcure engraver, by whom we have the portrait of 
 Damianus Agoes, very neatly executed with the graver -, but without tafte. 
 It is a fmall upright plate, marked, Jo. Hogen fee. 
 
 REMIGIUS HOGENBERGH. 
 
 Flouriftied, 1573. 
 One of the engravers, who was retained at Lambeth, in the family of 
 archbifhop Parker. He worked with the graver only j but the fcarcity of 
 his prints is their greateft recommendation. He engraved the portrait of 
 that prelate, who is reprefented as an half figure, feated at a table, with 
 a book open before him, and a bell by the fide of it : a fmall oftavo 
 print in oval, with a coat of arms at each corner of the plate. This en- 
 graving Vertue thought to be the firft executed in England. Hogenbergh 
 alfo engraved the portrait of the archbijhop a fecond time. 
 
 FRANCIS HOGENBERGH. 
 
 Flouriftied, 1560. 
 
 He was brother to Remigius Hogenbergh, mentioned in the former 
 article. It is highly probable, that he was alfo in England ; but the faft is 
 by no means certain. He worked, however, for Englifh employers j and we 
 have by him a portrait of Mary the Firft, queen of England, a half-ftieet print, 
 dated 1555. 
 
 The maps of Gaul and Belgium, for Saxton's maps, in fmall folio. 
 
 The views in Braun's Civitates Orbis Terrarum, printed at Cologn, a. d. 
 157 2, conjointly with Simon Novelani, and George Hoefnagle. 
 
 ne pompous funeral of Frederick II. king of Denmark, engraved a. d. 
 1592, in conjunftion with Simon Novellani, a poor flight etching, on twenty- 
 one large plates, length-ways. 
 
 ABRAHAM HOGENBERGH. 
 
 Flouriftie^, '570' 
 Probably anoiher brother of the two artifts laft mentioned. He aflifted 
 the latter in engraving the plates for the I'heatrum Orbis Terrarum, by Abra- 
 ham Ortelius. He feems to have worked with the graver alone ; and his 
 labours were employed for the bookfellers only. I have feen by him fevcral 
 neat frontifpieces, in the ftyle of De Brye ; but very incorreft, and void of 
 tafte. Among others, is that to a Commentary upon the book of Kings, in folio, 
 ornamented with figures. His drawing of the naked parts of tiie human 
 figure is below criticifm. This work was publiftied at Colonia, 1635. 
 
 2 NX CHOLAS 
 
HOI [ 23 ] H O L 
 
 NICHOLAS VAN HOI, or HOY. 
 
 Flourifliedj 1660. 
 Avery indifFerent Flemifli engraver, who in conjiinftion with Steen, 
 OlTenbeck, and other artifts, equally indifferent with himfelf, engraved the 
 colledlion of pidtures, which David Teniers the younger made for Leopold 
 the archduke of Auftria. This colleftion was publifhed at Antwerp, a. d. 
 1660, in folio, confiding of 243 prints j and it is ufually known hy the name 
 of the Gallery of Tenie?-s, 
 
 HANS, or JOHN HOLBEIN, the Elder. 
 
 Flouriflied, 1500. 
 
 This painter was a native of Germany, and a man of fome note in hispro- 
 feffion. He firft refided at Augfbourg, where perhaps he was born ; but 
 afterwards he removed to Bafil in Switzerland, and eftabliflied himfelf in 
 that city. The great reputation which his fon acquired, has contributed, 
 perhaps even more than his own works, to immortalize his name. It is 
 generally allowed, that he engraved on wood; and that, from him, his fon 
 learned that art alfo. The prints marked with an H. only; or an H. and 
 a B. joined to the firft upright ftroke of the H. are faid, the greater part of 
 them, to belong to him. Profeffor Chrift and others have added feveral 
 other marks, and attributed them to him ; but as they are given upon fup- 
 pofition only, they ought to be attended to with great caution. They are 
 copied, however, upon the plate at the end of the volume. I own, to me 
 it feems doubtful, whether this artift did really engrave or not. The prints 
 marked with the H. and the B. either feparate or joined together, dated about 
 the year 1515, belong, I fhould rather think, to Hans Burgkmair, or Jo- 
 hannflen Baldung. I fpeak, however, with diffidence. The colleftor muft 
 judge for himfelf ; but ftri£t examination fhould take place, before the de- 
 cifion is givei), 
 
 HANS, or JOHN HOLBEIN, the Younger. 
 Born, 1498. Died, 1554. 
 
 This admirable artift was the fon of John Holbein, mentioned in the 
 preceding article. He was born at Bafil in Switzerland, a. d. 1498, and 
 learned from his father the principles of drawing and painting ; but he foon 
 furpafted his tutor. Holbein was a man of quick invention, and endued with 
 great genius, which he cultivated ftudioufly. He finifhed his pidlures with 
 furprifing delicacy, and fucceeded both in hiftorieal painting and in por- 
 traits ; but in the latter he certainly excelled. The great reputation this 
 celebrated mafter has fo juftly acquired, would render any comment upon 
 his productions, in a work like this, unnectlfary, even if it were not foreign 
 to the plan of it. 
 
 He came over into England, at the perfuafion of Erafmus, with whom he 
 was intiiTiate; and was by that celebrated author recommended to Sir Tho- 
 mas Moore, then lord chancellor. He was received by his lordfhip in the 
 
 moft 
 
H O L [ 24 ] H O L 
 
 moft friendly manner, and employed to paint himfclf and family. Thefc 
 pitftures recommended the artift to the notice of Henry the Eighth, who 
 took him under his proteftion, and entertained him in his fervice, upon very 
 liberal terms. At the death of king Henry, Holbein ftill continued in favour 
 at court, and was amply rewarded by Edward the Sixth, his fuccefTor, whofe 
 portrait he alfo frequently painted. 
 
 Holbein died at his apartments in Whitehall, a. d. 1554, aged 56 years 
 only. Previous to Iiis coming intoEngland, this artift engraved a vaft number 
 of prints on wood, which are eafily diftinguiftied, as well by the tafte and 
 animation of the defign, as the delicacy of the engraving. Papillon, who 
 certainly was a good judge in this inftance, particularly with refpeft to thofe 
 parts of the prints, which are motl difficult to execute, fpeaks of the engravings 
 of Holbein on wood, as very wonderful performances; particularly that ad- 
 mirable work, entitled Death's Dance. Concerning the laft print of the fet 
 efpecially, he fays (and juftly too in my opinion) that it is die chief d'ceuvre, 
 or mafter-piece, of Holbein ; and one of the moft beautiful and moft 
 finiftied engravings, that ever appeared on wood ; though they are all of 
 them finifhed in a very extraordinary manner. The following are his prin- 
 cipal works : 
 
 A fet of very fmall prints, length-ways, with fomc few upright, confifting 
 of ninety, m^vticntinghiJloricalJubje^Sjirom the Old Tejlamenty executed 
 in a bold, fpirited ftyle; the ftrokes are very delicately formed. The beft 
 edition of this work is dated 1539, and was printed by Melchior and Gafper 
 Trcfchcl, at Lyons. There was another edition in 1547, which I have alfo 
 feen. Thefe verfes in praife of Holbein, are at the beginning : 
 
 Cernere vis, Hojpes, Simulacra Simillima vivis ? 
 Hoc Opus Holbina nobile cerne nianus. 
 
 This work was copied by an artift, whofe initials are H. B. See Brosamer. 
 
 A fet of very fmall prints, length-ways, confifting of hiftorical JubjeSls, 
 from the New "Tejlament. 
 
 The dance- macchabre, commonly known hy the n^me o{ Death's dance, 
 becaufe Death is reprefented in the engravings, with people of all ranks and 
 defcriptions. The number of prints is not always the fame. Papillon had a fet 
 which confifted of 53 ; but, I believe, in general, they do not exceed 46. 
 They are fmall upright prints, encompafled with a double border. The firft 
 edition is faid to have been printed, a. d. 1530; but there are feveral others 
 of later date. It was alfo copied on wood, by an ancient inaftcr. The dif- 
 ference, however, between the copy and the original is too evident for a 
 miftake to happen concerning them. Hollar alfo copied fome of them, 
 which he etched in a free flight ftyle ; but the fpirit of the original is not 
 fufficiently prcferved. The piiSlures, from which thefe engravings were taken, 
 were painted by this mafter in the fifli-market of the town of Bafil. 
 
 He alfo engraved a variety of charming vignettes, ornamental frontifpieces, 
 and other decorations for books, &c. Plis moft ufual mark is the two ini- 
 tials of his names, H. H. either feparate or joined together. Sometimes he 
 figns his name at length, or in this manner, Hans. Holb. 
 
 S I G I S- 
 
H O L [ 25 ] H O L 
 
 SIGISMOND HOLBEIN. 
 
 Flouriflied, 1500. 
 According to the generally received account, this artift was brother to thff 
 slder John Holbein, and uncle to the younger. He is mentioned as a 
 painter, and reported to have engraved upon wood. The prints marked 
 with an S. an H. and a B. joined together, in the manner expreffed on the 
 plate at the end of the volume, are attributed to him ; alfo thofe with an S. 
 and an H. feparated by an unknown mark, are thought to have been exe- 
 cuted by him. Judging from thc-fe prints, he does not appear, by any 
 means, to have been an artifb of very fuperior abilities. This interpretation 
 however of the marks above mentioned is not without its difficulty. 
 
 WILLIAM HOLE. 
 
 Flourifhed, 16 13. 
 
 He was, I believe, a native of England, though, as an artift, no country 
 need wilh to claim him. He worked with the graver, in a ftifF, laboured 
 ftyle, devoid of all tafte. The bookfellers were his beft, if not his only 
 friends; and feveral of the curious tranOations o^ the Poets of Antiquity, 
 " done into Englifh," are ornamented by his hand. I fhall only mention 
 the following prints by him : 
 
 The frontijpiece to Michael Drayton's Polyolbion, with the portrait of 
 that poet; alfo a fmall whole-length portrait of prince Hev.ry,/on to Jmnes 
 the Firjl ; this, in my opinion, is his beft performance. John Florisy ItzYiza 
 mafter to Anne of Denmark. Several maps, and frontijpieces. Alfo the pen- 
 man's excellence, by Martin Billinglley, with a portrait of that writing mafter. 
 
 E L I A S H O L L. 
 
 Flouriflied, 1638. 
 
 This artift, fays profeflTor Chrift, refided at Nuremberg, about the year 
 1638, and engraved feveral plates from C. Reverdus, and others. He 
 marked his plates with an H. furmounted by an F. I am not acquainted 
 with his works. 
 
 WENCESLAUS HOLLAR. 
 Born, 1607. Died, 1677. 
 
 This extraordinary artift was born at Prague, in Bohemia. His parents 
 were in a genteel line of life ; and he was at firft defigned for the ftudy of the 
 law. But the civil commotions, which happened in his youth, ruining his 
 family affairs, he was obliged to fhift for himfelf ; and by difcovering fome 
 genius for the arts, he was placed with Marian, a veiy able defigner and 
 engraver of views. Being himfelf a man of great ingenuity, he profitted 
 haftily from the inftruftion of his tutor. An ecce homo, with a madona 
 and child, two Imall plates, are faid to be among his earlieft producftions. 
 They are dated 1625. He principally excelled in drawing geometrical and per- 
 
 voL. 11. E fpeftive 
 
H O L [ 26 ] H O L 
 
 fpeftive views and plans of buildings, ancient and modern cities and towns ^ 
 alio landfcapes, and every kind of natural and artificial curiofities; which 
 he executed with a pen, in a very peculiar ftyle, excellently well adapted to 
 the purpofe. He travelled through feveral of the great cities of Gernnany ; 
 and notwithilanding all his merit, met with fo little encouragement, that he 
 found it very difficult to lupport himfelf. The earl of Arundel, being in Ger- 
 many, took him under his proteftion, brought him to England, and recom- 
 mended him to the favour of Charles the Firft. He engraved a variety of 
 plates from the Arundel colkftion, and the portrait of the earl himfelf on 
 horfeback. 
 
 The civil wars, which happened foon after in England, ruined his fortune. 
 He was taken prifoner, with fome of the royal party, and with difficulty 
 efcaped ; when he returned to Antwerp, and joined his old patron, the earl 
 of Arundel. He fettled in that city for a time, and publiflied a confiderable 
 number of plates ; but his patron going to Italy foon after, for the benefit 
 of his health, Hollar fell again into diftrefs, and was obliged to work for the 
 print and bookfellers of Antwerp, at very low prices. 
 
 At the reftoration of Charles II. he returned into England, where, though 
 he had fufficient employment, the prices he received for his engravings were fo 
 greatly inadequate to the labour neceflarily requiredj that he could but 
 barely fubfift. And the plague, with the fucceeding fire of London, putting, 
 for fome time, an efFedtual ftop to bufinefs, his affairs were fo much embar- 
 rafTed, that he was never afterwards able to improve his fortune. Stent, the 
 printfeller, according to Vertue, taking advantage of the poor man's necef- 
 fity, cauled him to draw and engrave the view of Greenwich, on two large 
 plates, for the paltry fum of thirty (hillings, which allowing for the difference 
 of the value of money at that time, muft have been worth, at leaft, five times as 
 much. But fuch it feems, was the unconfcionable rapacity of the Britifh 
 dealer, and fuch the low eftateof the diftrefied artift, whofe great ability and 
 ufeful labours furely merited a very different reward. Born in all things to 
 be unfortunate, when employed by government to make a drawing of the 
 towns and forts at Tangiers, whither he went for that purpofe, he narrowly 
 efcaped being made a prifoner by the Turks, and returning home with dif- 
 ficulty, infbead of being paid in a liberal manner for his trouble, he received 
 no more than one hundred pounds. It is uncertain, when or where he died ; 
 but Vertue fays, he found in theregifterof St. Margaret's, Weftminfter, that 
 he was buried, March 28, 1677. If this be true, hewas 70 years of age at 
 the time of his death. 
 
 Mr. GrofTe, from the information of Mr. Oldys, Norroy King of Arms, 
 has favoured me with the following anecdotes concerning this artifl:, of which 
 Vertue does not give us the leafl hint. He ufed to work for the bookfellers 
 at the rate of four-pence an hour ; and always had an hour glafs before him. 
 He was fo very fcrupulouflv exaft, that, when obliged to attend the calls of 
 nature, or whilft talking, though with the perfons for whom he was working, 
 and about their own bufinefs, he conftantly laid down the glafs, to prevent the 
 fand from running. Neverthelefs, all his great induftry, of which his nume- 
 rous works bear fufficient teftimony, could not procure him a fufficient main- 
 tenance ; for he was fo extremely poor and diflrcffed, that the bailiffs were in 
 
 his 
 
H O L [ 27 ] H O L 
 
 his lodgings to feize for rent, when he was dying. Senfible of his approach- 
 ing end, he earneftly befought their forbearance only for an hour or two, 
 faying, that they might then take the only piece of furniture he had, the bed 
 on which he was laying, as he fhould have no further occafion for it. 
 
 As many of the works of this artift are by iio means uncommon, it may 
 be needlefs to inform the reader, that, generally fpeaking, they are etchings 
 performed almoft entirely with the point. They poflefs great fpirit, with 
 aftonifhing freedom and lightnefs, efpecially when we confider how highly he 
 has finifhed fome of them. His views of abbies, churches, ruins, &c. with his 
 Ihells, muffs, and every fpecies of ftill life, are admirable ; his landfcapes 
 frequently have great merit ; and his diftant views of towns and cities are not 
 only executed in a very accurate, but a very pleafing manner. In drawing 
 the human figure he was moft defeftive ; his outlines are ftiff and incorredt, 
 and the extremities marked without the leall degree of knowledge. In fome 
 few inftances, he has attempted to execute his plates with the graver only ; 
 but here he has failed prodigioufly. See a mark, v/hich he fometimes ufed, 
 compofed 6f a W. an L. an A. reverfed, an E. and an R. on the plate at the 
 end of the volume. 
 
 His works amount to nearly 2400 prints, according to Vertue's catalogue ; 
 fome of which are very large. It is impoITible, within the bounds of this 
 work, to mention all the fcarce or much-efteemed prints of this artift. The 
 following perhaps may be fufficient to fhew his great abilities : 
 
 The queen ofSheba vifiting Solomon, a fmall upright plate from Holbein. 
 
 An ecce homo, with many figures, a large plate, length-ways, from Titian, 
 dated 1650. 
 
 Seleucus caufing the law againft adultery to he executed upon his own Jons, 
 from Julio Romano, a large plate, length-ways. 
 
 A large eucharijlical cup, richly adorned with figures, from a drawing of 
 Andrea Mantegna, in the Arundelian coUeftion. 
 
 A Roman Jacrifice, from Andrea Mantegna, a half-(heet print, dated 1638. 
 
 The princefs Mary, daughter of Henry the Eighth, from Holbein, a fmall 
 upright plate. 
 
 Robert, earl of Warwick, a whole length in armour. 
 
 Henry Howard, earl of Surry, from Holbein. 
 
 Ann Dacres, countefs of Arundel, after Vorilerman. 
 
 Dr. Chambers, from Holbein. 
 
 ^ir Thomas Chalner, the fame. 
 
 Sir Anthony Denny, the fame. 
 
 The Royal Exchange in London, a large plate, length-ways. 
 
 A large view of London, 
 
 The cathedral at Antwerp, a middling-fized upright plate. The firft im- 
 preffions of this plate are diftinguifhed by a fingle line of writing underneath 
 the print. 
 
 The cathedral church at Strafburg, the fame. 
 
 Several fmall plates, reprefenting muffs, &c. Fine imprelTions of thefc 
 plates are very rare. 
 
 Thirty-eight fmall plates o{ Jhells, very rare. 
 
 A fet of butterflies, fmall plates, length- ways. 
 
 E 2 P, HOLMES, 
 
H O L ' [ 28 ] HON 
 
 P. H O L M E S. 
 
 Flouriflied, 1696. 
 
 A very indifferent engraver, who refided in London, where he engraved 
 the greater part of the plates for the edition of ^iarle's Emblems, publiflied 
 1696, odlavo. He worked with he graver only j but in a ilyle deftitute of 
 all tafte : the drawing is below criticifm. 
 
 P. HOLSTEYN. 
 
 Flouriflied, 1602. 
 
 This artift was a native of Holland, and probably related to Cornelius 
 Holfteyn, an hifi:orical painter of Haerlem. We have by him a number of 
 portraits. He worked chiefly with the graver ; but without much tafte. 
 Some of his engravings, however, thofe efpecially which bear refemblance to 
 the ftyle of Lucas Vorfterman, are by no means devoid of merit. 1 fliall 
 mention the following : 
 
 A portrait of ^k aUreJs, a fmall upright plate from C. Holfteyn. 
 
 Jacobus vander Burchius, a fmall upright oval print. 
 
 yl lady feated in a chair, a half figure, with fome women entering the room 
 at a diftance, a middling-fized upright plate, from A. Correggio. 
 
 John Saenredatn, the engraver, a fmall upright oval plate, dated 1602; 
 probably from a drawing of his own. 
 
 C. HoLSTEYN was alfo an engraver. He executed feveral of the plates 
 for the colle6lion of prints, diftinguiftied by the title o(the Cabinet of Gerard 
 Reynft. publifhed at Amfterdam about the year i66j. 
 
 JOST, or JODOCUS HONDIUS, or DE HONDT. 
 Born, 1563. Died, 161 1. 
 
 He was the fon of Oliver Hondius, a very ingenious artift of Ghent, ia 
 Flanders, where, it is probable, Jodicus was born. He was a man of learn- 
 ing, and ftudied the mathematics with great fuccefs. But the inteftine 
 troubles, which happened at Ghent, occafioned his leaving that city ; and 
 from thence he came .into England, being then about twenty-one years of 
 age. Here he followed a variety of purfuits, which proved however his in- 
 genuity ; namely, the making of mathematical inftruments, of types for 
 printing, and the engraving of charts and maps. He married in London, 
 A. D. 1586, and had feveral children. He at laft removed to Amfterdam, 
 where he died, a. d. 161 i, at the age of 48. 
 
 Whilft his mind was employed upon purfuits fo different from each other, 
 it is not to be fuppofed, that he could devote fufHcient time to the arts, to 
 produce any fine engravings. Accordingly, thofe in general which we have 
 by his hand are fuch, as would do him no great honour, if we confider him 
 abftrafVedly as an artift only. Some of his portraits, however, are executed"' 
 in a very neat ftyle, and by no means devoid of merit. According to pro- 
 fefTor Chrift, he often marked his engravings with an H. furmounted 
 by an I. in the manner expreffed upon the plate at the eni of the 
 volume ; and fometimes, in allufion to his name, added a great dog 
 barking, with this infcription, Jul cane vigilante. I^OUO in German, 
 
 and 
 
HON [ 29 ] HON 
 
 and l^uili) in Flemifli, fignify aTioundj or dog, in Englilh. By him are the 
 following engravings : 
 
 The charts and maps for6'/r Francis Drake's Voyages to the Holy Land, &c. 
 
 SevQVzX oi the mzT(>% {qv Speed's ColUSf ions, m large folio. Thefe are in 
 general embellifhed with figures. 
 
 A fmall print of Thomas Cavendijlo, the celebrated navigator. 
 
 Sir Francis Drake, a large fheet print. Thefe two portraits are very neatly 
 executed. 
 
 Florent le Comte mentions a large perfpeftive' view of London, publiflied 
 by Joft Hondius at Amftcrdam, a. d. 1620 ; but there mufl certainly be 
 fome miftake in the date or name. 
 
 HENRY HONDIUS, or DE HONDT. 
 Born, 1573. Died, 16 10. 
 
 There were two artifts of this name, and they both ufed the fame mark 
 precifely, which has occafioned much confufion, not only with refpedl to 
 their works, but with refpeft to themfelves. Some authors tell us, that 
 Henry Hondius died, A. D. 17 10, a year before his father ; and others, that 
 he lived a confiderable time after him, and finillied many of his works. For 
 my own part, if I may offer a conjeifture upon fo doubtful a circumftance, 
 I fhould fuppofe, they were both the fame perfon ; and if this be not granted, 
 I fhall then fay, that Henry dc Hondt, of whom we are now fpeaking, was by 
 no means a fon, but a brother or near relation, of Joft Hondius. For if it 
 be true, that he was born at Duflcldorf, a. d. 1573, Joft could be only ten 
 years old at the time. It is faid that he died, a. d. 1610 ; but this may be 
 a miftake. Henry Hondius was the difciple of Jerom Wierix ; and 
 under him he* contrafted all that ftiffnefs, which his tutor poflefled ; but 
 feems not fo fluently to have caught his correftnefs of defign, and excellency 
 of execution. Befides the maps and charts, which he is faid to have executed, 
 ■we have by him fome large landfcapes, length-ways, from G. Mortartj in 
 one of which is reprefented St. Paul cajling the viper into the fire; and in 
 another, Chrift with the two difciples going towards Emmaus, dated 1598. 
 
 The judgment of Solomon, a large plate, length-ways, from Carl Van 
 Mander. 
 
 The tvoman taken in adultery, the fame, from the fame, dated 1597. 
 
 The portraits oi the reformers, publiftied at the Hague 1602. 
 
 He alfo engraved from the old Brughel and other mafters. 
 
 His mark is compofed of a large and a fmall H. joined together, cypher- 
 ways, in the manner exprefled upon the plate at the end of the volume. 
 
 HENRY HONDIUS, or DE HONDT. 
 
 Flourifhed, 1620. 
 
 This artift, I think, in preference to the former, (admitting two perfons of 
 this name really exifted at the fame time) was the fon of Joft Hondius, and 
 born perhaps in England, if fo we may reafonably fuppofe that he was taught 
 the art of engraving by his father ; and,. after his deceafe, finiftied the places 
 which he had begun. We have alfo a confiderable number of portraits by 
 this artift, executed in a neat, ftiffftylej among others, a large head of 
 queen Elizabeth, engraved at the Hague. 
 
 James 
 
HON [ 30 ] H O O 
 
 James the Firji, dated 1608: at which time he alfo publiflied a fet df 
 portraits. 
 
 William, prince 0/ Orange, from Alexander Cooper, dated 1641. 
 
 Some large land/capes, from his own defigns, dated 1622. 
 
 He alfo engraved a variety of portraits from Titian, Van Dyck, Wildens, 
 Miraveldt, Mytens, and other mafters j and fome from his own drawings. 
 He ufed the fame mark with the laft aientioned artift. 
 
 WILLIAM HONDIUS, or DE HONDT. 
 
 Flourifhed, 1630, 
 
 He was fon to the foregoing artift, from whom he learned the art of en- 
 graving. He refided at the Hague, and engraved a variety of portraits, 
 many of which have great merit ; among others, 
 
 His own portrait, from Van Dyck, a fmall upright plate. 
 
 Francis Franck, the younger, the fame, from the fame. , 
 
 'Theodore ab Weer den-Bur gio, a large upright plate, without the name df 
 the painter. 
 
 Prince Maurice of Aufiria, a fmall upright plate, this is an excellent en- 
 graving, dated 1623. 
 
 H. C. Longkius, a large head, in an oval, from J. Mytens. 
 
 See his mark, compofed of a G. and an H. joined together, on the plate at 
 the end of the volume. 
 
 ABRAHAM HONDIUS. 
 Born, 1638. Died, 1691. 
 
 He was of the fame family with the preceding artifts, born at Rotterdam. 
 He refided fome time in England, and was efteemed a painter of great abi- 
 lity. He excelled chiefly in landfcapes, animals, huntings, and converfa- 
 tions. His works are generally acknowledged to polfcfs great fire, animation, 
 and expreffion ; but they are frequently incorredl and extravagant. We 
 have feveral plates etched by him, from his own compofitions. They are 
 executed in a loofe, fpirited manner, but very flight ; among others, the 
 following : A hunted boar, a middling fized plate, length-ways. 
 
 Several huntings of animals, being a fet of fmall plates, Icngrh-ways, &c. 
 
 R O M A I N D E H O O G H E. 
 
 Flouriflied, 1680. 
 
 This fingular artift was a native of Holland. He flouriftied towards the con- 
 clufion of the laft century. He was adefigner of confidcrable note; and his 
 compofitions were greatly fought after. He alfo engraved a great number of 
 plates himfelf; fome of which are much efteemed. Certainly Romain de 
 Hooghewasa man of great genius and fertility of invention; and if he had but 
 poflTeffcd equal judgment to have formed a right choice of nature, and attend- 
 ed a little more attentively to the chiarofcuro, he would, it may beprefumed, 
 have produced performances, equal in merit to thofe of the firft mafters in 
 defign. But his volatile genius hurried him away into the extravagant ; and 
 4 he 
 
H O F [ 31 ] HOP 
 
 he bcftowed not proper time to corrciSl the drawing of his figureSj which arc 
 conftantly affefted, and often difproportionate. And thel'e faults are above 
 all evident, fays Bafan, in the allegorical fubjefts which he compofed, relative 
 to the public affairs of his time, to thefe he frequrntly gave a trifling fatyrical 
 turn, that was difpleafing to all moderate and diicreet perfons. This criticifm, 
 I fuppofe, refers to the emblematical prints, engraved and publilhed by him, 
 concerning the abufes of the Roman catholic clergy. With refpeft to his 
 etchings, no man ever handled the point with more facility than De Hooghe; 
 and his diftant figures are ufually expreffed in an admirable manner. His 
 principal figures and fore-grounds are by no means equally pleafing : they 
 are executed in a harfh, coarfe flyle, and the dark fhadows arc not properly 
 harmonized with the lights. Among the multitude of his engravings are 
 the following, fome of them greatly efteemed : 
 
 The entry of Louis XIV. into Dunkirk, a large print, length-ways, on two 
 plates, from Vander Meulen. 
 
 Charles II. king of Spain, dejcending from his carriage to fay homage to the 
 Hoj}, a middling-fized plate, length-ways, from his own compofition. 
 
 The majfacre of the tivo De IVitts, a middling-fized plate length-ways, 
 dated 1672. 
 
 A very large battle, length-ways, on feveral plates. 
 
 The excejfes which the French army committed at Bodegrave and other ■places, 
 A. D. 1672, a fet of fmall plates, length-ways, the fame. 
 
 The deluge at Coerverden, a middling-fized plate, length-ways, the fame. 
 
 An emblematical print, expofing the vices of the monks and other eccle- 
 fiaflics of the Romifli church, a middling-fized plate, length-ways, with the 
 name of Loggan affixed to it in this manner : William Loggan f. Oxonite, 
 anno, 1681 ; but it is evidently the work of De Hooghe, fearful perhaps of 
 affixing his own name. 
 
 Six emblematical fubjeSls, relative to the abufes of the clergy of the Romifh 
 f/^arr^, middling-fized plates, length-ways, dated 1674. 
 
 The fair at Jrnhem, a large plate, length-ways, &c. 
 
 DAVID HOPFER. 
 
 Flourifhed, 1530. 
 An ancient German mafter, by whom we have a great variety of fpirited 
 etchings, in a ftyle evidently founded upon the works of Philip Adler, whofe 
 difciple he probably was. Hollar feems to have been well acquainted with the 
 prints of both thefe mafters ; and without doubt drew much affiftance from 
 them. Hopfer defigned in the ftiff, Gothic tafte. His figures are by no means 
 well compofed j and the naked parts of them, where they are introduced, are 
 exceedingly incorrecl. The freedom of point which he poffefl!cd, and the 
 manner of his execution, are very pleafing. Heexcelled principally in buildings 
 and ornaments of all kinds. Had he worked from fine originals, rather than 
 his_ own defigns, what might not one have expefted at his hands, who, under 
 the manifeft diiadvantages of having nothing to examine whereby he might 
 improve his tafl:e, produced fuch extraordinary efforts of his abilities. He 
 ufually m.arkedhis plates with the initials of his name, D. H. and between 
 the two letters, introduced a fpecies of tree, which Marolles took for a can- 
 
 dleftick. 
 
HOP [ 32 1 HOP 
 
 dleftick, and therefore calls him de Maitre du Chandelier, the mafter of 
 the candleftick. But profeffor Chrift fnppofes it to be intendcu for a hop- 
 plant, in allufion to his name ; becaufo l^opfen in German lignifies the hop- 
 plant. Thefe letters, v;ith the plane, are ibmetimes reprefented on a tablet ; 
 and once or twice upon an inftrument refembling a baker's peal. Sec 
 this mark copied upon the plate at the end of the volu:Tie. 
 
 I (hall only mention the following engravings by this mafter. 
 
 A holy family, with Elizabeth and St. John, reprefented in a large faloon, 
 and a fmall angel appears coming in at the door, a middling-fized upright 
 plate. 
 
 Chriji curing the blind 7nan, a middling-fized upright plate. 
 
 The crucifixion of Cbriji between the two thieves, a linall upright plate. 
 
 Knot\\tr cyucifixion, with St. John and the Virgin reprefented at the bottom. 
 The latter has a fword thruft into her breaft, alluding to the fcriptural phrafe 
 expreffive of her grief. 
 
 An ornamental plate, in the middle of which is reprefented the Virgin kijjittg 
 our Saviour, who is in the tomb. 
 
 St. Chrijlopher, a fmall upright plate. 
 
 'The lajl judgment, v/kh many figures, a middling-fized plate, length-ways. 
 
 Venus naked, with Cupid, playing upon a mandelin, a fmall upright plate. 
 
 A fmall copy, length-ways, of a combat of marine monflers, from Andrea 
 Mantegna. 
 
 ScvtrzX grot ef que figures dancing, of various fizes. 
 
 Several rural merry makings, the fame. 
 
 Stvtx&l portraits, and a variety of oxhtr fubje5ts facred and prophane. 
 
 JEROM HOPFER. 
 
 Fourilhed, 1530. 
 
 He was brother to the preceding artift, and etched greatly in the fame 
 flyle. His works, however, do not deferve an equal Ihare of praife. He 
 copied many of the engravings of Albert Durer j but not corredlly, either 
 with refpedt to the manner of drawing, or the effeft. Yet fome of his prints 
 from his own compofitions, are by no means deftitute of merit. He ufed 
 the initials of his name I. H. by way of mark, which he frequently put 
 upon a tablet ; and alfo inferted the plant, mentioned in the preceding article, 
 between the two letters, in imitation of his brother. The following are by 
 him : 
 
 St. Hubert, a middling-fized upright plate, from Albert Durer. 
 
 St. Jerom, the fame, from the fame, rather fmaller than the original. 
 
 St. George ftanding upon the dragon, a fmall upright plate, apparently from 
 his own defign. 
 
 An emblematical print, reprefenting feveral naked figures, with Diana in the 
 front, holding a moon in her right hand, and a flambeau in her left, a mid- 
 dling-fized plate, length-ways, the fame. 
 
 LAMBERT HOPFER. 
 
 Flourifhed, 1530. 
 
 He was brother to the two preceding artifts, and copied the ftyle of 
 
 etching, 
 
HOP (3^1 H O R 
 
 etching, adopted by David Hopfer ; but he did not equal him in merit. His 
 works difplay little tafte, and much lefs correftnefs. We have by him, 
 
 A fet of fmall plates, reprefenting the life atidpaffion of our Saviour. 
 
 The converfion of St. Paul, amiddling-fized upright print. 
 
 A Triton with a Jea-horje, and Cupid upon the back of a dolphin, a fmall 
 upright plate. 
 
 He ufually marked his plates with the initials L. H. with or without the 
 plant mentioned in the two foregoing articles. Sometimes the letters were en- 
 graved upon a tablet, and in fome few inftances joined together in the 
 manner exprefled upon the plate at the end of the volume. 
 
 N. HOPFER. 
 
 Flouriflied, 1525. 
 
 This artift, who marked his plates with an N. and an H. was, I think, as 
 his manner of etching proves, one of the Hopfers ; and he is equal to any of 
 them in merit. He alfo worked with the graver ; but even then he gave the 
 ftrokes a roughnefs to refemble etching. He drew more correftly than either 
 of the preceding artilts ; and his works have lefs of that formality, which is 
 di-ftinguilhable in theirs. It mud be remembered, that I infert this name 
 upon conjeifture only, which I am careful to inform the reader of, though I 
 have not the leafl: doub: in my own mind, of its being well grounded. The 
 folio ving are by him, and apparently from his own defigns. 
 
 "The tall of Jeremiah, a fmall upright plate, dated 1525. 
 
 A fingle figure of a female faint, with a palm in her hand. 
 
 StveraX fi'^u-es fleeping, with the Deity appearing above, a fmall upright 
 plate, a fine fpiriced etching. On a (lone, at the bottom of this print, are the 
 initials, N. H. with the number XXIIII. above them, which, I luppofe, was 
 to inform us of his age, in the manner praflifed by Jerom Wierix and others. 
 ProfelTor Chrift attributes this engraving to John Halbeck, who fiourilhed 
 nearly one hundred years after this artift ; but I do not fee what reference 
 the N. can poffibly have to the baptifmal name John. 
 
 The fame initials, viz. N. H. are alfo found upon fome fpirited chiaro- 
 fcurosj the outline for which was boldly engraved on copper, the dark and 
 lighter fhadows being exprefled by two feparate blocks of wood. But thefe 
 engravings feem to be too modern for our artift to claim any (hare in the 
 execution of them. However^ I refer this matter to the judgment of the 
 connoifleur. 
 
 MARY MAGDALEN HORTEMELS. 
 
 Flouriftied, 1730. 
 This ingenious lady was the wife of Nicholas Cochin, father to the prefent 
 artift of that name, refiding at Paris. By her we have fome fpirited 
 little etchings, retouched with the graver, in a flight, free ftyle, from Lan- 
 cret and other mafters ; and feveralofthe plates for Monicart's Treatife on 
 the Piftures, Statues, Vafes, &c. in the Palace and Park at Verfailles. 
 
 VOL. ir. F F R E D E RJ C 
 
H O R [ 34 ] H O U 
 
 FREDERIC HORTEMELS. 
 
 Flourifhed, 1730. 
 
 This artifl: was a native of France, and related, I believe, to the lady men- 
 tioned in the preceding article. Some few of his engravings have very little 
 etching in them j but his beft prints are thofe in which he equally united 
 the point with the graver. They referable the ftyle of Benoit Audran ; and 
 many of them have great merit. The following may, I believe, be reckoned 
 among his beft prints : 
 
 The adoration cf the wife men, a middling fized plate, length-ways, for the 
 Crozat colleftion, from Paolo Veronefe. 
 
 Cain beholding his brother Abel after he has Jlain hiin, from Andrea Sacchi, 
 a fmall plate length-ways, for the fame colleftion. 
 
 Chrijl and the tvoman of Samaria, the fame, for the fame colleftion, from 
 B. Garofalo. 
 
 Chrifl carrying the crojs, half figure, from Gorgione, a fmall plate, length- 
 ways. 
 
 ^WAER VAN HOSSANNEN. See J. Walther Van Assen. 
 
 « 
 
 ARNOLD HOUBRAKEN. 
 
 Flourifhed, 1700. «^ 
 
 This artift was a native of Holland, and a painter ; but of no very fupe- 
 rior merit. Perhaps he is beft known in the literary world, as an author. 
 He publifhed a work in Dutch, entitled, the Great Theatre of the Dutch and 
 Flemifh Painters, with their portraits. He came, I believe, over into Eng- 
 land, to make drawings from the pictures of Van Dyck, which were after- 
 wards engraved by Peter Van Gunft -, and he received one hundred guil- 
 ders for every drawing. We have feveral flight etchings by this artift, from 
 his own compofitions -, among them are the following : 
 
 An emblematical JubjeSl, reprefenting three women looking at a child lying 
 in a fort of bafket, encircled by a ferpent, marked " A. Houbraken, pinx. 
 " et fecit." 
 
 Vertumnus and Pomona, a fmall plate, length-ways, dated 1699. 
 
 A fet of flight etchings, reprefenting boys with vajes, &c. 
 
 JACOB HOUBRAKEN. 
 
 Born, Died, 1780. /. 
 
 This admirable artift was fon of Arnold Houbraken, mentioned in the 
 preceding article. By what mafterhe was inftrudled in the art of engraving, 
 I am not informed. But, apparently, he ftudied the neateft portraits of Edelink 
 very attentively, efpecially that of Le Brun, which is ufually prefixed to 
 the engravings of Girard Audran, from his battles of Alexander. Hou- 
 braken 's great excellence confifted in the portrait line of engraving. 
 We admire the foftnefs and delicacy of execution, which appear in 
 his works, joined with good drawing, and a fine tafte. If his beft per- 
 formances have ever been furpafled, it is in the mafterly determination 
 • 2 ' of 
 
H O V [ 35 ] H O U 
 
 of the features, which we find in the works of Nanteuil, Edelink, and Drevet, 
 this gives an animation to the countenance, nnore eafily to be felt than 
 defcribed. From his folicitude to avoid tlie appearance of an outline, he 
 feems frequently to have neglefted the little fliarpnefles of light and fhadow, 
 which not only appear in nature ; but, like the accidental femitones in 
 mufic, raife a pleafmg fenfation in the mind, in proportion as the variation 
 is judicioufly managed. For want of attention to this eflential beauty, many 
 of his celebrated productions have a mifty appearance, and do not ftrike the 
 eye with the force we might expeft, when we confider the excellence of the 
 engraving. 
 
 We have an attempt by this artift in the hiftorical line; but herein he has 
 by no means fo well fucceeded : it is, 
 
 The/acrijice of Manoah, from Rembrant, for the collection of prints from 
 the pictures in the Drefden gallery. 
 
 The number of portraits which he engraved are very confiderable ; and 
 as many of them were for Englifh publications, his works are fufficiently 
 known in this kingdom. I fhall therefore confine myfelf to the following : ' 
 
 His own ■portrait^ ftom J. M. Quinkhard, 1749. This, I think, is one of 
 his neateft prints. 
 
 Jacob Van Hoorn, a fmall upright oval plate. 
 
 Alhertus Seha, a half figure, a large upright plate. 
 
 The greater and beft part of the coUedtion of portraits o( illujlrious men^ 
 publifhed in London, by I. and P. Knapton. Vertue was alfo employed in 
 this work. 
 
 F. H. VANHOVE 
 
 Flourilhed, 1670. 
 
 He was a native of Holland ; but refided chiefly in London. The book- 
 fellers were, 1 believe, his only employers ; and John Dunton, among them, 
 a very principal one. His engravings, though very indifl^erent, anfwered, 
 I fuppofe, the purpofe for which they were intended. Indeed, when few or 
 none better appeared, no wonder, that even the works of Van Hove fhould 
 have been held in fome degree of eftimation. His prints are dated from 
 1648 to 1692; in which laft year he executed a plate of king William 
 on horjeback, prefixed to the Epitome of War. His beft print, in my opi- 
 nion, is the portrait of Jacob Cornelijz, a middling-fized upright plate, 
 arched at the top, from C. de VifTcher, whofe flyle of engraving he has imi- 
 tated with fome fmall fuccefs. We have alfo a fufBcient number of Englifh 
 portraits by him ; among thofe. Sir Edmundbury Godfrey, and Sir Matthew 
 Hale ; he engraved the laft portrait twice, and the fmalleft plate is the molt 
 efteemed. Several frontijpieces and other ornaments for books ; among 
 which may be reckoned many of the plates for park's Embletns, &c. 
 
 P. DE LA Hove : An engraver of this name is faid to have flourifhed, a. d. 
 1614. I am not acquainted with his works. 
 
 H O U L A N G E R. See Boulanger. 
 
 F2 HOUSMAN- 
 
H O U [ 36 ] H U C 
 
 H O U S M A N. 
 Flourifhed, 
 A name affixed to the portrait of Mijs Nancy Par/ons. 
 
 H O U S S A R D. 
 
 Flourifhed, 
 
 The works of this engraver I am not acquainted with. The name how- 
 ever is affixed to the portrait ofSauveur Francois Morand. 
 
 RICHARD HOUSTON. 
 
 Born, Died, 1775. 
 
 The works of this excellent artift are well known. He engraved in mez- 
 zotinto, and was with juftice reckoned among the greateft mafters in that art. 
 He refided in London, where he died, Auguft 4, 1775. We have a con- 
 fiderable number of prints by this artift, particularly portraits, many of 
 which are defervedly held in great efteem. The following fine mezzotintos 
 are by him : 
 
 y/« old woman plucking a fowl, a half-ffieet print, from Rembrant. 
 
 A man holding a knife, the fame, from the fame. 
 
 Amanfeatedy with a large hat upon his head, the fame, 
 
 Innocence and avarice, from Mercier, the fame. 
 
 WILLIAM HOWARD.. 
 
 Flouriffied, 1665. 
 
 Judging from his manner of engraving, which greatly refembles that of 
 Hollar, I conceive this artift to have been a pupil of that mafter. But, 
 however, though his etchings are evidently imitations of thofe by Hollar, 
 they are by no means equal to them in merit. We have by his hand a fet of 
 fmall plates, length-ways, reprefenting/f^ views with flfipping, dated 1665. 
 When he did not fign his name at length, he fubftituted a cypher, compofed 
 of the initial letters, W. and H. joined together in the manner expreffed 
 upon the plate at the end of the volume. 
 
 ADRIAN HUBERT. 
 
 Flourilhed, 1580. 
 This engraver is mentioned by profeflbr Chrift, who tells us, that he 
 publifhed books and prints at Altdorf, about the year 1580J but he has not 
 fpecified any of his works. See the monogram, attributed to this mafter, on 
 the plate at the end of the volume. 
 
 JOHN VAN HUCHTENBURG. 
 
 Born, 1646. Died, 1733. 
 
 This artift was a native of Haerlem in Holland, where he was firft inflxufted 
 
 in 
 
 i 
 
H U F i 37 ] H U L 
 
 in the art of painting. He improved himfelf under John Wyck, 
 and afterwards went to Italy to ftiidy from the great mailers, and refided 
 a confiderable time at Rome. On his return he vifited Paris, and 
 worked with Vander Meulen. He excelled in painting battles, encampments, 
 huntings, &c. and his piftures are fpoken of with the greateft commen- 
 dation. He was h'ghly favoured by prince Eugene, and employed by 
 him to paint the battles and fieges he fo fortunately condufted ; which 
 piftures he alfo engraved. They are ufually bound upv/ith the hiftorical ex- 
 planations by M. J. du IVIont, and form a large folio volume. They were 
 publifhed at the Hague, a. d. 1725. In the frontifpiece we are told, they 
 were depeintes & gravees en taille douce ■par le Sr. Jean Huchtenburg, 
 But I do not confider thefe as his beft works. This ariill etched in a 
 flight, fpirited ftyle, with great freedom. The figures, horfes, and other 
 principal objefts in his engravings, are finely executed, and manifeft the 
 hand of the mafter. We have a confiderable number of prints by him, from 
 Vander IMeulen, which confift oi battles, JkirmijheSy and armies marching, of 
 various fizes. They are ufually bound up with the reft of Vander Meu- 
 len's works. When he did not fign his name at length, he fubftituted the 
 initials, I. V. H. B. or V. H. B. or H. only, adding the letter S. (or/culpfit. 
 It muft be obferved, that the H. and the B. are conftantly joined together, 
 in the manner exprefled upon tlie plate at the end of the volume. 
 
 H U F N A G E L. See Hoefnagel. 
 
 LUCAS HUGENSE. See Lucas Jacobs. 
 
 C. H U B E R T Z. 
 
 Flourifhed, 1720. 
 An engraver of no note, who worked chiefly for the bookfellers. Amon» 
 others by him, are feveral plates of the Hijlory of the Bible, in folio, publifhed 
 at Amfterdam 1720, from the defigns of Picart and others. 
 
 J. H U L L E T. 
 
 Flourifhed, 
 
 A very indifferent engraver, who refided in London, and worked for the 
 bookfellers. We have fome portraits by him, namely, Robert Bevereaux, 
 earl of EJfex. Alfo Thomas Fairfax, for Peck's Life of Oliver Cromwell. 
 Several of the plates for Coetlogon's BiSfionary of Arts and Sciences ; and for 
 the Life of ^leen Anne, publifhed in weekly numbers, by Robert Walker. 
 
 HuLLET, this was another engraver of the fame name, probably of the 
 fame family with the preceding artift, and equally deficient inpoint of merit. 
 He died in Red Lion Street, Clerkenwell, in January 177 1. We have by 
 him the prints to one of the editions oi Fielding's Jofeph Andrews. 
 
 E S A I A S 
 
H U L [ 38 ] HUM 
 
 ESAIAS VAN HULS. 
 Flourifhed, 16 16. 
 This artift was a native of Middleburg in Zealand. According to pro- 
 feffor Clirift, he refided at Stutgard, where he publifhed feveral excellent 
 grotefqiie engravings of his own performance, drawn with much tafte and accu- 
 racy. They are marked E. V. H. or E. V. H. F. the F. Handing for fecit, 
 or e V. h. Florent le Comte writes this name, EJaias Van Hulfen. Perhaps 
 it fliould be Hulfius. 
 
 HENRY HULSBERG. 
 Born, Died, 1729. 
 
 This artift was a native of Amfterdam j but he refided chiefly in London, 
 where he engraved feveral plates for the bookfellers, particularly portraits ; 
 but he excelled chiefly in architeftal views, and large buildings, which he 
 executed in a neat, but taftelefs ftyle, refembling that adopted by Griblen. 
 He died of a paralytic illnefs, under which helanguiflied two years, and was 
 buried in the Lutheran church in the Savoy, of which he had been warden. 
 The community belonging to that church, and a Dutch club of which he 
 was a member, contributed towards his fupport, upon his being rendered in- 
 capable of bufinefs. We have by him the portrait of Sir Buljlrode fVhiilockey 
 Robert Warren, A. M. Jojeph Warder, aphyfician, &c. Sir Chrijlopher Wren's 
 defigns for St. Paul's cathedral, a large folio. Alfo feveral of the plates for 
 the firft volume of the Vitruvius Britannicus. A large view of St. Paul's 
 church at Romey &c. 
 
 FREDERIC HULSE, or H U L S I U S. 
 Flouriflied, 1630. 
 This artift, according to Le Comte, was the difciple of Theodore de Brye ; 
 and he engraved in a manner greatly refembling that of his mafter. He 
 is faid to have been a native of Franckfort ; but apparently he refided a conr 
 fiderable time in London, and worked for the bookfellers. We have feveral 
 portraits by his hand; among others, that o^ George Carlton, bijhop of Chichef- 
 ter, Nicol ab. Prambefarius, M. D. &c. alfo a variety of book ornaments j 
 amongll which may be reckoned, the fmall qmrto fronti/pieces with figures, 
 to Chrijlopher Lever's Hijiery of the Defenders of the Catholic Faith, ■pvibW^'itd 
 at London, \6^■] ; and the fmall frontifpiece to Lucan's Pharfalia, iriin(\AKd 
 by May, dated 1631. 
 
 GEORGE HUMBLE. 
 
 Flouriflied, 
 
 This name is cited by Florent le Comte, as belonging to an Englifli en- 
 graver of portraits. I fufpeft he has miftaken the name of a publifher, 
 tor that of an engraver. If fuch an artift really did exift in England, I 
 am not acquainted with his works. 
 
 GEORGE 
 
HUM f_ 39 ] HUS 
 
 GEORGE HUMBELOT. 
 
 Flouriflied, 1640. 
 A very indifferent engraver of the laft century. He refided, I believe, at 
 Paris, and worked chiefly for the bookfellers. His plates were executed 
 with the graver only, in a coarfe, ftifF, taftelefs flyle, without the lead degree 
 of merit to recomreiend them. 
 
 H U QJJ I E R. 
 
 Flouriflied, 1760. 
 
 This artift, with his fon, engraved a great number of plates of various 
 fizes, in a flight, mannered fl:yle, from Gillor, Watteau, Boucher, Boucher- 
 don, and other mafl:ers. If I miftake not, this artift carried on a very con- 
 fiderable commerce in prints. 
 
 H. HUNT. 
 
 Flouriflied, 1683. 
 
 This artift was probably an engraver of natural hifior>y. We have by 
 him, among other things, feveral plates reprefenting different views of the 
 clove tree, &c. flight performances, which bear no great indication of merit. 
 See the cypher, which he adopted, copied on the plate at the end of the 
 volume. They are dated 1683. 
 
 GREGORY HURET. 
 
 Flouriflied, 1630. 
 
 l^uret was a native of Lyons. His engravings are very numerous ; and 
 many of them from his own defigns. He does not appear to have been a 
 man of great genius. His compofitions are neither learned nor judicious, and 
 his drawing is by no means correft. He worked with the graver only, in 
 a coarfe, heavy flyle, apparently a diftant imitation of the works of Poilly. 
 We have by him a fet of prints, reprefenting the pajfion of our Saviour y 
 middling-fized upright plates, from his own compofition. 
 
 St. Peter preaching to the Chrifiians, who received the Holy Ghoft^ the 
 fame. 
 
 A holy family, with St. Catherine and another female faint, a middling- 
 fized plate, length-ways, the fame. 
 
 Several frontifpieces for books, &c. He alfo engraved from Vouet, 
 Champagne, Sebaftian Bourdon, and other mafters. 
 
 PETERHUS. 
 
 Flouriflied, 1 57 1 . -^'^ 
 According to profeflTor Chrift, the initials of this engraver's name, P. H. 
 are found upon fome fine engravings, publiflied at Antwerp ; particularly in 
 a work, entitled. Monument a Humana Salutis, by Arius Montanus, dated 1 57 1 . 
 
 SIMON 
 
HUT [ 40 1 H Y L 
 
 SIMON HUTER. 
 
 Flourifhed, 1560. 
 
 This artift, who was apparently a German, engraved very neatly in wood, 
 and frequently from the defigns of Joft Ammon of Zurich. He alfo worked 
 conjointly with Virgil Solis and other ancient engravers and in a Itylc 
 greatly refembling that of Ammon himfelf, but hardly equal to him in cor- 
 feftnefs ; neither are the extremities of his figures marked with fufficient care. 
 His prints, however, are not by any means devoid of merit though ^hey 
 want that fire and animation, which we often find in thofe of the moft ancien 
 en-ravers on wood. He feldom, or I believe never, figned his name ■ but 
 fubftituted three initial letters, S. H. and F. the laft letter ftanding for/m/ j 
 and it is conftantly reprefented joined to theH. in the manner expreffed on 
 the plate at the end of the volume. ^^„.^a 
 
 Part of a fet of fmall cuts from the Hiftory of the Bible, were executed 
 by him conjointly with Virgil Solis and other mafters. p-,„^^„ 
 
 Alfo par of the fmall prints for a work entitled NeuweBibltJchi Figuran, 
 printed at Frankfort, a? d. 1564, from the defigns of Joft Ammon, who 
 engraved many of the prints himfelf. 
 
 FRANCIS RUTIN. 
 
 Flourifhed, 1760. t^ 
 This artift, with Charles Hutin his brother, both natives of France, 
 etched a confiderable number of plates in a flight, mannered ftylej among 
 
 ""'^Uefeven am of mercy, fmall upright plates, from their own compofitions. 
 Jpollo and Daphne, a middling-fized upright plate, from De Troy, Uc. 
 
 C. HUYBERTS. 
 
 Flouriflied, 1696. 
 By this engraver we have fome tolerably correct anatomical /"'^bjefts, for a 
 work, entitled Johannis Gaubii Epiji. Prob. prima ad Fed. Ruyfchmm, M. D. 
 printed at Amfterdam, a. d. 1696. 
 
 PETER H U Y S, or H Y S, or H I I S. 
 
 Flourifhed, 1570. 
 This artift was a native of Antwerp. He flourifhed about the Y^ar ^570 
 By him we have fome fmall/m;)/«r«//«^7>'^J, to which he ulually fubfcnbed 
 the initials of his name, P. H. 
 
 F. H Y L E. 
 
 Flourifhed, 
 He was, fays Bafan, an Englifh engraver. By him we have feverai por- 
 traits, after Kneller and other mafters. ^^ 
 
J A C [ 41 ] J A C 
 
 I. 
 
 J. B. JACKSON. 
 
 Flourifhed, 1740. 
 
 ^r^HIS artift was a native of England, and, according to Papillon, learned 
 f the art of engraving upon wood from a painter, his countryman. He 
 went to Paris, apparently early in life, and was employed by Papillon ; for 
 whom, however, he worked but a fhort time,becaufe, fays that author, " he re- 
 " paid my favours with ingratitude ; for which reafon I ceafed to employ him." 
 Poverty, it feems, obliged him to quit Paris. He travelled through France to 
 Italy, and refided a confiderable time at Venice j where he executed many en- 
 gravings on wood, in imitation of the fl<:etches of the great mafters, and fre- 
 quently with no fmall degree offuccefs. Papillon mentions feveral orna- 
 mental letters and vignettes, performed by this artift j but does not inform us 
 of his great work in chiaro-fcuro, publiflied at Venice by J. Bapt. Pafquali, 
 A. D. 1745. It is a large folio volume, entitled, Titiani Vecellii, Paiili 
 Caliarii, Jacohi Robiifti, £5? Jacob de Ponte, opera Jele5liora, a Joanne Bap- 
 tijia Jack/on, Anglo, ligno caelata, & Coloribus adumbrata. From Venice 
 he returned to England, where he probably died. 
 
 Among his fingle prints is a middling-fized upright engraving, arched at 
 the top, reprefenting the taking of Chrijl from the crofs, from Rembrant. It 
 is executed in a fpirited manner, and conveys a good idea of that great maf- 
 ter's mode of fketchins:. 
 
 'o* 
 
 ROBERT JACKSON.. 
 
 Flourifhed, 
 He is mentioned by Mr. Thorefby in his Ducatus Leodenfis., as an engraver. 
 To him are attributed fome portraits, feveral mezzotintos and a wooden cut 
 of Algernon Sidney, &c. 
 
 J A C O. 
 
 Flourifhed, 
 This name, which is probably only an abbreviation of a longer, is afKxed 
 to a fmall upright print, reprefenting Mneas carrying his father Anchijes from 
 the flames of Troy. It is very poorly executed ■> and apparently a fiiiall copy 
 from the print, engraved by Girard Audran, from Dominichino, of the 
 fame fubjedb. 
 
 VOL. ir. " G LOUIS 
 
J A C [ 42 ] J A C ' 
 
 LOUIS JACOB. 
 
 Flourifhed, 1720. 
 
 This engraver, accordi-ng to Bafan, was a native of France; but that 
 author has neglefted to inform us, whofe pupil he was. The works of this 
 artift are neither numerous nor valuable. They are deficient in point of 
 cffed ; but ftill more lb in the drawing of the naked parts of the human figure : 
 for wherever they occur, they are 'exceedinly incorreft. The hands and feet 
 in particular, are very indifferently marked ; and the heads want character 
 and exprelTion. Among others, the following engravings are by this artift : 
 
 'The departure of the Ifraelites from Egypt after Paolo Veronefe ; a mid- 
 dling-fized plate, length-ways. 
 
 The adoration of the fhepherds, the fame, from the fame. 
 
 The interview between Rebecca and the Jervant of Abraham at the well, 
 the fame, from the fame. 
 
 Perfeus and Andromeda, 'a middling-fized upright plate, from the fame. 
 All thefe plates were engraved for the Crozat coUedlion. 
 
 LUCAS JACOBS. 
 
 Born, 1494. Died, 1533. 
 
 This great artift is much more generally known by the name of Lucas of 
 Leyden. He is alfo diftinguiflied by the appellation Hugenfe. He was 
 born at Leyden ; and from his father, Hugues Jacobs, received his firft in- 
 ftrudtions in the art of painting; but he compleated his ftudiesin the fchool 
 of Cornelius Engelbrecht. 
 
 He was contemporary with Albert Durer, and carried on a familiar and 
 friendly correfpondence with that artift ; and, it is faid, that as regularly as 
 Albert Durer publiftiedone print, Lucas publiftied another, without the leaft 
 jealoufy on either fide, or wifti to depreciate each other's merit. And when 
 Albert came into Holland upon his travels, he was received by Lucas in a 
 moft cordial and affeftionate manner. 
 
 Lucas gained much money by his profefllon; and being of a generous 
 turn of mind, he had not the leaft notion of fliutting it up in his cheft ; on the 
 contrary, he fpent it freely, dreffed well, and lived in a fuperior ftyle. 
 
 It is faid, that a few years before his death, he made a tour into Zealand 
 and Brabant; and during his journey, a painter of Fluftiing, envious of his 
 great abilities, gave him poifon at an entertainment; which, though very 
 flow, was too fatal in its effedl, and put an end to his life, after fix years lan- 
 guilhing under its cruel influence. But fuch was his love for the arts, that, 
 even in his bed, he would not be idle ; and when it was reprefented to him, 
 that fuch clofe atteation to work increafed the malignity of his difordei", he 
 calmly replied : " I am content it ftiould be fo, fince by my ftudies I cndea- 
 " vour to make my fick bed, a bed of honour ; for an artift can never die in 
 " a more fuitable manner, than with his pencil in his hand." He died, 
 A. D. 1553, aged 39. Others again, denying the ftory of the poifon, attribute 
 his death, with no fmall appearance of truth, to his inceflant induftry. For 
 he not only applied the whole day, but frequently a great part of the night 
 alfo, to his ftudies. 
 
 The 
 
J A C [ 43 1 J A C 
 
 The fuperiority of this artift's genius manifefted itfelf in his infancy ; for 
 his works, from the age of nine to twelve, were fo excellent, as to excite the 
 admiration of all contemporary artifts. At which time, it is faid, he executed a 
 print reprefenting St. Hubert for a burgomaftcr, who was fo much pleafed 
 with it, that he gave him as many guineas as he was years of age. He painted 
 in oil, in diftemper, and upon glafs ; and was well flcilled in perfpeftive. He 
 is no lefs famous for his engravings, than for his pidlures. In the charafter of 
 an engraver, of courfe, I fhall only confider him, and offer the few following 
 remarks upon his works. 
 
 His ftyle of engraving differed confiderably from that of Albert Durer, 
 and feems evidently to have been founded upon the works of Ifrael van 
 Mecheln. His prints are very neat and clear, but without any powerful 
 effeft. The ftrokes are as fine and delicate upon the objefts in the front, as 
 upon thofe in the diftances ; and this want of variety, joined with the feeble- 
 nefs of the mafles of fliadow, give his engravings, with all their neatnefs, an 
 unfiniflied appearance, much unlike the firm, fubftantial effeft, which we find 
 in the w^orks of Albert Durer. He was attentive to the minutife of his art. 
 Everything is carefully made out in his prints, andnopartof themi3negle(5ted. 
 His figures are generally tall and thin; the attitudes well chofen, and fre- 
 quently graceful and elegant. In thefe he followed nature fimply, without 
 afi^edtation. He gave great charadler and exprefiion to the heads of his 
 figures ; but, on examination of his works, we find the fame heads too often 
 repeated. The hands and feet are rather mannered than corredl ; and when 
 he attempted to draw the naked figure, he fuccceded but very indifferently. 
 He affedled to make the folds of his draperies long and flowing ; but his 
 female figures are frequently fo exceffively loaded with girdles, bandages, 
 and other ornamental trappings, that much of the elegance of the defign is 
 loft; and that native fimplicity, which is, as it were, tlie very foul of painting, 
 is deftroyed. 
 
 He engraved on wood, as well as on copper ; but his works on the former 
 are by no means very numerous. They are, however, very fpirited, and 
 manifeft the hand of the mailer ; though not equal, upon the whole, to thofe 
 of his friend and contemporary, Albert. The prints of this mafter are very 
 feldom met with complete ; efpecially fine impreffions of them. For though 
 they are, generally fpeaking, executed with the graver only, yet, from the 
 delicacy of the execution, they foon fuffered in the printing. 
 
 I fhall only mention the few following engravings by this mafter : 
 
 Mahomet Jlee-ping, with a frieft murdered by his fide., and another figure fteal- 
 ing hisj-joord, a middling-fized upright plate, dated 1508, fuid to be one of 
 his moft early produdlions. 
 
 The conve-ifion of St. Paul, a large plate, length-ways, 1509. 
 
 An eccehomo, the fame, dated 15 10. 
 
 The crucifixion, the famiC, dated 1 5 10. 
 
 Abraham fending away Hagar and Ifimael ; a middling-fized plate, length- 
 ways, dated 15 10. 
 
 The wife mens offering, a large plate length-ways, dated 15 13. 
 
 Adam and Eve in Paradife, a fmall plate, length-ways, dated 1515. 
 
 G 2 Efiher 
 
J A C [ 44 ] J A C 
 
 EJlher before king Ahajuerus ; a large plate, length-ways, dated 151 8. 
 
 A large print length-ways called the dance of Magdalen, dated 1 5 1 9. 
 
 His o-wnportrait, a fmall upright plate, dated 1525. 
 
 The hiflory of Adam and Eve, a kt of fix fmall upright plates, dated 1529, 
 
 Lot zvith his daughters ; a middling-fized plate, length-ways, dated 1530. 
 
 The two following are etchings : 
 
 David fraying, with an angel appearing to him, dated 1520J a fmall 
 upright plate. 
 
 A print known by the name of the portrait of JJlefpiegle, which is the 
 fcarcell: of all the works of this mafter. It is in the coUeftion of the king of 
 France ; and faid by Marolles, and other mafters, to be unique. ButBafan 
 informs us, that M. Mariette had alfo an imprefTion of this plate. It repre- 
 fents a man playing upon the bagpipes, carrying two children in abafket, and 
 a woman, with an infant in her arms. It is nearly feven inches and a half 
 high, by four inches and three quarters wide ; and has been copied the fame 
 way feveral times. One of the copies is by Hondius 5 but the beft has no 
 name to it. This rare print, which, by the bye, does no honour to the artift, 
 is dated 1 520, and was bought for the fum of fixteen louis d'ors. 
 
 The following prints are engraved by this mafter on wood, and are all of 
 them exceedingly fcarce. 
 
 The kings of IJrael, in chiaro-fcuro. 
 
 The illuflrious women of the OldTeflament. 
 
 Four large tournaments. 
 
 He conftantly marked his prints with a Gothic L. and rarely omitted 
 adding the date of the year, in which they were engraved ; and fometimes 
 both the letter and the date were put upon a tablet. See this mark copied 
 upon the plate at the end of the volume. 
 
 F. JACOBS. 
 
 Flourilhed, 
 The name of an obfcure artift, affixed to the portrait of fanus Radzivilius, 
 
 JACOBUS. 
 
 Flourifhed, 
 
 A very ancient engraver on wood, and probably a native of Germany. 
 . His chief work appears to have been the life of Chrifl. This let of prints 
 confifted, I believe, of fixteen or eighteen. I have feen only thirteen of 
 them. They are in circles, about feven inches diameter, very rudely cut, 
 yet by no means devoid of merit. The proportion of the figures is tolerably 
 juft; but the drawing is incorredt, and the extremities are but indifferently 
 marked. The taking down from the crojs, marked ^. and the flagellation^ 
 marked ©. may, I think, be confidered as two of the beft fpecimens of the 
 artift's abilities. On the laft of thefe we find his name, affixed in this manner : 
 £?pu0 Jncolit. 
 
 Papillon mentions a large upright engraving by this artift, which, he 
 informs us, belonged to a fet of prints, reprefenting the hiftory of Rome by 
 allegorical figures ; the defign of which, he informs us, is greatly in the ftyle 
 of a painter i and adds that it is exceedingly well engraved. 
 
 GI O V ANN A 
 
J A C [ 45 ] JAN 
 
 GIOVANNA BATISTA JACOBIN I. 
 
 Flourifhed, 1760. 
 A modern Italian artifl:, who engraved feveral of the plates for the Mufeo 
 Fiorentino, publifhed at Florence, in ten volumes. 
 
 H. JACOPSEN. 
 
 Flourifhed, 1620. 
 The name of this artift is affixed to a fet of prints, chiefly portraits, for a 
 work entitled the Hiftory of the Netherlands, publillied about the year 1620. 
 
 ANTOINE JAC Q^U ART. 
 
 Flouriflied, 
 
 This artifl:, according to Florent le Comte, engraved fmall vignettes, with 
 figures and grotefque ornaments, and marked his prints with three initials, 
 
 A. D. I. F. Perhaps it Ihould be De Jacquart -, the fecond letter will then 
 be accounted for. 
 
 R. J A G E R. 
 
 Flourifhed, 
 
 The name of an obfcure artifl affixed to a flight indifferent etching repre- 
 fenting the two Fleets of Spain and Holland, a half-fheet print without date, 
 
 BARTHOLOMEW lAMITSER. 
 
 Flourifhed, 1547. 
 This engraver, profefTorChrift fuppofes, was a native of Germany, andrefided 
 at Nuremberg. As an artifl he is very indifferently fpoken of. The plates en- 
 graved by him are marked with the initials of both his names in this manner, 
 
 B. I. and the date of the year in which the print was engraved^is ufually added. 
 Another artift, who flourifhed about the year 1570, ufed the fame letters upon 
 a tablet. 
 
 Christopher Iamitser, another indifferent artifl, probably of the fame 
 family. The flight etchings and engravings, publifhed at Nuremberg, 
 marked with aC. and an I. joined together cypher- ways, asexpreffedupon the 
 plate at the end of the volume, with the date 1545, are attributed to him. 
 
 Wenceslas Iamitser alfo worked at Nuremberg ; and to him profefTor 
 Chrift attributes the prints, marked with a W. and an I. joined together, 
 and fometimes with the fame letters feparate ; but he has not fpecified the 
 engravings by this artift, nor told us whether they are on wood or copper. I 
 I have feen with the firft mentioned mark, a large upright print, on wood, of 
 a gentleman ftanding, having a hat and feather upon his head,; and a long 
 fword by his fide. On a tablet near his feet are thefe letters, hr. manvel, 
 with fome German verfes on the top : it is dated 1547. See the mark of 
 this artift, copiedon the plate at the end of the volume. 
 
 J A M P I C O L I. See Giampicoli. 
 
 LAURENCE JANSON. See Coster. 
 
 H. JAN. 
 
JAN [ 46 ] JAR 
 
 H. J A N S S E N. 
 Flourifhed, 
 
 This artift, a native of France, was an excellent engraver of ornaments for 
 goldfmiths and jewellers, which he ufually enriched with figures and other 
 embellifhments, performed in a very neat and delicate flyle. He often 
 worked from his own defigns, and fometimes from H. Tangers, and other 
 mafters. 
 
 -PETER JANSSENS. 
 
 Flourifhed, 
 
 A name, mentioned by Florent le Comte, as an engraver of devotional 
 Jubje5is, and images of the Virgin Mary. 
 
 J. ALEXANDER JANSSENS. 
 
 Flouriflied, 
 
 This artift was probably related to Viftor Honorius Janflens, the hiftorical 
 painter, who was a native of Bruflels, and died, 1739. From that artift, at 
 leafl, Alexander engraved a fet of fmall upright plates, reprefenting the life 
 of AchilleSy exceedingly Ipirited compofitions, and etched in a neat, free 
 flyle. The breadths of light andfliadow are preferved in a mafterly manner. 
 
 EGBERT JANSZ. 
 
 Flourifhed, 1660. 
 The name of an artift, who worked chiefly with the graver, in a ftyle greatly 
 rcfembling that of Crifpin de Pafle. We have by him a fet of very fmall 
 prints, length-ways, entitled jcones venantum fpecies vayias, &c. or, the 
 various ways of hunting, from Antonio Tempefta, dated 1663. 
 
 KAREL DU JARDIN, or JARDYN. 
 Born, 1640. Died, 1678. 
 
 This artift was a native of Amfterdam, and difciple of Nicholas Berchem, 
 or, as others fay, of Paul Potter. However, he went to Italy, in the early 
 part of his life, in order to complete his ftudies ; and fucceedcd in painting 
 tjf converfacions, landfcapes, and animals of all kinds. To avoid the incon- 
 veniencies to which his extravagant way of living had reduced him, he 
 married a wife at Lyons, who being old and difagreeable, had no other 
 recommendation than hei money. He returned with her to his native 
 country ; where, though he was extremely fuccefsful in his profcflion, he 
 was ftill unhappy in his mind. At laft, he went back to Italy, and fettled at 
 Venice, where he died, and was buried in a very pompous manner, a. d. 
 1678, aged 38. 
 
 We have by this great mafter, upwards of fifty mafterly etchings, of different 
 
 fizes ; but none of them very large. They are executed in a ftyle, fome- 
 
 thing refembling that of Anthony Waterloo j but more neatly finifhed, in 
 
 4 genera], 
 
JAR [ 47 ] J E A 
 
 general, and more determined. They confift of landfcapes, enriched with 
 animals and figures. The animals often compofe the principal part of the 
 defign. They are very free and fpirited etchings, full of fpirit, and manifeft 
 the hand of the mafter. He frequently figns his name at length; when he 
 does not, he ufes the initials, or abbreviates it in the following manner ; 
 K. D. I. or K. D. V. I. fee. with the date, or K. Dv Iardin. 
 
 CLAUDE DONAT JARDENIER. 
 
 Born, 1726. Died, 1769. 
 
 This artift was a native of France. I know not whofe difciple he was> 
 but he engraved in a very pleafing ftyle. By him, among other fubjedVs, 
 we have 
 
 The Vh'gin and Child, a middling-fized upright plate, after Carlo Ma~ 
 ratti, for the colleftion of prints, engraved from the pidures in the Drefden 
 gallery. 
 
 The genius of glory and honour, reprefented by a figure flying in the clouds, 
 furrounded with clierubs, and holding a crown, after Annibale Carracci i a 
 large upright plate, for the fame coUeftion. 
 
 ETIENNE JEAURAT. 
 Flourifhed, 17 14. 
 
 This artift was a native of France, and flourifhed foon after the com- 
 mencement of the prefent century. He did not draw corredlly, neither are 
 his prints very excellent, for the execution of the mechanical part of them, 
 which is chiefly performed with the graver, is in a cold, filvery ftyle, and fo 
 neatly finillied, that all the fpirit of the etching is entirely loft. M. Hei- 
 neken mentions this artift as a painter ; I am not acquainted with any of 
 his works in that line. Among other prints by him are the following : 
 
 Jupiter and Europa, da.ted 17 14; a middling-fized plate, length-ways, 
 from S. le Clerc. 
 
 The difcovery of Achilles, the fame, from the fame, dated 17 13* 
 
 Achilles plunged into the Styx, the fame, from Vleughels. 
 
 EDME JEAURAT. 
 
 Flouriflied, 1730. 
 
 The plates, engraved by this artift, are fuperior in merit, though by no 
 means equal in neatnefs, to thofe of Etienne or Stephen Jeaurat, mentioned 
 in the preceding article. He made confiderably more ufe of the point ; and 
 the roughnefs of the etching, in the landfcape and fore-ground, produces an 
 agreeable efFeft. He certainly underftood the human figure, and drew it 
 with tolerable accuracy, but the extremities are fometimes negligently paflTed 
 over, r^is prints, however, poflTcfs, upon the whole, a confiderable fliare of 
 merit. The following may be reckoned among his moft eftimable pro- 
 dudlions. 
 
 Mojes found in the ark by Pharoah's daughter, a large plate, length- ways, 
 from Paolo Veronefe, for the Crozat coUedion. 
 
 The 
 
J E G [ 48 J JEN 
 
 The interview between Jacob and Rachel, the fame, after Mola, for the 
 fame coUeftion. 
 
 A repofe in E^pt, the fame. 
 
 The triumph of Mordecai ; from S. le Clerc, dated 1737. 
 
 CHRISTOPHER JEGHER. 
 
 Flourifhed, 1640. 
 
 This artiftwas a native of Germany j but he refided chiefly at Antwerp, 
 where, I believe, he died. He was an engraver on wood ; and his extraor- 
 dinary merit recommended him fo ftrongly to Rubens, that he employed 
 him to engrave feveral of his defigns, which he was defirous of publiihing ; 
 and Jegher fucceeded fo well in the execution of them, that his employerwas 
 perfeftly fatisfied. They are engraved in a free, bold ftyle, with large power- 
 ful ftrokes; and the imitation of the crofs hatchings with a pen, is finely 
 exprefTed. The extremities of the figures are well marked; the heads, 
 though flight, are expreffive ; and the ftyle of the mafter he worked from is 
 carefully preferved. After the death of Rubens, Jegher purchafed the greater 
 part of thefe engravings; and republillied them upon his own account. 
 
 The following are reckoned among his beft prints ; all of them from 
 Rubens : 
 
 Sujanna and the two elders, a large print, length-ways. 
 
 A repofe in Egypt, a large print, length-ways. Some few impreffions of 
 this engraving are in chiaro-fcuro, printed with an additional block of wood, 
 to add the half tint. Thefe impreffions are very rare. The fame compo- 
 fition was alfo engraved on copper, apparently by Cornelius Galle; but his 
 name is not affixed to it. 
 
 The infant Chrifi, and St. John playing with a lamh, a middling-fized 
 print, length-ways. 
 
 Chrifi tempted by Satan, the fame. 
 
 The coronation of the Virgin, the fame. 
 
 Hercules overcoming envy and difcord, from the fketch of that fubjeft, 
 painted upon the ceiling at Whitehall. 
 
 A converfation between feveral lovers, who appear in a garden ; a very large 
 print, length-ways, on two blocks. Clouet engraved this compofition on 
 copper, with fome trifling alteration. It was alfo repeated by Lempereur at 
 Paris. 
 
 A drunken Silenus,fupported by twofatyrs ; a middling-fized upright print. 
 Bolfwert engraved this compofition on copper. 
 
 It is to be remarked, that thofe impreffions from which the name of Ru- 
 bens, as the publiffier, is taken away, and that of Jegher fubftituted in its 
 place, are the fecond impreffions, and of courfe lefs valuable than the others. 
 He often affixed his name at full length; when he omitted to do that, he 
 fubftituted the initials, C. I. under which he. fometimes added a fmall knife, 
 according to the ufual cuftom of the old engravers on wood. 
 
 BALTHASAR JENICHEN. 
 
 Flourifhed, 1569. 
 A name affixed, conjointly with that of Michael Kirmer, to fome flight, 
 little etchings of foliage and ornaments, and fmall hiftorical fubjedts in 
 
 circles 
 
JEN [ 49 ] IMP 
 
 circles in the middle, executed with the graver. Perhaps the ornaments 
 may have been etched by Kirmer, and the liiftorical fubjetts performed by 
 Jenichen ; who, I lufpett, is the fame artift with Jenckel, mencionetl in the 
 fucceeding article, fuppofing the name to be mif-fpelt by profeflbr Chrift 
 and others. 
 
 BALTHAZER JENCKEL. 
 
 Flourifhed, 1570. 
 
 An engraver of no great note. He was apparently a native of Germany ; 
 and may properly be ranked among the little mafters. He worked with the 
 graver only, in a ftyle fomething refembling that of Hans Sebald Beham ; 
 but he was greatly inferior to that artift, not only in tafte and judgment, but 
 alfo in the execution of the mechanical part of the engraving. By him we 
 have /^^/^^oari o/"//^r<:«/^j, very fm all plates, length- ways, dated 1563. I 
 fliall mention befides, a battle, a fmall plate, length-ways. He ufually 
 marked his engraving with the initials of his name, enclofed in a fmall 
 fquare line, and added the date. 
 
 ANTHONY JENKENSON. 
 
 Flouriflied, 1560. 
 
 Abraham Ortelius mentions this artift with commendation. It appears, 
 that he was a native of England j and that his chief excellence confifted in 
 engraving maps and plans. 
 
 THOMAS JENNER. 
 
 Flourifhed, 1650. 
 
 He was a printfeller, and flouriftied about the beginning of the laft cen- 
 tury. At the bottom of the print of William Sommers, engraved by De- 
 leram, we have this infcription : " William Sommers, king Henryes jejler, 
 •' are to be fold by Thomas Jenner, at the White Bear in Cornezvell" 
 " Jenner attempted," fays the honourable Mr. Walpole, " the art him- 
 *' felf with no fmall fuccefs. 1 have," continues he, " a fmall print by 
 " him, of Sir William Wadd, or Waad, lieutenant of the Tower. Jenner 
 alfo etched a view of a large fhip, called the Soverayne of the Seas. This 
 is, however, but very indifferently executed. It is dated 1653. 
 
 MARY MAGDALEN IGONET. 
 
 Flourifhed, 1760. 
 This lady, according to Bafan, was a Genoefe by birth, and refided at 
 Paris, when he wrote his Didtionary. By her we have feveral prints, after 
 Mieris and other mafters. 
 
 GIROLAMO IMPERIAL L 
 
 Flourifhed, 1640. 
 
 This artift was born at Genoa, of a noble family, and being fent to Parm.a 
 by his parents to ftudy the belles lettres, he was fo ftruck with the works of 
 Correggio and Parmigiano, that he applied himfelf alTiduoufly to learn the 
 
 VOL. II. H principles 
 
I N G [ 50 ] J O D 
 
 principles of painting, and with great fuccefs j but returning to his own 
 country, his domeftic affairs requiring too great attention, he had not fuf- 
 ficient leifure to attend to his favourite purfuit. He then learned the art of 
 engraving, or rather etching, from Giulio Benfi ; and we have a confiderabic 
 number of etchings by him, particularly portraits. 
 
 P. C. I N G O U F. 
 
 Flourifhed, 1770. 
 
 A modern artift, by whom we have feveral portraits j among the reft, that 
 of Jean Jaques RoufTeau, from a model in wax. 
 
 JOHN INGRAM. 
 
 Flourifhed, 1760. 
 
 This artift was a native of England. He learned thefirft principles of engrav- 
 ing in his own country ; but he completed his ftudies at Paris, where he refided 
 in the year 1755. He was a man of very fingular charadter ; but poflTefTed of 
 every requifite to make a great artift. His engravings are, in general, fmall, 
 many of them being vignettes, and other book-plates. He engraved from 
 Bradley, Boucher, and other mafters ; but at the time Bafan publiftied his 
 Diftionary of Engravers, he was employed by the Academy of Sciences. 
 
 GIACOMO JOANSUINI. 
 
 Flourifhed, 
 This name is afHxed to a flight etching, reprefenting the prefentation of our 
 Saviour in the Temple. This print has nothing in it to recommend it to par- 
 ticular notice. He figns his name " Jacobus Joanfuinus pidlor et incifor ;'* 
 from whence we underftand, that he was a painter. 
 
 PETER DE JODE, the Elder. 
 
 Born, Died, 1634. 
 
 This artift was the fon of Gerard de Jode, and born at Antwerp, where his 
 father refided, and apparently carried on a confiderable commerce in prints. 
 According to profeflbr Chrift, Gerard de Jode engraved alfo, and marked 
 his prints with the initials G. I. or G, D. I. but that author has not 
 fpecificd any of his works. In the feries of engravers Gerard de 
 Jode is called an engraver on wood ; and Papillon informs us, that he 
 executed Ibme excellent engravings on wood, which were printed, as he 
 fuppofes, by Plantin at Antwerp, about the year 1566. Peter de 
 Jode received his firft inftruftions in the art of engraving from Henry 
 Gohzius ; and afterw'ards went to Italy, in order to complete his 
 ftudies from the works of the great mafters. He engraved feveral plates 
 in that country from different painters, and returned to Antwerp about the year 
 i6oi, where he refided till the time of his death, which happened, a. d. 
 1 634. His works polTefs a confiderable fhare of merit. He drew the human 
 
 figure 
 
J O D [ 5» ] J O D 
 
 figure very correftly ; and, following his mailer's example, ufed the graver 
 only, in the execution of his plates j but in point of tafte, and command of 
 that inftrument, Goltzius was certainly far fuperior to his fcholar. The en- 
 gravings of De Jode are ufually very neatly executed} but there is a cer- 
 tain ftiffnefs about them, which takes greatly from the beauty they would 
 otherwife poflefs. 
 
 Among the vaft variety of prints, engraved by this artift, are the following : 
 
 The life of Chrijt, confiding of twenty-fix fmall upright plates, without 
 any painter's name. 
 
 The life and miracles of St. Catherine de Sienna, quarto, middling-fized 
 plates, length-ways, from F. Vanni, dated 1597. 
 
 The five Jenjes, middling-fized plates, length-ways, apparently from his 
 own defigns, 
 
 A holy family., with St. Catherine, a fmall plate, length-ways, from Titian. 
 
 Chrijl giving the keys to Peter, a middling-fized upright plate, from Ru- 
 bens. This is engraved in a much bolder ftyle, than was ufual with this 
 artift. 
 
 The lajl judgment, a very large upright print on feveral plates, from John 
 Coufin. 
 
 Several ^or/r^//j, and variety of other fubjeds, from Spranger, Franck, 
 and other matters. 
 
 PETER D E JODE, the Younger. 
 Born, 1606. Died, 
 
 This artift was the fon of Peter de Jode, mentioned in the preceding article. 
 From his father he learned the art of engraving, and furpaflfed him in taftc 
 and the facility of handling the graver ; though he can fcarcely be faid to have 
 equalled him in correftnefs of drawing, efpecially when confined to the naked 
 parts of the human figure. It does not appear, that he went to Italy ; but 
 he certainly accompanied his father to Paris, where they engraved conjointly 
 a confiderable number of plates for M. Bonefant, and Le Sieur L'Imago. 
 His moft capital performances are from Rubens and Van Dyck. Bafan 
 fays of him, that in feveral of his engravings he has " equalled the beft en- 
 " gravers, and in others he has funk below himfelf." It is certain, that his 
 works are not all of them equally meritorious ;as indeed whofe are, efpecially 
 if they be as numerous as thofe of De Jode ? He was, without doubt, a 
 very able engraver; but to place him upon an equality with his contempora- 
 ries, Bolfwert, Pontius, and Vorfterman, is, in my opinion, eftimating his 
 abilities at much too high a rate. 
 
 Among his moft efteemed performances, maybe reckoned the following : 
 
 The meeting of the Virgin Mary and Elizabeth, a large upright plate, from 
 Rubens. 
 
 A nativity, a large plate, length-ways, from Jaques Jordaens. 
 
 A holy farn'dy, with Zacharias, Elizabeth, John, and an angel holding a 
 hook, from Titian, the fame. 
 
 Chrift communing with Nicodemus, half figures, a dark, candle-light piece, 
 a middling-fized plate, length-ways, from Gerard Seghers. 
 
 H 2 Ab 
 
J O D [ 52 ] J O H 
 
 An eccehomo, a large upright plate, from Diepenbeck. 
 
 i)t. Augufthie ['.imported by angels, a large upright plate, arched at the top, 
 from Van Uyck. 
 
 St. Martin of Tours excelling the evil Jprit fr'om a demoniac, a large up- 
 right p'ate, from Jordaens. 
 
 St. Friiniis kneeling lefore a crucifix, a fmall upright plate, from Baroccio. 
 
 The three graces, a large upright plate, from Rubens. 
 
 Venus rijing from the water, a large plate, length-v/ays, from the fame. 
 
 Rinaldo and Armida, a large upright plate, from Van Dyck, being the 
 companion to another plate^ which Bailliu engraved from the fame painter. 
 
 Folly and Ignorance, half figures, a middling-fized upright plate, arched at 
 the top, from JorJaens. 
 
 An enibletn of death, reprefented by an infant fleeping upon the ground, 
 with a n<ull lying by his fide; a fmall plate, length-ways, from Artemifa 
 Gentilefca. Ganiere alfo engraved a plare from the fame defign. 
 
 A great variety of excellent portraits, from Van Dyck and other mafters, 
 and among the'm his own. 
 
 ARNOLD DE JODE. 
 
 Flourifhed, 1660. 
 
 He was the fon of Peter de Jode the younger, mentioned in the preceding 
 article ; and was probably inftrufled by his father in the art of engraving. 
 At what time Tie came into England is not known ; but it is certain, that he 
 refided here in the year 1666, at the time of the great fire of London, as we 
 find from an infcription, affixed to a whole-llieet print, reprefenting Chrifi and 
 St. John as infants embracing each other, from Van Dyck. It runs thus : 
 Arnoldus de Jode fculp. Lcndini, tempore incendii maximi. The pidlure was 
 then, it Items, in the pofTelfion of Sir Peter Lely, to whom the print was 
 dedicated by Richard Thompfon a printfeller. 
 
 The works of Arnold de Jode, confidered either with refpedl to the draw- 
 ing, or the mechanical part of the execution of them, are greatly inferior to 
 what might have been expefted from the fon of Peter de Jode. His befl 
 engravings are portraits ; but even thefe have no very confiderable fhare of 
 merit to recommend them. I fhall only add the following prints by this 
 art ill : 
 
 Mercury educating Love, a middling-fized upright plate, from Correggio, 
 engraved at London, and dated 1667. 
 
 A Magdalen, a half figure in a circle, a middling-fized plate, fromVan- 
 dyck. 
 
 The portrait of cardinal Palavicini, a fmall upright plate from Titian. 
 
 The portrait of Sir Peter Lely, a large upright plate, from a pidure 
 painted by Sir Peter himfelf. 
 
 The portrait of yf/f;c«Wfr Broivn, prefixed to his Ars PiBoria, in folio, 
 fromj. Huyfmans. 
 
 LAURENCE JOHNSON. 
 
 Flourifhed, 1603. 
 
 This artift engraved feveral heads for a folio volume, entitled, the General 
 
 Hijiory 
 
J O H [ 53 ] JON 
 
 Hi/lory of the 'Turks, publifhed 1603. He worked entirely with the graver ; 
 but in a ftyle, that does him no fort of credit, as an artift. 
 
 C. JOHNSON. 
 Flourifhed, 
 
 The name of an artift of no great merit, who was employed, chiefly, if 
 not entirely, in the portrait line. His engravings are fufficiently neat. 
 Among others by him, I have feen the portrait of James the Firji's queen. 
 
 T. JOHNSON. 
 
 Flourifhed, 
 
 This name is affixed to feveral mezzotinto prints ; among others to the 
 portrait of WilHatn lord Cowper ; and a fmall upright plate, reprefenting 
 jidam and Eve. It has been faid, that Faber, when he did not choofe to affix 
 his own name to his engravings, adopted this fidtitious one. But admitting 
 the truth of this report, I can hardly attribute thcfe two prints to him, they 
 being fo far below the ftandard of his ufual workmanfhip. We have alio 
 with the fame name affixed, the portrait of lord Anfoti ; alio that of Bullock 
 the comedian ; and another of 'T. Britton the Jmall-coal matiy &c. 
 
 ANDREW JOHNSTON. 
 Flourifhed, 
 
 This artift, apparently a native of England, engraved in mezzotinto; but 
 his works, at leail fuch of them as I have feen, do not merit the leaft 
 commendation. Among other portraits by him, is that oi Henry Sacheverell, 
 a half-fheet print from Gibfon. It was publifhed by Philip Overton ; buc 
 there is no date affixed. 
 
 J O L L A T. 
 
 Flourifhed, 15 10. 
 
 This artift, according to Papillon, was a native of France. He flou- 
 rifhed towards the commencement of the fixteenth century, and exe- 
 cuted a conliderable number of engravings on wood. Among them are the 
 cuts for a fmall folio book oi Anatomy , by Carolus Stephjeno, M. D. fome 
 of which prints are. dated from 1530, to 1532. Alfo the ornamental borders, 
 figures, &c. for a miiTal in oftavo, printed at Paris, 1490. They are, fays 
 my author, all of them very badly drawn ; but executed with extraordinary 
 delicacy. See the mark of this artift on the plate at the end of the volume. 
 
 I. JONCKHEER. 
 
 Flourifhed^ 
 This name is affixed to a fet of fmall plates, length-ways, reprefenting dogs 
 
 and 
 
JON [ 54 ] J O R 
 
 «»^ other domejiic animals, etched in aflight.fpirited flyle, which indicates the 
 hand of the mafter. This artift has harmonized the etching with the point 
 of the graver, in a manner fomething refembling that of Rembrandt. 
 
 I. M. D E J O N G E, or D E JONG. 
 
 Flourifhed, 
 
 This artift was probably a native of Holland, and related to Ludolph dc 
 Jong, who excelled particularly in painting battles and huntings. By him, 
 however, we have a fet of fmall battles, etched in a flight but Ipirited ftyle. 
 They are evidently the work of a painter ; and from the mafterly manner in 
 which they are executed, we may conceive him to have been a man of no 
 mean abilities. To thefe may be added feveral etchings of /j'cr/^j, equal in 
 merit to the battles ; thefe are alfo fmall plates, length-ways. When he did 
 not fign his name at length, he fubftituted the initials I. M. D. I. the I being 
 placed upon the top of the M. 
 
 J. B. J O N G E L I N X. 
 
 Flouriflied, 
 
 An artift of no great reputation. Portraits feem to have conftituted the 
 greateft part of his performances ; but his manner of engraving has nothing 
 in it worthy of commendation. To the portrait of Valerius Andreas DeJ- 
 Jel'ms, Jud. &CC. he has affixed his name, " J. B. Jongelinx" and added the 
 letters Ant. an abbreviation perhaps of the word Antwerpia, to denote, that 
 he was a native of the city of Antwerp. 
 
 J. DE JONGHE. 
 
 Flourifhed, 
 
 A name affixed to the portrait of Hermanns Langelus, paft. Amftel. Ap- 
 parently this artift refided at Amfterdam. I have not feen this portrait my- 
 felf ; but if it be a flight painter's etching, I fliould conclude, that the pre- 
 fent J. de Jonghc, and J. M. de Jonge mentioned above, were one and the 
 fame perfon. 
 
 J A QJJ ES JORDAENS. 
 
 Born, 1594. Died, 1678. 
 
 This juftly celebrated artift was born at Antwerp. His firft mafter was 
 Adam Van Ort ; but to Rubens he was evidently indebted for his fuperior 
 knowledge in the art of colouring. The character of this great painter is 
 fo generally known, that it is unncceflTary to repeat it here. It will be fuf- 
 ficient to obfcrve, that his beft works, confidered altogether, are efteemed as 
 little inferior to the noble exertions of the pencil of Rubens himfelf, we have 
 by him feveral etchings, which, though executed in a very flight and hafty 
 manner, bear neverthelefs the evident marks of a mafterly hand. They are 
 all from his own compofitions, as follow. 
 
 2 The 
 
J O R [ 55 ] J O U 
 
 The flight into Egypt, a fmall upright plate, and dated 1652. 
 
 Chrijl driving the merchandizers from the Temple, a middling-fized plate, 
 length-ways. 
 
 A defcent from the crojs, a fmall upright plate, dated 1652. 
 
 "Jupiter fuckled by the goat Amalthea,z. fmal! plate, length-ways. 
 
 Jupiter and Ic, a middling-fized plate, length-ways, dated 1652. 
 
 Mercury cutting off the head of Argus, a fmall upright plate, dated 1652. 
 
 A peafant, who is flopping an ox by the tail, amidfl a conflderable number of 
 fpeSiators ; a fmall plate, length-ways. 
 
 GREGORY JORDAN. 
 
 Flouriftied, 1622. 
 He was a native of Venice; and, according to his own account, almoner 
 and cofmographer to the Duke of Bavaria. \n the year 1622, he publifhed 
 a fet of prints, entitled, Prophetia feu Vaticinia, XIIII. tabellis exprejfa, re- 
 prefenting the woes, which are to befall the world, at the fubverfion of the 
 Mahometan fuperftition, with explanations of the defigns. They are fmall 
 plates, length-ways, very flightly etched : the figures are incorreftly drawn, 
 and without efi^edt. 
 
 LUCA JORDAN O. See Giordano. 
 
 ABRAHAM JOSSE. 
 
 Flourilhed, 
 
 The works of this artift, according to Florent le Comte, are exceedingly 
 multifarious. They confift of no lefs than five hundred and ninety-eight 
 prints. The fubjefts of none of them, however, are fpecified. 
 
 MATHURIN JOUSSE. 
 
 Flouriflied, 
 
 This artift, according to Florent le Comte, excelled in the engraving of 
 ornaments for gunfmiths, and other workers in iron, brafs, or fteel. I do not 
 recoUedt-having feen any of his works. 
 
 JAMES JOULLAIN. 
 
 Flourifhed, 
 
 By this artift, who probably was a native of France, we have feveral fron- 
 tifpieces, and other book-plates. They are neatly executed j but in a ftiff, 
 taftelefs ftyle : his drawing of the human figure efpecially is exceedingly de- 
 feftive. 
 
 FRANCOIS JOULLAIN. 
 
 Flouriflied, 1750. 
 
 This artift was not only an engraver, but a printfeller of confiderable 
 
 eminence. 
 
ISA [ 56 ] I S S 
 
 eminence. He was a native of France, and refided at Paris, at the time 
 Bafan publiflied his Diftionary. His ftyle of engraving bears feme flight 
 refemblance to that of Cars ; and, if his works cannot be faid to equal thofe 
 of that mafter, either in correftnefs, or facility of execution, it muft be faid, 
 that they are by no means devoid of merit. I fhall mention the following 
 
 only : 
 
 Mercury and Herje, a middling-fized upright plate, from Paolo Veroncfe. 
 
 Apollo flaying the Jatyr Marfyas, a fmall plate length- ways, from the fame 
 painter: both thefe plates are for the Crozat colleftion. 
 
 The chafe of the boar and its companion, middling-fized plates, length-ways, 
 from Defportes. 
 
 He alfo engraved from Watteau, Lancret, Gilliot, and other maflers. 
 
 JASPER ISAC. 
 
 Flourifhed, 1620. 
 
 This engraver refided, I believe, at Paris j at leaft, feveral ornamental 
 frontifpieces, executed by him, were affixed to books, publifhed in that city. 
 But his principal engravings were portraits. He worked chiefly, if not entirely, 
 with the graver, in a neat ftyle, but devoid of all tafte, and in every other 
 refpeft, exceedingly indifferent. Among his portraits, we may reckon 
 Charles UOyfeau and Stephen Pafchafius, &c. 
 
 I S C H E R N I N G. 
 
 Flourifhed, 
 A name of an obfcure engraver, affixed to the portrait of Gqfpcr Neuman. 
 
 ISHMESAFF. 
 
 Flourifhed, 
 Another obfcure artift, of whom we have no account. His name is affixed 
 to the portrait of Bo. Chr. Munnich. 
 
 I S R E A L. See Henriette. 
 
 ISREAL VAN MECH, or MECHLIN. See Mecheln. 
 
 PETER ISSELBOURG. 
 
 Flouriflied, 1640. 
 He was born, according to Bafan, at Cologne, about the commencement 
 of the fi'venteenth century. He worked ibme time in the Low Countries; 
 and, about, the year 1640, was fettled at Nuremberg; where he not only 
 executed a great number of engravings, but taught drawing His works are 
 of various kinds ; but the greater part of them were for the bookfeliers of 
 that time. He worked chiefly with the graver ; but the prints, which I have 
 feen by him, are fuch as do him no great honour. I lliall only mention, 
 4 Chrifl 
 
 1 
 
JUL [ S7 ] J U V 
 
 Cbri^ and the twelve apofiles, middling-fized upright plates, from Rubens. 
 He often marked his plates with the initials of his name only, thus : P. I. 
 
 JOHN DE JULIENNE. 
 
 Born, Died, 1766. 
 
 This gentleman was a native of France, and a lover of the arts ; weli 
 known in that kingdom, for the famous coUeftion of pictures which lie made, 
 confifting offpecimens of every fchool, with feveral other rare and curious 
 pieces, which he left behind him at his death. He alfo etched, for his 
 amufement, feveral prints from Teniers, Watteau, and other mailers. 
 
 J. JUNE. 
 
 Flourifhed, 1760. 
 
 An Englifh artift of no great eminence, whofe labours were chiefly con- 
 fined to the ornamenting of books. We have, however, fome portraits by 
 him ; and among others, James Relly, the Antinomian preacher, after Shelly, 
 Fanny Murray, &:c. 
 
 JUNGHANNS. 
 
 Flourifhed, 1472. 
 
 He was a native of Nuremberg, where, in the year 1472, he publillied an 
 edition of the Hilary of Antichrift, rudely engraved upon blocks of wood. 
 He fiyles himfelf at the end of the book, JlSrtcfntaler, that is, painter of 
 playing cards ; and thefe engravings may reafonably be attributed to him. 
 The reader will find a circumflantial account of thefe ancient engravings on 
 wood, in the Effay on Wood Cuts, at the beginning of this volume. 
 
 JOSEPH JUSTE R. 
 
 Flourifhed, 1700. 
 
 This artift apparently was a native of Venice j at leaft, he refided there, 
 and engraved a confiderable number of book-prints, which were publifhed in 
 that city. His plates are etched and finifhed with the graver, in a coarfe, 
 taflelefs ftyle, without any degree of merit to recommend them to the notice 
 of the connoifTeur. His beft engravings, I believe, are contained in the 
 colleftion of prints, publifhed by Catharine Patin at Venice, 1691, under the 
 title of Pitturejcelte e Duhiarate da Carla Caterina Patina Parigina accade- 
 mica. We have alfo feveral portraits by this engraver ; but they are equally 
 indifferent with the reft of his woi ks. 
 
 FRANCESCO JUVANI. 
 Flourifhed, 
 He was, fays Bafan, an Italian painter, and a difciple of Carlo Maratti. He 
 etched feveral plates, and, among them, an adoration of the fljepherds, a mid- 
 dling-fized fquare plate, from a defign of his mafter's. 
 
 Vol. II. I F L 
 
J U V [ 58 ] J U V 
 
 FILIPPO JUVARRA. 
 
 Flourifhed, 1720. 
 
 This artift was a native of Italy, and an archited of confiderable note. 
 We laave, defigned and etched by him, a fet of ornamental fliields, which 
 were publiflied at Rome, 1722. They are bold etchings, in a free ftyle, 
 and do him no fmall credit as an artift. He is entitled Cav, D. Filippo 
 Juvarra, Architetto e Accademico de S, Luca. 
 
 I 
 > 
 
K A E [ 59 ] K A L 
 
 K. 
 
 K A B E L. See Caeel. 
 
 MATHIAS KAGER. 
 
 Flourifhed, 
 
 ^|~^HIS artift is generally believed to have been a native of Germany, 
 J^ and a painter. It appears, however, that he alfo amufed him- 
 felf with the graver, dTnd worked in a very neat ftyle with that inftrument 
 only. His performances are by no means defticute of merit, though in fome 
 few inftances they appear to be rather ftiffand laboured. His mark, accord- 
 ing to profeffor Chrill, is compofed of an M. and a K. joined to the M. 
 See the plate at the end of the volume. I fliall only mention the following 
 engravings by this artift. 
 
 St. Francis, furrounded by the monks of his order. Chrifl: and the Virgin 
 Mary are reprefented appearing to them in the clouds : a middling-fized 
 upright plate, from P. Remigius Bozzulo. 
 
 K A L C A R. See Calcar. 
 
 HANS, or JOHN KALDUNG. 
 Flourifhed, 151 5. 
 This is the name, which the author of the Abecedario gives to an ancient 
 German engraver on wood, whofe mark is compofed of an H. an S. and a 
 K. joined together, in the manner reprefented on the plate at the end of the 
 volume. They that attribute this mark to Baldung are evidently millaken, 
 Profeflbr Chrift fuppofes it to belong to Hans, or John Springinklee. 
 " I have found alfo the fame mark," adds that author, " but conftantly 
 " reverfed, upon the wooden cuts, excellently defigned, and printed at Ly- 
 *' ons, for John Korberger of Nuremberg, by John Clim, in the year 15 15 ; 
 ** and it may perhaps with juftice be attributed to Kci bcrger ; but to whom- 
 " foever the mark may really belong, it feems to me to be the mark of the 
 " defigner only; for 1 have alfo feen the mark of the engraver, compofed 
 *< of a W. and an R." With all deference to the opinion of M. Chrift, 
 there is little doubt to be made, but that the artift, who ufcd this monogram, 
 whether Korberger or Kaldung be his name, engraved himfelf ; and from the 
 famenefs of ftyle it appears equally evident, that the monogram, whether made 
 the right way; or reverfed, or whether reprefented upon a tablet, or without it, 
 belongs conftantly to one and the fame perfon. I have feen many engravings 
 
 I 2 by 
 
K A L [ 60 ] K A R 
 
 by this artifti but none of them fuffic'ently well executed to warrant the 
 cxprefTion of M. ChnU, tres hien dejjinees, " exceedingly well drawn or 
 " defigned." The drawing is, in general, very defeftive ; and the defign, 
 if referred to the compofition, luch as by no means deferves a compliment. 
 But the chief merit of thcfe prints confifts in the bold, free ftylcof the me- 
 chanical part of the execution, and the exprefiion, which in fome few 
 inftances is difcoverable in the countenances of the figures. His beft work 
 ajjpears to me to be a fet of fmall upright prints, apparently for a miffal or 
 mafs book; among which, that wherein the Virgin is reprefented, giving the 
 infant Chrift to Elizabeth, is a good fpecimen of the merit of the artift. The 
 letters W. R. which appear in fome few of the prints, may be the mark of 
 another engraver, who affiftedhim. Inftances of two marks on one prints are 
 very common, as the colle6tor may eafily fee in the works of Joft Ammon, 
 Tobie Stimmer, and other engravers on wood. 
 
 ALBERT C. K A L L E. 
 
 Flouriflied, 1648. 
 
 An engraver of very little note, who refided at Strafbourg. He worked 
 chiefly, if not entirely, for the bookfellers, in a ftifF, heavy ftyle, with the 
 graver only. I have feen by him the frontifpiece to a volume in folio, 
 written by Chemnitz, entitled, Bel/urn Sueco-Germanicum, dated 1648, with 
 the portrait of Gz^/Z^fKJ yJ'^o/p^zfJj king of Sweden. Portraits feem indeed 
 to . have been his beft works 3 but thefe do not deferve commendation. 
 
 MARIUS KARTARIUS. 
 
 Flouriftied, 1566. 
 
 This artift, though he refided at Rome, was probably a German, and 
 learned the art of engraving in his own country. Certain it is (if 
 thofe prints attributed to him were really executed by his hand) that he 
 copied feveral of the engravings of Albert Durer, with fome degree of pre- 
 cifion ; they are executed entirely with the graver -, but his principal 
 works are etchings, in a coarfe, incorreft ftyle, finiftied with the 
 graver. Sqme of them are very large, and, in general, I believe, from his 
 own defigns. He never figned his name at length j but a monogram, com- 
 pofed of an A. an M. (or rather a V. and an M.) and a K. in the manner 
 exprefled upon the plate at the end of the volume, is attributed to him. I 
 fhall notice the following, all marked with this monogram. 
 
 Diana and Endymion^ a large plate, length-ways. 
 
 Chriji crowned with thornsy a large upright plate, executed with the 
 graver only. 
 
 The dejcent of Chriji into Hell, copied in a rough ftyle from Andrea Man- 
 tegna, a large upright plate. 
 
 ne adoration of the Jhepherds, in a very neat ftyle, executed with the 
 graver only, a fmall upright plate. 
 
 Chriji 
 
 , ■ jniu iiii 
 
 . r 
 
K E L [ 61 ] K E R 
 
 Cbri/i praying in the garden, the fame, from Albert Durer, marked on a 
 tablet, 1567, ROM.?;. 
 
 St. Jeromfeated in a chamber ^ the fame, from the famous print of that fub- 
 jeft by the fame maftcr. 
 
 Notwithftanding the authority of profefTor Chrift, and others after him, I 
 think, upon due examination it will be found, that all the above plates were 
 not executed by the fame hand ; and confequently, that the monogram 
 belongs rather to the publiflicr than the engraver. I am confirmed the more 
 in this opinion by a middling-fized upright etching from Julio Romano, 
 reprefentingan /^o/y/rz^j/Zy, laitb St. Mark, &c. which, befides the above 
 monogram, has alfo the initials M, L. and this infcription, Micbaelis Lucen- 
 fis opera. It is true, that upon a large print, reprefenting the death of Meleager, 
 the fame mark may be found; which print was publilhed by Antonio Sala- 
 manca, 1543. But it is to be noticed, that the mark is not to be found in 
 the early impreflions; and it is well known how frequently, when one pub- 
 lifher purchafed the plates of another, he added his own name, without 
 effacing that of the former proprietor. 
 
 Marco Kartarino of Rome, is mentioned by Florent le Comte, as an 
 engraver oi fountains, and to have flourifhed a. d. 1575 ; but in all proba- 
 bihty he was the fame artill as the preceding. 
 
 GEORGE KELLER. 
 
 Flourifhed, 16 10. 
 
 This artift was a painter, and refided at Frankfort upon the Maine. PTis 
 engravings, however, are chiefly confined to book ornaments, and have not, 
 upon the whole, any great merit to recommend them. His prints are 
 (lightly etched, and feldom much retouched with the graver. When he 
 attempted the human figure, his drawing appears to have been very in- 
 correft, and his compofitions have by no means the appearance of the 
 matter in them. Befides frontifpieces and other book ornaments, I have ken 
 by him fcveral fmall plates, length-ways, reprefenting views of towns, and 
 camps with Joldiers Jkirmifhing, &:c. which are dated 1605, and apparently 
 are publifhed at Francfort. 
 
 J A Q^U ES KERVER. 
 
 Flouriflied, 1540. 
 
 This artift apparently refided at Frankfort upon the Maine. The en- 
 gravings on v/ood, marked with an I. and a K. fometimes joined together, 
 and often feparate, executed in a flyle much refembling that of Hans 
 Schaeufiein, are attributed to him. Of this fort are a fet of grotefque figures, 
 •with all kind of flag bearers and heroic figures, in the ancient German tafie, 
 publifhed at Frankfort 1540. Alfo the heads and fmall hiftorical fubjefts, 
 for a folio volume, entitled, Catalogiis Annorum, &c. ab Homine Condito 
 tfque 1540, publifhed at Bern 1540. Befides the letters L K. there is 
 frequently added a dagger, with a fnail upon the top of it, in the manner 
 cxprefled on the plate at the end of the volume. It is to be obferved, that 
 
 Jaques 
 
K £ S [ 62 ] KEY 
 
 Jaques Kobel ufed the fame mark ; but his engravings bear more refem- 
 bJance to the large prints of Joft Ammon. 
 
 THEODORE VAN KESSEL, or QUESSEL. 
 Flourifhed, 1650. 
 
 It is highly probable, that this artilt was related to the Keflelsj who were 
 painters of no fmall eminence in Holland. His works confift chiefly of 
 etchings ; and when he did not attempt to draw the human figure, are by no 
 means devoid of merit, but frequently are very free and fpirited. 
 
 We have by him a frnall folio volume of vajes and ornamental compart- 
 ments, confiding of eight parts, etched from the defigns of Sir Adam dc 
 Viane, with his portrait at the beginning. They were publifhed at Utrecht 
 by his fon, Chriftopher de Viane ; and almoft all the plates are marked with 
 the monogram of the inventor, formed by an A. and a V. joined together, 
 and the initials of the engravers names; as, T. V. K. to which the letters 
 /. 3.i\dfec. for fecit, are commonly added. Thefe initials are fometim.es 
 joined together, in the manner exprefled upon the plate at the end of the 
 volume. He etched the portrait of Charles Y . emperor of Germany, from 
 Titian. Add to thefe the following, which were his mod efteemed works. 
 
 An allegorical fubjeft, reprefenting abundance, a middling-fized upright 
 plate, from Rubens. The companion, reprefenting the alliance of the Jea 
 and earth, was engraved by Peter de Jode the younger, from the fame mafter. 
 
 Four middling-fized plates, length-ways, from the fame painter, reprefent- 
 ing, I. The triumph of Galatea. II. A Triton embracing a fea nymph. 
 III. A nymph in the arms of a Jea god. IV. A fawn Jeated near a rock, with 
 two infants and a goat. 
 
 The hunting of the boar, a large plate, length-ways, from the fame mafter. 
 
 A fet of middling-fiztd plates, length-ways, reprefenting battles and 
 attacks of the banditti, from Peter Snayers, dated 1656. 
 
 Several of the plates for the coUeftion of prints entitled The Gallery of 
 Teniers, and a variety of other fubjefts, from Van Dyck, Sebaftian Bour- 
 don, &c. 
 
 JOHN KETERLAER. 
 Flouriflied, 
 
 " He engraved," fays Florcnt le Comte, " a globe with feveral ani- 
 " mals, fupported in the air by a figure of Death, whofe head appears above 
 *' with two wings and two trumpets." 
 
 MICHAEL K E Y L, or K E I L. 
 
 Flouriflied, 1750. 
 A modern German engraver, who executed feveral of the plates for tJie 
 coUedion of prints from the gallery of Drefden, and alfo for the gallery and 
 cabinet of the comte de Bruhl. 
 
 4 A. K H E L. 
 
K H E [ 63 ] K I L 
 
 A. K H E L. 
 
 Flourifhed, 
 
 This artift, apparently a native of Germany, was principally, if not en- 
 tirely, employed in engraving portraits. He executed his plates with the 
 graver only, in a neat, clear ftyle, by no means deftitute of merit. He drew 
 with much precifion 5 but his figures are accompanied with a certain ftiffhefs, 
 which renders his works far lefs agreeable than they would otherwife be. I 
 fliall only mention the following portraits by this artifl : "Jacob Eldely in an 
 oval border, a fmall upright plate, with fome German verfcs at the bottom, 
 marked " And. Khel, fculp." from Gretner ; Bathol. Hiatis, a fmall upright 
 plate, &c. 
 
 EBERHARD KIESER. 
 Flourifhed, 1630. 
 
 This artift was a native of Germany, and refided at Frankfort upon the 
 Maine, where he engraved the greater part of a fet of prints, entitled, "The- 
 Jaurui Philo-Politicus, hoc eft, E7nblemata, five Moralia-Politica-, confifting 
 of views of cities and towns in Germany, Spain, Italy, and feveral other parts 
 of Europe, nightly etched, with emblematical figures in the fore-ground. 
 They are divided into feven parts ; and all together form a very thick volume 
 in fmall folio. They were publifhed by Kiefer at Francfort, from a. d. 1625, 
 to A. D. 1630. Kiefer often fubftituted the initials of his name, E. K. to 
 his engravings, inftead of writing it at full length. There are alfo fome 
 portraits by this artift ; among others, that of John, prince of Juftria, 
 on horfeback, with a battle reprefented at a diftancej a middling-fized upright 
 plate. 
 
 LUCAS KILIAN. 
 Flouriflied, 16 10. 
 This remarkable artift was a native of Augft^urg in Germany. He flou- 
 rifhed at the beginning of the feventeenth century. In what fchool he 
 learned the art of engraving is uncertain ; but judging from his ftyle of en- 
 graving, which bears no fmall refemblance, in many particulars, to that of 
 Henry Goltzius, and of John Muller his difciple, one would naturally 
 conclude, that he was greatly indebted to one or both of thofe artifts. 
 It appears, however, that he went to Italy, in order to complete his 
 ftudies, where he engraved feveral plates from the piftures of the great 
 Italian mafters. Few artifts have manifefted a greater command of the 
 graver than Kilian, whether we confider the facility, with which the ftrokes 
 are turned upon each other, or the firmnefs with which they are executed, and 
 one cannot help admiring it, though it evidently ftrikes us, that by payino- 
 too clofe attention to this part of the art, henegleded the correftnefs of his 
 outlines, and fatigued the lights with unnecefTary work ; by which means he 
 broke the mafTes, and often totally deftroyed the effeft of his prints. The 
 naked parts of the human figure are feldom well exprefTed j the extremities 
 
 efpeciaily 
 
K I L [ ^4 ] K I L 
 
 cfpecially, are, in general, very heavy, and fometimcs incorreft. Upon the 
 ■works of this mafter, however, it a:M ears, that Balechou, fo famous 
 for his fkill in handUng of the graver, formed his ;afte. Among the moft 
 efteemed prints by Kilian, may be reckoned the few following. His works 
 complete are exceedingly numerous. 
 
 "The adoration of thejhe'pherdSi a middling-fized plate, length-ways, from 
 the vounger Palma. 
 
 Thcjamejubjcn, a large upright plate, after Spranger. 
 The Jam e Jul je Sly a middling-iized upright plate, from Rottenhamer. 
 TbefamefubjeSl, a large upright plate, from J. Heintz. 
 A holy family y a large upright plate, from Cornelius de Harlem. 
 The miracle of the loaves andfifoes^ a large upright plate from Tintoret. 
 Chrijl praying in the garden, a fmall upright plate, arched at the top, from 
 Frederic Suftris. 
 
 A dead Chrifi upon the lap of the Virgin, from Michael Angelo Buona- 
 roti, a fmall upright plate. 
 
 The entombing of Chrifi, without the painter's name, a middling-fized 
 upright plate, dated 1600. 
 
 A nymph Jiated upon the knees of a Jatyr, a fmall upright plate from J. 
 Heintz. 
 
 The rape of Projerpine, a large plate, length-ways, from the fame. 
 Alfo a great number of portraits, many of which are much efleemed. I 
 fhall mention only that of yf/^^r/ Dar^r, a half-length figure, from a pidlure 
 of that mafter, and executed in his ftyle of engraving, dated 1608 ; that of 
 the emperor Cbrijlian the Second, dated 161 5 ; and that of Francifcus Pi/anus, 
 J-criptor Geniienfis, in an oval furrounded by an ornamental border, and fup- 
 ported by two figures, from Lucianus Borzon, a middling-fized plate length- 
 ways. 
 
 He alfo engraved after F. Vanni, P. Candide, Mathias Kager, and feveral 
 other mafters, and fome few plates apparently from his own defigns. 
 
 He often neglefted to fign his name at length, and fubftituted the initials 
 in this manner, L. K. F. or L. K. A. F. or fee. The F. as ufual, ftanding 
 (ov fecit, and the A. for Augufla, part of the ancient Latin name Augujla 
 Vindelicorum, for the city now called Auglburg, the place of his nativity. 
 
 WOLFGANG KILIAN. 
 
 Flourifhed, 1620. 
 
 This artift was brother to Lucas Kilian, mentioned in the preceding article, 
 and a native aUo of Augfburg. He imitated, in fome degree, the ftyle of 
 his brother ; but never equalled him in the ftcilful management of the graver. 
 His prints indeed are neater j but this advantage is greatly overbalanced 
 by the ftifFnefs and formality, which ronftantly appear in them. He en- 
 graved but few hiftorical fubjefts ; for the moft considerable, as well as the 
 beft part of his works, confifts principally of portraits. I ftiall fpecify the 
 following prints only by this artift : 
 
 The rejurreltion of Chrifi, a fmall upright plate, arched at the top, from F. 
 
 Bafan. 
 
 Tbt 
 
K I L [ 65 J K I L 
 
 The four Evangelijls^ four fmall upright oval plates, probably from his 
 own defigns. 
 
 Part of the plates reprefenting the Saints of the order of St. BeneJi^, 
 publifhed in a fmall quarto volume, under the title, Imagines SanEloriim Ord, 
 S. Benedict, &c, 1625, 
 
 Part of the architeftal views, and other engravings, for the Hijlory of the 
 Convent of S. Fdalric, at Augfburg, chiefly from the defigns of IVIatthias 
 Kager : the reft of the plates were engraved by Daniel Manafer. 
 
 A fet of neat heads for a fmall folio volume, entitled Genealogia Sereniff. 
 Boiarite Ducujn, et ^lortimdam Genuine Effigies, 1605. 
 
 Portraits of the emperors and archdukes of the houfe of Auftria., &c. from 
 1229 to 1623, on twenty-feven folio plates, with their lives and eulogiums, 
 publifhed 1629, at Augfburg. 
 
 He alfo engraved leveral frontifpieces, and other ornamental plates for 
 books. 
 
 He frequently figned the initials of his names only, as W. K. F. or W. 
 K. fee. or W. G. K. or W. K. A. the F. ftanding hv fecit, and the A. for 
 Augujla, as mentioned in the preceding article ; and in fomt, few inftances 
 the W. with the K. joined together, as exprefTedon the plate at the end of 
 the volume. 
 
 BARTHOLOMEW KILIAN. 
 
 Flourifhed, 1680. 
 
 This artift was of the fame family, and probably a near relation of the 
 Kilians, mentioned in the two former articles. He was chiefly, if not 
 entirely, employed in engraving portraits, which he executed with great fuc- 
 cefs. He worked in a manner totally different from the foregoing artifts, 
 His plates are, in general, very neatly finifhed, and entirely with the gra- 
 ver. In order to make a ftriking diftindtion between the fiefh and the dra- 
 peries of his figures, he frequently finifhed the former with dots only ; and 
 many of them, executed in this manner, have a very pleafing efFeft. But at 
 other times he exprefTed the dark fhadows with ftrokes, and only blended 
 tlie dots upon the lights. We have a prodigious number of very excellent 
 portraits by his hand. I fhall only fpecify the following. 
 
 A fet ol -portraits, reprefented in an emblematical manner, from J. Schreyer. 
 
 The portrait of ^«_g-z^«j II. Abbas Einfidlenfis, a large upright plate, 
 dated 1686. 
 
 PHILIP KILIAN. 
 Flourifhed, 1680. 
 He was brother to Bartholomew Kilian, mentioned in the foregoing 
 article, and imitated his ftyle of engraving, confining himfelf alfo chiefly to 
 portraits ; but he never equalled him in tafte or excellency of engraving.' 
 However, many of the plates of Philip Kilian pofTefs no fmall portion of 
 merit. 
 
 VOL. II K WOLFGANG 
 
K I L L 66 ] K I L 
 
 WOLFGANG PHILIP KILIAN. 
 
 FlouriOied, 1720. 
 
 Another engraver of the fanne family with thofe mentioned in the pre- 
 ceding articles ; but of very inferior merit. He chiefly confined him- 
 felf to portraits ; and we have a great number executed by his hand. He 
 frequently finifhed the faces with dots only ; but in a very feeble ftyle. 
 They are chiefly for books j and perhaps the price he received for his 
 labours would not admit of any more pains being taken about them. It is 
 pofTible therefore, that what he loft in honour, he might make up in profit, 
 reafoning to himfelf in a manner fomewhat fimilar to that of Falftaff, upon 
 a different occafion, "What is honour?" &c. He engraved the portrait of 
 Chrijlian Eriieji, margrave of Brandenburg, a fmall upright oval, with feveral 
 verfcs underneath it in the German language, dated 1694 ; alfo many of the 
 heads for a work in folio, entitled. Vita et Effigies Procancellariorum ^ca- 
 demia Altorfina;, publifhed at Nuremberg 1721 ; and for another work in 
 folio, entitled, Icones Confiliariorum di illuftri Republicd. Noribergenji, pub- 
 lifhed both at Nuremberg and at Altdorff, 1733. 
 
 PHILIP ANDREA KILIAN. 
 Flourifhed, 1750. 
 
 This artift was alfo of the fame family with the five preceding engravers, 
 and a native of Augfburg. He excelled principally in hiftorical engraving, 
 and adopted a very fingular manner of execution. He worked chiefly with 
 the graver, and his flrrokes are never very powerful -, but almoft continually 
 interlined with a flender ftroke, crofl~ed with a fecond, and fometimcs 
 a third ftroke, exceedingly lozenge upon the firft. The ftrokes, which form 
 the fliadows in the fiefli, he alfo interlined with long flender dots. The 
 effeft has fomething peculiar in it ; but, from the continued famenefs, lofes 
 much of its beauty, and is by no means ftriking. He certainly underftood 
 the human figure, and drew tolerably well, but in a mannered, heavy ftyle ; 
 and the heads of his figures, in general, want expreflion. His engravings, 
 however, manifeft' great fliill, and are well worth the notice of the curious 
 colledlor. The following are by .him : 
 
 Mary Magdalen wajloing the feet of Chrift, a large plate, length-ways, from 
 Nicolaus Grafli. 
 
 Chrifl praying in the garden, a large upright plate, to which he figns his 
 name, " Philip Andreas Kilian," and adds " del. et fculp." As no pain- 
 ter's name appears, it is probably from a defign of his own. 
 
 The adoration of the wife men, a large plate, length-ways, from Paolo 
 Veronefe, 
 
 The woman taken in adultery, the fame, from Tintoretto. 
 
 The two laft engravings, with others, were executed by this artift for the 
 coUeftion of prints, engraved from the pidlures in the Drefden gallery. 
 
 A holy fa7nily,7i middling-fized upright plate, from Carlo Lotti, from the 
 cabinet of the Count de Bruhl. 
 
 George Christopher Kilian^ another engraver, of the lame family, 
 
 was 
 
K I L { 67 ] KIN 
 
 was living at Augfburg, a. d. 177 i, when M. Heineken publiflied his 
 Idee Generale d'une ColleSlion complette d'Eftampes. 
 
 C. KILLENSTEYN, or KITTENSTEYN. 
 
 Flour iflied, 
 A very indifferent engraver, and apparently a native of Holland. Wc 
 have by him feveral fmall prints, length -ways, taken from the Hijlory of 
 Jojeph and Potipher. They are fufficiently neat, but deftitute of every other 
 requifite to recommend them. Alfo a fmall plate, length-ways, reprefent- 
 ing a gentleman and a lady converfing in a garden, from T. Hals. This 
 print is executed entirely with fingle Itrokes. 
 
 DANIEL KING. 
 
 Flourifhed, 1650. 
 
 He was a native of England, and probably learned the arc of engraving, 
 or rather etching, from Hollar, or fome of hisdifciples. He ufually worked 
 from his own defigns, which apparently were little more than haftyflcetches, 
 and not always fo correft as they fhould be. His etchings of coiirfe are 
 very flight; yet it cannot be faid, that they are entirely deftitute of merit, 
 efpecially thofe which he executed for Dugdale's Monafticon, St. Paul's, &c. 
 How well Dugdale was fatisfied with thefe engravings, I cannot fay; but 
 that author appears to have been much offended with King, when, writing to 
 Wood the Antiquary, he calls him a mojl ignorant, filly knave. But this 
 refleftion may perhaps be rather levelled at his works as an author, than as • 
 an engraver; for certainly many worfe artifts than King, were contemporary 
 with him. He publidied the Vale Royal of Chejhire, illuftrated with cuts, 
 engraved from his own drawings. We have alfo many views of churches^ 
 cajlles, and a variety of other fubjefts, etched by him. 
 
 GEORGE KING. 
 
 Flourilhed, 1740. 
 
 This was an engraver of no note, whofe labours in general were confined to 
 the ornamenting of books; and his engravings are chiefly copies from other 
 prints. We have fome portraits by him, but executed in a ftyle, which did 
 him no fort of honour. Among others are the following : Lady Falconherg, 
 falfcly fo named, copied from Simons's medal of Mrs. Mary Claypole, fifter 
 to lady Falconberg ; Mrs. 'Thomas, and Richard Gwinnet. To the laft he 
 figns his name G. King, and adds ab originali fculp . By which I fuppofe, he 
 means to inform us, that he drew it from the life. But his beft works are fome 
 emblematical prints, reprefented in fmall circles with ornamental borders. 
 
 JOHN KING. 
 Flouriflied, 
 By this artift we have fome plates for the art oi Defence, &c. 
 
 K 2 PETER 
 
KIN [ 68 ] KIR 
 
 PETER KINTS. 
 
 Flouriflied, 
 An obfcure engraver on wood, but by no means deftitute of merit. His 
 engravings are imitations of flight fketches with a pen, from a painter, whofe 
 monogrom is compofed of an A. and an S. joined together. I have feen by 
 this artift, among other fubjefts, the meeting of the Virgin Mary and Eli- 
 zabeth. The heads of the figures are very well executed, and the extremi- 
 ties marked with great judgment. Sometimes he figns the initials P. K. 
 only to his prints. 
 
 WILLIAM KIP. 
 
 Flourifhed, 1603. 
 He was apparently a native of England, and engraved fome triumphal 
 arches, which are dated 1603. 
 
 JOHN KIP. 
 
 Born, Died, 1722. 
 
 This artift was a native of Amfterdam, and came over into England, fome 
 little time before the revolution. He was a man of no great abilities. His 
 chief works are bird's-eye views of palaces, and noblemen's feats, in this 
 kingdom, chiefly engraved from the drawings of Leonard Knyff; and fome 
 ar chit e SI al plates ; among which may be reckoned, as his beft, a large view 
 of Greenwich hojpital, and two views, viz. the outfide and infide of the 'DanifJj 
 church, built by Cibber ; large plates, length-ways. There is a plate of 
 birds, from Barlow, by him, and fome few portraits, particularly that of 
 Marcellus Malpighius, in folio. He was nearly 70 years of age when he 
 died, A. D. 1722, at his houfe in Long-Ditch, Wcftminfter, and left a 
 daughter, who had been inftrufted in the art of painting. 
 
 EDWARD KIRKALL. 
 Flouriflied, 1720. ,y 
 Was the fon of a Lockfmith, born at Sheffield in Yorkfhire, where, it 
 feems, he learned the firft rudiments of drawing. In order to improve him- 
 felf hecame to London, and for fome time fupported himfelf by engraving 
 arms, ftamp ornaments, and book prints. In 1725 he executed the plates for 
 the new edition of Inigo Jones's Stonehenge. He afterwards became a ftudent 
 at the Academy for drawing the human figure, and difcovered a new method 
 of producing prints in chiaro-fcuro, by a mixture of etching and mezzotinto, 
 aflirted by blocks of wood. The outlines are boldly etched j the dark 
 fhadows are fupplied by mezzotinto upon the fame plate ; and the middle 
 tint is added by the wooden block ; and there is reafon to believe, that, in 
 the hands of an able artift, fomething of confequence might be produced in 
 this manner. But the abilities of Kirkall were by no means equal to the 
 taflc. We have by him, feveral 'views of Jhipping of various fizes, from 
 Bafton and ether mafters, in mezzotinto ; alfo a fet of ten fea-pieces, large 
 places, length-ways, from Vandeveldt, which are ufually printed with blue 
 
 ink. 
 
I 
 
 KIR [ 69 ] K L I 
 
 ink, and have a very fingular efFeft, by no means agreeable to my eye; 
 the cartoons from Raphael in mezzotinto j feme landJcapeSy and alfo feveral 
 portraits, executed not only with the point and graver, but alfo in mez- 
 zotinto 5 and a confiderable number of prints in chiaro-fcuro : of thefe 
 I fhall only mention the following, which I confider as his beft : 
 A holy family, where Jofeph is leaning on a go-cart, from Raphael ; 
 a middling-fized plate, length-ways, London, 1 7 24. The adoration of the 
 fhepherds, a large print, length-ways, from Perin del Vaga. St Jeromfeated, 
 looking at a crucifix, a large upright print. 
 
 MICHAEL KIRMER. See under Jenichen. 
 
 GEORGE KITCHEN. 
 
 Flourillied, 1750. 
 
 A modern Englifh artift, who, if I miftake not, was chiefly employed in 
 engraving maps and book ornaments. We have however, feveral portraits by 
 him; among others, 7rf?Ki?j Fojler, D. D. John Gill, T). D. after High- 
 more, an oftavo plate. Alfo the heads of Mujlapha and Mahomet, Turks 
 belonging to George the Firft. 
 
 K I T T E N S T E Y N. See Killensteyn. 
 
 JOSEPH SEBASTIAN KLAUBER. 
 
 FlourilTied, 
 This artift, with John Sebastian Klauber, are mentioned by M. Hei- 
 neken as natives of Germany, and engravers ; but he has not fpecified any 
 of their works. The latter always adds the word, Catholicus to his name. 
 
 JOHN JAMES KLEINSCHMIDT. 
 
 Flouriftied, 
 
 He was a native of Germany, and refided at Augfburg, where he en- 
 graved the frontifpiece, and feveral of the other plates, for a large folio 
 volume, entitled, Reprefentatio Belli oh Succeffionem in Regno Hifpanico, which 
 was publifhed in that city. They are very indifferently executed, in a 
 manner bearing fome flight refemblance to that of Girard Audran. The 
 drawing of the human figure, where it occurs, is exceedingly defective. He 
 alfo engraved fome plates of men on horfeback, from G. P. Rugendas, as 
 indifferently as thofe mentioned above. He often omitted to fign his name 
 at full length, andfubftituted the initials in this manner, I. I. K. fculp. 
 
 HANS, or JOHN KLIM. 
 Flourilhed, 1600. 
 He was a native of Germany, and an engraver on wood. , To him are 
 attributed the prints marked with a monogram, compofed of an H. and a K. 
 
 joined 
 
K L U [ 70 1 K O B 
 
 joined together, which were publifhed at Wittemburg, 1590 and 1603. 
 See this mark copied on the plate at the end of the volume. The fame 
 mark was ufed by an engraver on wood, much more ancient than Klim. 
 
 J. C. K L U P F F E L. 
 
 Flourifhed, 
 A very indifferent engraver, apparently a native of Germany, by whom 
 we have feveral of the cries of Rome, copied in miniature from the engravings 
 of ViUamena. They are neater than the originals, but very ftiff and poorly 
 drawn. 
 
 GEORGE KNAPTON. 
 
 Flourifhed, 1760. 
 
 This artift refided in London, where, conjointly with Arthur Pond, he 
 engraved and publiflied a fet of prints from the drawings of the mofl: cele- 
 brated painters. The work confifts of ninety-five plates, fixty-eight of 
 which were engraved by Pond, and twenty-feven by Knapton, which were 
 chiefly landfcapes, after Guercino; and are copied very faithfully, in a 
 manner which does great credit to the artift. He was alfo concerned in the 
 publication of the heads of illufirious ferfons, engraved by Houbraken, 
 Vertue, &c. and in feveral other valuable works. 
 
 G. W. K N O R R. 
 
 Flourifhed, 1626. 
 
 This engraver was a native of Germany, and refided apparently either at 
 Altdorff or Nuremberg. His principal works were portraits and book plates, 
 which he executed in a very indifferent manner. Part of the heads for a 
 work in folio, entitled, Icones Bibliopolarum et Typographorum, publifhed at 
 AltdorfT and Nuremberg, are by him. 
 
 J A Q^U E S K O B E L. 
 
 Flourifhed, 1520. . 
 Kobel was a man of letters, fays profefTor Chrift, and fecretary at Open- 
 heim in Germany. He was well fkilled in the mathematics, and in every 
 other branch of the arts. To him are attributed, and with great reafon, the 
 engravings on wood, for a work entitled, S^apcil DCS Jjejiligen Homjftgni 
 3!lcicft0, they confill entirely of fingle figures of foldiers holding banners, 
 with the arms of all the cities and provinces of the German empire. They 
 are cut in a very fpirited manner ; and were apparently publifhed by Jaques 
 Kobel, whofe name appears at the end of the preface. The initials I. K. 
 are affixed to almoft every one of thefe prints. There are alfo, according to 
 profeflbr Chrifl, feveral other works written by Kobel, and publifhed 1531, 
 which are ornamented with figures engraved on wood, precilely in the fame 
 flyle with thofe of yfr«;or/V7/ above mentioned ; which circumifance greatly 
 flrengthens the fuppofition of both being executed by his own hand, 
 
 a KO- 
 
K O B ' [ 71 ] K R A 
 
 K O B E R G E R. See under Kaldung. 
 K O C K. See Cock and Coeck, 
 
 D. K O E D Y C K. 
 
 Flouriflied, 
 
 This artlft was a native of Holland, and engraved in mezzotinto, afcet 
 Mctzu and other mailers. I (hall only notice the portrait of M. Meejfcher. 
 
 ANDRE KOHL 
 
 Flourifhed, 1620. 
 
 This artift, according to profeflbr Chrift, was a native of Nuremberg in 
 Germany. He ufually marked his engravings with the initials of his names 
 A. K. I have feen, with this mark, an ornamental frontifpiece to a fmall 
 folio book of Archite£lure, on copper, in imitation of a wooden cut, 
 refembling a drawing with a pen, and executed in a very free, mafterly ftyle, 
 dated 1609. 
 
 KOLBENSCHLAG. See Colbenschlag. 
 
 K O N I N C K. See Coninck. 
 
 WILLIAM KONING. 
 
 Flourifhed, 
 He was a printfeller at Amfterdam, but fometimes amufed himfelfwith 
 the point and the graver. His produftions, wretched as they are, might 
 perhaps anfwer his purpofe; and had not his vanity prompted him to affix 
 his name as the engraver, he might have efcaped that cenfure to which he 
 is now obnoxious. We have by him a fet of fixteen prints, reprefenting the 
 buildings uje and dejlru£lion of a J]jip, middling-fized plates, length- ways. 
 
 K O O R N H E R T. See Cuernhert. 
 
 K R A F F T. 
 
 Flourifhed, 1735. 
 A very indifferent engraver, by whom we have feveral portraits and book- 
 plates, etched in a flight, taftelefs ftyle. I fhall only mention the portrait of 
 Joannis IViggers, d^ttd 1735. 
 
 JOHN ULRIC KRAUS, or KRAUSSEN. 
 Flourifhed, 17 10. 
 This ingenious artift was a native of Germany, and refided at Augfburg. 
 He imitated the ftyle of Le Clerc, and even copied the Life of Chrift by 
 
 that 
 
K R I [ 72 ] K R U 
 
 that artift. His engravings are exceedingly multifarious, and confift chiefly 
 of fubjefts from the Old and New Teftament. He worked moft commonly 
 from his own defigns, and ufually introduced a great multitude of fmall 
 rio-ures into his compofitions. But they are incorredlly drawn ; and the 
 attitudes are feldom graceful or well chofen. His back-grounds he gene- 
 rally enriched with great buildings, and a variety of architeftal ornaments ; 
 and by a judicious difpofition of the light and fliadow, often produced a 
 pleafing effeft. He fometimes omitted to fign his name at length, and ufed 
 a monogram, compofed of an I. a V. and a K. See the plate at the end 
 of the volume. 
 
 I fhall mention by this artift, 
 
 The life of Chrifl, in folio, confiding of thirty plates, containing two com- 
 pofitions on each plate, printed and publiflied at Augfburg, 1705. 
 
 "The hiflory of the Old and New T'eflament, in quarto, containing four fmall 
 fubjefts on each plate, and apparently defigned to be bound in oftavo, fo as 
 to have two fubjefbs only on a leaf. The number of leaves would then 
 amount to one hundred and eighty-eight ; and they are fo numbered. 
 
 Devices for the royal tapejiries, reprefenting the four feafons of the year. 
 The four elements, and a variety of ornaments. 
 
 Jeanne Sibille Kusel, the daughter of Melchior Kufel, and wife of 
 Kraus, alfo engraved feveral fmall plates of landfca-pes, &c. which ftie marked 
 with the initials of her name in this manner, I. S. K. 
 
 CHARLES FREDERIC KRIEGER. . 
 
 Flourifhed, 
 
 This indifferent engraver, was a native of Germany, and he worked only 
 for the bookfellers. Some of the heads for a book publiflied at Nurem- 
 berg, containing the portrait of men famous for their learning, under the 
 title of Jcones Virorum omnium Ordinumy Eruditione, &c. are by him. 
 
 LOUIS KRUG. 
 Flouriflied, 1516. 
 
 One of the ancient German mafters. He was a goldfmith and a painter 
 at Nuremberg, and fometimes amufed himfelf with the graver j though his 
 produdions are by no means numerous. He feems to have formed his 
 tafte upon the works of Lucas Jacobs of Leyden. Confidering the early 
 time in which he lived, he drew the human figure tolerably well ; but 
 great ftiffnefs appears in his draperies j and the attitudes of his figures 
 are feldom well chofen. It is the antiquity of his prints, that ftamps the 
 greateft value upon them. He never figned his name at length, but ufed a 
 very Angular mark upon a tablet, namely, an L. and a K. with a fmall pot 
 or jug between them ; and fometimes he added the date 1516. See this 
 mark copied on the plate at the end of the volume. The following engrav- 
 ings are by him, all from his own defigns. 
 
 The Jtativity, a fmall upright plate, dated 1 5 1 6. 
 
 The 
 
K R U [ 73 ] K Y S 
 
 'The adoration of the Magi, the fame, and dated the fame. 
 
 The Virgin feated under a tree, giving the breaft to the infant Chrijl, a faiall 
 plate nearly fquare. 
 
 An ecce homo, a fmall upright plate. 
 
 The Jame fubjeB, ftill fmaller. 
 
 St. John the Divine writing, with the Virgin appearing to him in the clouds ; 
 below the Devil is reprefented, emptying his ink-horn ; a fmall upright place. 
 
 Two naked women holding af cull with an hour glafs upon it, a fuull upright 
 plate. 
 
 A naked woman feated with her back towards the fpeElator, 2. city and 
 mountain in the diftance j a middling-fized upright plate. 
 
 ANDRE LOUIS KRUGER. 
 
 Flourifhed, 1760. 
 
 A modern German engraver, who refided at Potfdam. He engraved 
 feveral of the plates for the Drefden Gallery, 6cc. 
 
 K U L E N B A C H. See Culenbaoh. 
 
 MATTHEW KUSEL, or KYSEL. 
 
 Flouriilied, 1680. 
 
 He was, I believe, a native of Augfburgh in Germany. He was a dc- 
 figner, if not a painter, and alfo engraved. He worked chiefly, if not en- 
 tirely with the graver ; and his beft prints poflefs a very confiderable fhare of 
 merit. I fhall only mention, the Vii'gin and Child, a middling-fized upright 
 plate, apparently from his own defign ; and the portrait oi Johannes Michael 
 Dilherrus, Theol, Philof. &c. from J. Ulricus Mayr -, a large head in an 
 oflagon border, very finely finiflied. 
 
 MELCHIOR KUSSEL, or KYSEL. 
 Flouriflied, 1690. 
 
 This artift was brother to Mathew Kuflel, mentioned in the preceding 
 article. He refided at Augfburg, where he engraved a prodigious num- 
 ber of plates. But his greateft work is the Tconographia o( William Baur, 
 in folio, confifting of 146 prints of various fizes, containing the life, paffion, 
 and miracles of Chrijl ; alfo profpefts oi t\iefea-ports, v'lcwi, of the palaces 
 and gardens, &c. which are worthy of obfervation in Italy. This work was 
 publiflied at AugiLurg, a. d. 1682. There is fomething very agreeable in 
 the manner of this artift's engraving, efpecially when he confined himfelf to 
 fubjefts in v/hich the figures are fmall ; for he drew very incorredly, and in 
 proportion as the figures increafe in fize, this defeat appears more ftriking. 
 They are feldom well proportioned, the limbs efpecially are heavy and 
 badly marked. Baur was fond of ornamenting the back-grounds of his 
 compofitions, with fuperb buildings, and variety of architcdtal ornaments, 
 which Kuflel has executed with much fpiritj alfo the rocks and mountainous 
 
 vou. II. L diftances 
 
K Y T [ 74 ] K Y T 
 
 diftances have great merit ; but the trees want freedom and lightnefs, neither 
 is the foliage of them well determined. In all thefe compofitions we have 
 a prodigious multitude of figures introduced; but they are not managed 
 with much art. The lights are diffufed, and the eye is fatigued; this 
 fault, however, certainly originated with the defigner. I have alfo feen, 
 engraved by KulTel, 
 
 The fcenes and decorations for the opera of Paris and Helen, probably 
 from his own defigns. 
 
 "The hijlory of Ulyjfes, from Theodore Van Tulden, fmaller than the ori- 
 ginals, and dated 1705, with fome anti'^ue ftatues, executed entirely with the 
 graver. 
 
 FRANCIS KYTE. 
 Flourifhed, 1730. 
 He was an engraver in mezzotinto ; but by no means a firft-rate artift. 
 Being convifted of a mifdemeanour in uttering a counterfeit bank note, in 
 January 1725, he was fentenced to (land in the pillory. From the time 
 of his fuffering this difgrace, he dropped his real name, and fubftituted that 
 of Mihiiis, which is Latin for the bird called a kite. There are two por- 
 traits of Mr. Gay the -poet, from Aikman, to one of which his real name 
 is affixed ; to the other, the afiTumed one. He fometimes painted for 
 Faber; in the year 1743, he fcraped the portrait of the Rev. Mr. George 
 Whitefieldy from a pifture of his own j we have alfo by him, the portr^ts of 
 Bryden, Wycherley, Prior, Pepe, &c. 
 
 A. VAN- 
 
L A A [ 75 ] LAG 
 
 L. 
 
 H 
 
 A. V A N D E R L A A N. 
 
 Flourilhed, 
 
 E etched a fet of views and landjca.'pes, drawn in Germany and in 
 Italy by J, Glauber. 
 
 L A B A C C O. See Abacco. 
 
 JOHN LADMIRAL. 
 
 Flourifhed, 1620. 
 
 He was, fays Bafan, a very fkilful engraver in colours. He flourilhed in 
 the prefent century, and refided in Holland, where he executed feveral ana- 
 tomical ■plates ^ for the celebrated Ruifch, &c. 
 
 PETER VAN LAER, called BAMBOCCIO. 
 Born, 161J. Died, 1673. 
 The name of Bamboccio was given to this celebrated painter, on account 
 of the deformity of his perfon, for which nature made him ample amends in 
 the gift of a moft excellent and fertile genius. He was born at Laeren, near 
 Narden in Holland. He refided at Rome fixteen years, where he purfued 
 his ftudies with great diligence. He excelled in painting converfations, 
 landfcapes, cattle, and other fubje6l-s, taken from the lower kind of nature. 
 With refpeft to his excellency as a painter, it is too well known to need 
 any repetition here ; and the great prices his pi6tures bear fufficiently evi- 
 dence the efteem they are held in. He was drowned, as fome fay, by acci- 
 dentally falling into a dyke, near the city of Haerlem ; whilft others 
 affirm, that he threw himfelf in, on purpofe to fhorten his life, made mifer- 
 able by a fevere afthmatic diforder, being then 60 years of age. We have 
 etched by him, in a flight, but free and mafterly ftyle, two fets o^ animals and 
 rural JuhjeSfs ; one confifting of eight, the other of fix fmall plates, length- 
 ways. To fome he figns his name " P. D. Laer, fee." 
 
 LEWIS LAGUERRE. 
 
 Flourifhed, 1720. 
 This artift was an hiftorical painter, and refided a confiderable time at 
 London. We have etched by him a print, in which Midas is reprejented as 
 Jilting in judgment between Jpollo and Pan, 
 
 L 2 JOHN 
 
I^ AG [ 76 ] LAI 
 
 JOHN LAGUERRE. 
 Born, Died, 1748. 
 
 He was ihe Ton of L.ewis Laguerre, mentioned in the former article. He 
 received inllrudtions in the art of painting from his father; and might have 
 fucceeded, if he had applied his mind to ftudy ; but being of an unfcttled 
 diij-iofition, he had recourfe to the ftage, where he met with fome applaufe. 
 He was alfo employed by the managers of Co vent Garden theatre to paint 
 the fcenes, and other decorations, which he performed with no fmall degree 
 offuccefs. However, by extravagance or misfortune, he appears to have 
 out-run his income ; and he died in indigent circumftances, in the month of 
 March 1748. We have etched by him a print, reprefenting Falftaff, Piflol, 
 and Doll Tearjhset, with other theatrical charafters, alluding to a quarrel 
 between the players and the patentees. And a fet of prints from the farce 
 oi Hob in the Well, which fold exceedingly well. They are, however, very 
 indilferently executed. 
 
 S. V. LAINISWEERDE, or LANSWERDE. 
 
 Flourifhed, 1645. 
 
 This artift confined himfclf chiefly to the engraving of portraits ; and 
 fome of his works poflTefs a confiderable degree of merit. They are exe- 
 cuted in a ftyle, bearing fome flight refemblance to that of Suyderhoef ; but 
 not equal to the works of that fkilful engraver. I fhall mention only the 
 following: Melniard SehotanyTbeol. DoSl. a fmall upright oval plate, from 
 J. V. Quylen. He fometimes figns his name in this manner, S. V. La- 
 nifweerde Jculfftt ultraJeSli ; and ufually adds the date. 
 
 GERARD LAIRESSE. 
 
 Born, 1640. Died, 171 1. , ' 
 
 Thisartift was born at Liege in Holland, a. d. 1640; and from his father 
 Reinier Laircfle he received the firll principles of painting; but he 
 improved himfclf in the art of defign from the prints and drawings of 
 Pietro Tefta, Nicolo Pouflin, Barolet, and other mafters. Hispiftures are 
 fpoken of with great commendation ; but we fhall confider him in this place 
 as an engraver only. He etched a vaft multitude of prints from his own 
 defigns, which demonftrate, at once, the fertility of his genius, and his 
 judgment in compoCng. His etchings poffefs great freedom. They are, 
 generally fpeaking, executed in a flight painter's ftyle. The lights are broad 
 and powerful ; and the eye of the fpeftator is direfted at once to the prin- 
 cipal figures of the compofuion. But his outlines are not always correft, nor 
 the extremities of his figures drawn with that precifion, which we find in 
 the works of Pietro Tefta. There is great dignity and grandeur in many of 
 his compofitions, divcfted of that heavinefs and inelegance, which too often 
 appear in the works of the Dutch artifts. The larger part of his defigns 
 were engraved by himfelf; the refl were afterwards completed by Pool, 
 Berge, Glauber, and other mafters. His works, as Bafan jullly obferves, ^ 
 
 are 
 
 I 
 
L A L [ 77 ] LAM 
 
 are highly efteemed by the connoifleurs, and exceedingly ufeful to all young 
 artirts. As thev are by no means uncommonj it wil be needlefs to fpecify 
 any of them. I fnall only ad.l, that the cyphers, which he often iifed, when 
 he did not fign his name at length, are copied upon the plate at the end of 
 the volume. Sometimes he ufed the initials G. L. without being joined 
 together in a cypher, which, however, is his moft common method. 
 
 JOHN LALBRACK. 
 
 Flourifhed, 
 
 I cannot clearly difcover the meaning of Florent le Comte, with relpefb 
 to this artift, and feveral others of the fame clafs whom he mentions as 
 famous for engraving of writing ^ whether he fpeaks of their engraving of 
 letters only, or the ornamental parts, with which the writings of that age was 
 ufually adorned. I rather fufpeft the latter, becaufe he has ranked John 
 Sadeler, David Hopfer, and Jerom Wierix among them. This artift 
 engraved a plate after Philip Limofin, a writing-mailer. 
 
 GEORGE LALLEMAND. 
 Flourifhed, 1620. 
 
 This artift, a native of France, according to Abbe Marolles, was born at 
 Nancy. He was a painter j but of no great excellence. Papillon, fpeaking 
 from the information of his father, tells us, thatherefided at Paris, where 
 he expended fuch confiderable lums of money in conftrufting the prefles, 
 and other machines for printing engravings on wood in chiaro-fcuro, as 
 totally ruined him. He had made a great number of drawings to be en- 
 graved in that ftyle ; many of which he executed with his own hands; and 
 when one fees how indifferently they were done, his want of fuccefs is not 
 furprifing. He was afterwards affifted by Louis Bufinck, an excellent en- 
 graver on wood ; and by him we have many very ipirited prints, from the 
 defigns of JLallemand. 
 
 According to Papillon, there are alfo fome etchings by Lallemand ; but I 
 do not recoiled, that I have ever feen any of them. 
 
 LAMB. 
 
 Flourifhed, 
 
 He engraved feveral portraits in mezzotinto ; among others, that of 
 yobn James Scbeuchzer. 
 
 GEORGE LAMBERT. 
 
 Flourifhed, 
 
 If I miftake not, this artift was a landfcape painter. We have, however, 
 coarfcly etched by him, a middling-fized, upright /rt«4/i^£7^^ with rujns^ and 
 threejma II figures, dedicated to Mr. James Robinfon of Wandiworth j it is 
 but indifferently executed : the figures cipecially are very incorrect. 
 
 P. S. 
 
LAM [ 7S ] LAN 
 
 P. S. L A M B O R N. 
 
 Flourifhed, 1760. 
 He engraved fome of the plates for Mr. Boydell's coUedion ; alfo feveral 
 portraits ; among others, Oliver Cromwell from Cooper, Samuel JobnJoH 
 advivam and trufty Dick Pendrell, &c. 
 
 J. LAMSVELT. 
 Flourifhed, 
 He was probably a native of Holland ; at leaft, he refided at Amfterdam, 
 where he engraved //^t'7?^^^ ofTournay, by the duke of Marlborough and ■prince 
 Eugene. Judging from the ftyle of the engraving, one would conclude, that 
 he was a difciple of Romain de Hooghe, whofe manner he has affedted to 
 imitate. I have feen alfo by him, a head of Oliver Cromwell, in an oval. 
 
 LUDOVIS LAN A. 
 
 Flourilhed, 1622. 
 This name is affixed to a fmall upright plate, reprefenting St. Sehaftian, 
 etched in a flight, but mafterly ftyle, from his own compofuion, and dated 
 1622. 
 
 FERDINAND LANDERER. 
 
 Flourilhed, 
 This artift refided at Vienna, and engraved feveral plates after Schmidt, ia 
 a ftyle fomething refembling that of Rembrant. 
 
 AHASUERE DE LANFELD. 
 Flourifhed, 
 An old engraver on wood, to whom the fmall prints, marked with a fin- 
 gular monogram, compofed of an A, a V. an E. or a U. and an L. are 
 attributed. See this monogram copied on the plate at the end of the 
 volume. The monogram of Londerfel has by fome authors been alfo given 
 tothismafteri but probably without foundation. See Londersel. 
 
 PETER LANDRY. 
 
 Flouriftied, 1665. , 
 
 A French engraver, who was much employed for the bookfellers. Wc 
 have a variety o{ portraits and frontifpieces by him, executed entirely with 
 the graver, in a ftifF, heavy ftyle ; alfo fome prints after Teftelin and other 
 mafters. Among his beft portraits, may be reckoned the following : Eujla- 
 chius de la Salle, a middling-fized upright oval plate, from C. le Febere, 
 dated 1 66 1. Ant. Godeau^ an ecclefiaftic, from ArdifTon ; and Francois LeJ- 
 cuyer, ConJ. Reg. &c. 
 
 JOHN 
 
LAN [ 79 ] LAN 
 
 JOHN LANFRANC. 
 
 Born, 158 1. Died, 1647. 
 
 This great artift was born at Parma, He was firft the difciple of Agof- 
 tino Carracci; but after the death of this mafter he went to Rome, to ftudy 
 under Annibale Carracci the brother of Agoftino. The fuperiority of his 
 genius foon difcovered itfelf; and he was employed in feveral very great 
 undertakings. He chiefly excelled in grand compofitions, and painted 
 large figures with furprifing fuccefs. He never attained to that corre<5lnefs, 
 ■which is conftantly difcovered in the works of the Carraccii; and it is remarked, 
 that he attended lefs to this particular, after the death of his mafter Annibale, 
 than while he was living. The honour of knighthood was conferred upon 
 him by Pope Urban VIII. as a reward for the fatisfadion he had given to 
 that pontiff, by a pifture, which he painted by his command, for the church 
 of St. Peter, reprefenting that faint attempting to walk upon the water to 
 meet our Saviour. He died 1647, aged 66. We have feveral etchings by 
 his hand ; but they are very flight, hafty produftions. They manifeft, how- 
 ever, the hand of the mafter : and are as follows : 
 
 The triumph of a Roman emperor, a large plate, length- ways, from a com- 
 pofition of his own. 
 
 A)t emperor haranguing hisfoldiers, the fame. 
 
 Part of the plates from the pidfures in the Vatican, by Raphael, com- 
 monly known by the name of Raphael's Bible. The reft were executed by 
 Sifto Badalocchio. Lanfranc feldom figned his name at length j but fub- 
 ftituted the initials thus : G. L,'. F. or thus : Giovanni L°. F. for G/e- 
 vanni Lanfr an co fecit. 
 
 MAURITIUS LANG. 
 
 Flourifhed, 1670. 
 
 This artifl was a native of Germany. He relided at Vienna, and was 
 chiefly, if not entirely, employed by the bookfellers. He worked with the 
 graver only ; but in a very ftiff and taftelefs ftyle. Portraits conftitute the 
 chief and beft part of his works. Several of thofe in Prior ato^s Hiflory of the 
 emperor Leopold, are hy him. He alfo engraved a variety of frontifpieces, 
 and other book-plates, which, however, are not worthy of any particular 
 fpecification, 
 
 T. L A N G L E Y. 
 
 Flourilhed, 
 By him we have fome plates of antiquities, very poorly executed. He 
 was apparently a native of England -, and feveral of his engravings were 
 publilhed at London. 
 
 JOHN LANGLOIS. 
 
 Flourifhed, 1680. 
 This artift was a native of France. He refided a coiifiderable time at 
 
 Rome, 
 
LAN [ 80 ] L A R 
 
 Rome, and was a member of the French Academy in that city. He alfo 
 engraved a niimber of plates at Vienna, and figures from the antique ftatues 
 in an anatomical ftyle, &c. The following arc by him : 
 
 Chrijl healing the man fick of the fal/y, a large plate, length-ways, from 
 Bon de Boullogne. 
 
 St. Luke painting the Virgin and Child, a fmall upright plate, from Ra- 
 phael. 
 
 The martyrdom of St Stephen, a large upright plate, from Pietro de 
 Cortona. 
 
 the martyrdom of St. Paul, a large plate, length-ways, from Bon de Boul- 
 logne. 
 
 Alfo fevera! portraits ; and amongft them, that of Mr. John Law, a half- 
 fheet print. 
 
 FRANCOIS LAN GOT. 
 
 Flourifhed, 
 
 This artifl was a native of France, born at Melun. We have a con- 
 fidcrable number of engravings by him, chiefiy copies from the prints of 
 other mafters, which often bear a great refemblancc to the originals. They 
 are from Cornelius Bloemart, Rubens, Huret, &c. 
 
 M. F. L A N G R E M U S. 
 
 Flourifhed, 1649. 
 
 An obfcure artifl of no note, who engraved portraits, frontifpieces, and 
 other ornaments for books, &c. in a very indifferent flyle. 
 
 NICHOLAS LANIER. 
 Flourifhed, 
 
 He was, fays Bafan, in the fervice of Charles the FirfV, in the quality of 
 a mufician ; and, having a great love for the fine arts, made a confiderable 
 coUedion of drawings, which he caufed to be engraved; and etched fevcral 
 of them himfclf. 
 
 L A N S W E R D E. See Laineswerde. 
 
 N. LAP!. 
 Flourifhed, 1760. 
 He was a native of Italy, and engraved feveral of the plates for the Alu/eo 
 Fierentino, publithed at Florence. 
 
 ANTOINETTE LARCHER. 
 Flourifhed, 1725. «J- 
 This ingenious lady was a native of France. We have feveral engravings 
 by her hand. . 1 Ihall only mention a fmall upright plate, reprefenting 
 4 Judith 
 
 il 
 
L A R [ 8i ] LAS 
 
 '^Judith ft anding upon the head of Holof ernes, from Raphael, etched in a 
 flight ftyle, and finilhed with the graver. Her name is figned Toinette Lur- 
 cher. 
 
 N. DE LARMESSIN. 
 
 Flourifhed, 1660. 
 
 This artift was certainly a native of France. He worked entirely with 
 the graver, and feems chiefly to have confined himfelf to portraits j fome of 
 which he has executed in a very pleafing ftyle. I fhall mention only the 
 following : Maximilian Henry, archbifhop of Cologne, in folio j alfo Bal- 
 thajar Moretiis, Paul Manutius, Larentius Cofter, and John Giittenberg^ for 
 a Hiftory of Printing; the laft is engraved with fingle flirokes, without any 
 hatching, in the manner ufually adopted by Claude Mellan. See the mo- 
 nogram, which he often ufed, compofed of an N. a D. and an L. on the 
 plate at the end of the volume. He fometimes figned the initials N. L. only, 
 or N. L. F. the F. as ufual, Handing iov fecit. 
 
 NICOLAS DE LARMESSIN. 
 
 Flourifhed, 1730. *• 
 
 This artift was a native of France, and probably of the fame family with 
 N. de Larmefiin, mentioned in the preceding article. He was an engraver 
 of fome note, and frequently united the point with the graver in the execu- 
 tion of his works. His figures, thofe efpecially which are performed with 
 the graver only, are cold and filvery; his outlines are often incorred;, 
 and the extremities of his figures very indifferently marked. His prints, in 
 general, may be confidered as the produftion rather of labour than of tafte or 
 genius. I fhall mention the following engravings only : 
 
 The vifion of Ezekiel, a middling-fized upright plate, from Raphael. 
 
 A holy family, the fame, from the fame painter. 
 
 27^1? Virgin holding the infant Jefus, a fmall upright plate, the fame. 
 
 St. John the Evangelift, a middling-fized upright plate, the fame. Thefe 
 four prints, with feveral others by him, are in the colleftion commonly known 
 by the name of the Crozat Cabinet. 
 
 The portrait o( Louis XV. king of France, both on horfeback and on foot, 
 middling-fized upright plates, from John Baptilt Vanloo. 
 
 The portrait of the queen of France, 2i \s\io\c length, the fame from the 
 fame. 
 
 A fet of fmall upright prints for the Fables of La Fontaine, from Lancrer, 
 Boucher, and other mafters. 
 
 He engraved alfo from Watteau, Pierre, Le Moine, &c. 
 
 MICHAELLASNE. 
 Born, 1595. Died, 1667. 
 This artift was born at Caen in Normandy ; but he refided chiefly at Paris, 
 where he died in 1667, aged 72. He was a man of ability, and worked 
 VOL. 11. M • entirely 
 
LAS [ 82 ] LAS 
 
 entirely with the graver, which he handled with much facility ; and afFefted 
 a bold, open ftyle, greatly refeinbling that of Villamena; but a drynefs and 
 \vant of tafte are frequently to be difcovered in his works ; and his outlines of 
 the naked parts of the human figure, the extremities efpecially, are often 
 incorreft and heavy. When he did not fign his name at length, he fub- 
 llituted a monogram, compofcd ofanM. and an L. joined together, in the 
 manner expreffed upon the plate at the end of the volume. The following 
 prints may be reckoned among his moft efteemed performances. 
 
 The vifitation of the Virgin, a middling-fized upright plate i from Lodovico 
 Carracci. 
 
 The Silence, fo called becaufe it reprefents the infant Chrift fleeeping, and 
 the Virgin holding up her finger to St. John, who is approaching the infant, 
 from Annibale Carracci, a middling-fized plate, length-ways. This has 
 been eno-ravedby feveral other matters, and lately by Mr. Bartolozzi. 
 
 J holy family, from Rubens, a fmall upright plate. 
 
 A dead Chrift, extended upon a ft one, and Mary Magdalen Jeated by him ; 
 a large plate, length-ways, faid to be engraved from a defign of his own : it 
 is dedicated to Louis XIII. 
 
 Chrifi in glory, with St. Peter and St. Paul, a middling-fized upright plate, 
 from Paolo Veronefe. 
 
 St. Francis d'AJJife receiving the infant Chrift from the Virgin Mary, a 
 middling-fized upright plate from Rubens. This is executed in a very neat 
 ftyle, and much unlike the uiual engravings of this artift. 
 
 The fame Juhje£i, in which Francis de Paul is introduced inftead of the 
 former St. Francis, and otherwife differently treated, from the fame painter.' 
 
 A confiderable number o{ portraits of all fizes, many of which are greatly 
 efteemed 5 among others, that oi Louis XIII. on horfeback, the back-ground 
 of which was engraved by Callot. 
 
 He alio engraved a great variety of other fubjefts from his own com- 
 pofitions, and from Titian, Paolo Veronefe, Spagnoletto, Caftiglione, Chanj- 
 pagne, Vouet, La Hire, Mignard, and other mafters. 
 
 NICOLAS LASSAEUS. 
 
 Flourifhed, 
 By this ingenious artift, according to profeflbr Chrift, we have fcvcral 
 engravings on copper ; among others, the portrait of Boijfard, exceedingly 
 well executed. His prints are ufually figned with the initials of the names 
 only, as N. L. or N. L. F. 
 
 NICOLAS LASTMAN. 
 
 Flouriftied, 1620. 
 
 He was the fon of Peter Laftman, a painter of Haerlem, and flouriftied 
 
 Toon after the commencement of the feventeenth century. His engravings 
 
 are ufjally very neat; but diey want both tafte and conedtnefs of outline. 
 
 We have by him, 
 
 Chrift praying in the garden, a middling-fized upright plate, from his 
 
 father, Peter Laftman. 
 
 St. 
 
L A T [ 83 ] L A U 
 
 St. Peter delk^ered from the prt/on, the famCj from John Pinas, Thefe 
 two prints are companions to each other. 
 
 The martyrdom of St. Peter, a fmall upright plate, from Guido. 
 
 The portrait of C. Van Mander, copied from a print by J. Saenredam; 
 and part of the plate for Thibauk's Academie de Uefpee, publiHied 1628. 
 To thefe he figns his name, " Nicolas Laftman Amftel." for Amfterdam j 
 at which city he probably refided. 
 
 J. D E LATER. 
 
 Flourifhed, 1720. 
 
 A very indifferent engraver, who apparently refided at Amfterdam; at 
 leaft, he engraved fome large folio Bible-plates, (torn t\\t defigns ofPicart 
 and others, publifhed in that city, a. d. 1720. He is alfo laid to have 
 executed feveral portraits in mezzotintoj among others, that of William the 
 Third, king of England^ with his hat on. 
 
 STEPHEN DE LAULNE, or LOSNE. 
 
 Flourifhed, 1570. 
 
 This ingenious artift was a native of Orleans, and flourilhed in the fix- 
 teenth century. His engravings are exceedingly numerous, and he may be 
 clafled among the little matters ; for they are, in general, very fmall. He 
 copied feveral of the prints of Mark Antonio, withfuccefsj but the far 
 greater part of his plates are executed from his own defigns. He worked 
 with the graver only, in a flight, but neat ftyle. Laulne poflefied great 
 fertility of invention ; and his compofitions abound with excellent figures ; 
 but his drawing is not always corredl. His figures are ufually too 
 tall ; and, from want of a judicious management of the light and Ihadow, 
 his prints, in general, are deftitute of effedl. In other refpefts, they polTefs 
 great merit. He feldom, or, I believe, never affixed the name of Laulne 
 to his engravings, but moft frequently marked them with the initial of his 
 baptifmal name only; as, S. orS. F. or S. fecit ; and at other times, Ste- 
 phanus, or Stephanus fecit. I fhall mention the following prints only by 
 this mafter; for his works are by no means uncommon. 
 
 The brazen ferpent, a middling-fized plate, length-ways, from John Couf- 
 fin. This is one of his largeft engravings. 
 
 David and Goliah. The maffacre of the innocents. The martyrdom of St. 
 Feliciter. The rape of Helen. Scverzl antique friezes, &cc, copied in fmall 
 from the prints of Marc Antonio Raimondi. 
 
 A great number of fubjefts from his own compofitions, in circles, ovals, 
 and other forms, for the Hiflory of the Bible, the months, the feafonSy Ovid's 
 Metamorphofesy &c. and a variety oi ornaments of all kinds. 
 
 Ma ' N I- 
 
L A U r[ 84 ] L A U 
 
 NICOLAS DELAUNAY. 
 
 Flourifhed, 1760, 
 A modern French engraver, who refided at Paris, at the time Bafan pub- 
 lillicd his Diftionary. We have by his hand, 
 
 A Leda, a fmall oval plate, and its companion Endymion, after Pierre, 
 Several vignettes for Ovid's Metamorphofes, and (omt portraits. 
 
 ANDREW LAURENT. 
 
 Flouriflied, 1750. 
 
 This artift, who, Bafan informs us, was a native of England, refided at 
 Paris, where he engraved a confiderable number of plates 5 particularly the 
 Gallery at Fer/ailles, after the defignsof Cochin. Saul conjulting the Witch 
 of Endor, a middling-fized upright plate, after Salvator Rofa. A conver- 
 Jation, from Teniers, a middling-fized plate, length-ways, &c. His en- 
 gravings, though ufually very flight, are by no means deftitute of merit. 
 
 C. LAURENTIO. 
 
 Flourin:ied, 1660. 
 A very indifferent engraver, who worked chiefly, if not entirely, for the 
 Bookfellers. Several of the portraits, in Priorata's Hifiory of the Emperor 
 Leopoldj are by his hand. 
 
 L A U R E T. 
 
 Flouriflied, 
 An obfcure artifl:, mentioned by Florent le Comte, who informs us, that 
 he engraved fome defigns for gardenings &c. 
 
 GIACOMO LAURI. 
 
 Flouriflied, 16 10. 
 
 This artift was a native of Rome. He publiflied, a. d. 1612, afetof 
 middling-fized plates, length-ways, entitled Anliquie Urbis, Splendor, &c. 
 confifting of views of all the ancient buildings, &c. at Rome. They are 
 executed by himfelfwith the graver only, in a very flight and taftelefs ftyle. 
 The whole fet confifl;s of one hundred and fixty-fix prints. 
 
 MARCELLUS LAURON, or LAROON. 
 Born, 1653. Died, 1705. 
 This artift was born at the Hague, and inftrufled in the firft princi- 
 ples of painting by his father, with whom he came into England, and refided 
 in London, where he made great improvement in the art, and was em- 
 ployed by Sir Godfrey Kncller. He excelled in copying the feveral 
 ftyles of the great mafters, and painted chiefly converlations, hiftorical fub- 
 jedts, and portraits. We have fome flight, fpirited etchings by this mafter, 
 
 of 
 
L A U [ 85 ] L A U 
 
 of Butch peajants, and other low fubjefts, in a ftyle fomething refembling 
 thacofOftade. He often ufed a monogram compofed of an M. and an L, 
 joined togethier, in the manner expreffed upon the plate at the end of the 
 volume. 
 
 HANS, or JOHN LAUTENSACK. 
 
 Flourilhed, 1530. 
 
 This engraver imitated the flyle of Sebald Beham ; but was far inferior 
 to that artift in point of merit. He figned his plates with the ini- 
 tials H. L. which he frequently placed upon a tablet -, and fometimes 
 added a graver, or an inftrument fomething refembling it, and the date. I 
 fhall mention the following prints only by this artift : J boy holding a flag, a 
 fmall upright plate. The martyrdom of St. Catherine, a fmall circular plate. 
 An ornamental plate, with two boys breaking open apod, and taking tlie feed 
 from it; a fmall upright print. A boy ftanding upon a globe, \v\ih. a bow in 
 his hand. At the bottom is a reprefentation of the Deluge, with manv 
 little figures, a fmall upright plate. The beheading of John the Baptifl, a 
 very fmall circle, &c. He is alfo faid to have engraved upon wood. 
 
 HENRY LAUTENSACK. 
 Flouriflied, 1550. 
 
 This artift was the fon of Hans, or John Lautenfack, mentioned in the 
 preceding article. We have feveral dark, incorreft etchings by him. His 
 landfcapes are not without merit ; but when he introduced figures into his 
 compofitions, he did not fucceed fo v,'ell. He marked his plates with a 
 monogram, compoledof an H. an S. and an L. in the manner expreffed 
 upon the plate at the end of the volume. The following are by this mafter. 
 
 The flight into Egypt, :^ im^XX upright plate, dated 1559. Chrift healing 
 the blind beggar by the way ftde, the fame. A land/cape, a fmall upright 
 plate, dated 1551. Another land/cape, into which is introduced fome figures 
 unloading a cart, dated 1559. 
 
 L A U W, or LAW. 
 
 Flourifbed, 
 
 He was, according to Bafan, an Englidi engraver; and by liim we have 
 feveral mezzotintos, after Teniers and other matters. 
 
 NICOLAS LAUWERS. 
 
 Flourifhed, 1655. 
 
 This artift was a native of Flanders, and probably ftudied under Paul Pon- 
 tius, whofe ftyle of engraving he frequently imitated. He poffeffed a con- 
 fiderable fliare of merit ; but was by no means equal to that great mafter, 
 either in the excellency of the handling of the graver, or knowledge of 
 drawing. He engraved from feveral painters ; but his beft works are from 
 the pidiures of Rubens. Among others, are the following: 
 
 The 
 
L A U [ 86 ] LED 
 
 The adoration of the wife men, a large upright plate, from Rubens. 
 
 Chrifi before Pilate, a large upright plate, from the fame. In the latter im- 
 predlons, the name of Bolfwert is fubftituted for that of Lauwers, who per- 
 haps had fome hand in the execution of this plate. 
 
 A dejcent from the crofs, a middling-fized upright plate, from the fame. 
 
 The triumph of the new law, a very large print, length-ways, on two plates 
 from the fame. 
 
 St. Cecilia, from Gerard Seghers, a middling-fized plate, length-ways. 
 AHb kvtxdil portraits from Rubens and other mafters. 
 
 CONRAD LAUWERS. 
 
 Flourifhed, 1660. 
 
 This artift was brother to Nicolas Lauwers, mentioned in the preceding 
 article. He worked with the graver only, in a manner much refembling 
 that of his brother i but, I think, he never equalled him in point of merit. 
 We have by him. 
 
 Elijah in the defert, with an angel bringing him food, a large upright plate, 
 from Rubens. 
 
 Bacchus and Philemon entertaining Jupiter and Mercury, a large plate, 
 length-v, ays, from Jaques Jordaens. 
 
 Alfo feveral portraits ; among others. Mar. Amb, Capello, from Diepen- 
 beck, and Ant. Vigier, Jefuit, from Cofliers. 
 
 WILLIAM LEADER. 
 
 Flourifhed, 
 
 An Englifli engraver in mezzotinto, by whom we have a print rcprefenfi^ 
 ing Sampfon in the prijon, a fmall upright plate, from Rembrant. 
 
 HANS, or JOHN LEDERER. 
 
 Flourifhed, 
 
 An artift mentioned by profelTor Chrift, to whom is attributed fome of 
 the engravings marked with a monogram, compofed of an H. and an L. 
 joined together, in the manner exprefled upon the plate at the end of the 
 volume. 
 
 J A CLU ES LEDERLIN. 
 
 Flourifhed, 1590. 
 
 He was a native of Tubingen in Germany, and an engraver on wood. 
 The portraits oi the prof ejfors of the Univerfity in that city, were executed by 
 him, and publifhed, 1596, by Erhard Zell. There are engravings on wood 
 alfo by this mafter, dated 1590. His monogram, for he did not write his 
 name at length, is compofed of an I. and an L. with a fmall heart between 
 them, furmounted by an F. with the date ufually added at the bottom. See 
 the plate at the end of the volume. 
 
 CHRIS- 
 
LED [ 87 ] LEE 
 
 CHRISTOPHER LEDERSBASCH. 
 
 Flourifhed, 
 
 By this artifl we have fome Qight, incorreft etchings ; and annong them^ 
 one, reprefenting Samuel prefsnted in the 'Temple, from Romanelli, a large 
 upright plate, arched at the top. 
 
 ANTONIUS VAN LEEST. 
 Flourifhed, 
 
 An engraver on wood of fome merit, by whom we have the four Evangelijls, 
 which, Papillon informs us, are exceedingly well executed. They are large 
 prints, length-ways. 
 
 ROBERT LEETH. 
 
 Flourifhed, 1560. 
 
 He was a native of England, and, in conjunftion with Anthony Jenkenfon, 
 is commended by Ortelius, as fkilful in taking the plot of a country. He 
 was, therefore, we may fuppofe, an engraver of maps. 
 
 WILLIAM DE LEEUW. 
 Flourifhed, 1660. i^ 
 
 He was a native of Flanders, and the difciple of Soutman, whofe manner 
 ©f engraving, or rather etching, he imitated ; but his prints are by no means 
 equal to thofe of his mafter. He drew very incorredlly -, and by negleifling 
 to harmonize the fhadows with the lights, feveral of his bed prints have a 
 harlh, unpleafing effedt. The following are reckoned among his moft 
 cftimable works : 
 
 Lot laith his two daughters, from Rubens ; amiddling-fized plate, length- 
 ways. The firft impreffions are before the addrefs of Dankertz was added. 
 
 Daniel in the lion's den, a large plate, length-ways, from the fame. The 
 firft impreffions of this plate are alfo before the name of Dankertz was added. 
 
 Four large plates of huntings, from the fame mafter. Thefe were alfo 
 engraved by Soutman. 
 
 David playing on the harp before Saul, a fmall upright plate. 
 
 He alfo engraved from J. llievins and other matters. He ufually wrote 
 his name with the W and L. joined together, and a fmall O. upon the ftroke 
 •f the L. See the plate at the end of the volume. 
 
 THOMAS DE LEEUW. 
 Flourifhed, 1690. 
 
 This artift refided at Paris, according to profelTor Chrift, wheie he en- 
 graved feveral plates, which he marked with thefe initials, T, d. 1. 
 
 J. De Leeuw is a nameaffixedtothehead of Cow/<?)' the poet, engraved 
 2 for 
 
L E F L 88 ] L E N 
 
 for the edition of his works in odlavo, publifhcd 1700. Perhaps the I. 
 fhould be a T. the miftake might be eafily made. 
 
 L E F E B U R E. See Febure. 
 
 GODEFROY LEIGEL. 
 
 Flourifhed, 1526. 
 
 This mafter, fays Papillon, who was a native of Switzerland, engraved a 
 fet of figures for the Sacred Hijioryy which he marked with a monogram, com- 
 pofed of a G. and an L. joined together upon a fmall tablet -, to which he 
 often added the date. 
 
 LOUIS LEMPEREUR. 
 
 Flourifhed, 1760. 
 
 A modern French engraver, by whom we have feveral excellent prints, 
 which prove him to have been a man of genius and ability ; among others, 
 
 A converjatioriy from Rubens, a large plate, length-ways. P. Clouet and 
 Chriftopher Jegher engraved the fame fubjeft. 
 
 Aurora and Tithonus, from Pierre, and its companion, a drunken SilenuSy 
 from Carlo Vanloo i two middling-fized plates, length-ways. 
 
 The female bathers, a rniddling-fized upright plate, from C. Vanloo. 
 
 Catherine Elisabeth Cousinet, the wife of this artift, alfo engraved. 
 See Cousinet. 
 
 JOHN DENIS LEMPEREUR. 
 
 Flourifhed, 
 
 He was a city officer in Paris, and a lover of the arts. He etched 
 feveral prints fromPietro de Cortona, Cafliglione, Van Dyck, and other 
 m afters. 
 
 John Baptist Lempereur, brother to John Denis Lempereur, was alfo 
 a lover of the arts, and etched a fmall number of plates ; among them the 
 angel announcing to the Jljepherds the birth of Chrijl; amiddling-fized upright 
 plate, after Boucher. The majfacre of the innocents, amiddling-fized plate, 
 length-ways, from Pierre j and feveral landjeapes from his own defigns. - 
 
 L E N O Z. 
 
 Flourifhed, 
 A nam.e affixed to a fmall upright plate, on which is reprefented a fgure 
 digging, very neatly engraved, and well proportioned. 
 
 JOHN LENFANT. 
 
 Born, Died, 1647. 
 
 He was born at Abbeville in Picardie ; but he refided principally at Paris, 
 
 where 
 
L E N [ S9 ] LEO 
 
 •where he died 1647. He was|the difciple of Claude Mellan, whofe (Ivlc 
 he ufually imitated, but he fell greatly fhort of his niafter, in point of abi- 
 lity as an artift. The larger part of his engravings were performed with 
 fingle ftrokes, without any crofs ftrokes laid upon them. They are neatly 
 executed with the graver only ; but in a cold, taftelefs ftyle. We have a 
 great number of plates by him, particularly portraits ; among which are the 
 comte de Brienne, a fmall upright plate, from Le Brun. Jacobus de Souvre 
 in Gallia Princeps, a middling-fized upright plate, half figure, from Mio-- 
 nardj a.\{o Renatus de MarillaCi engraved from a defign of his own, taken 
 from the life. And a variety of other fubjefts, from Annibale Carracci, 
 Guido, Loir, Nanteuil, Lefebure, &c. 
 
 HANS, or JOHN LENCKER. 
 
 Flourifhed, 
 
 An ancient engraver, to whom feveral of the prints, marked with an H. 
 and an L. joined together are attributed. But noneof thefe engravings are 
 fpecified by the authors who mention them. 
 
 BERNARD LENS, the Elder. 
 
 Born, 1659. Died, 1725. 
 
 He was the fon of Bernard Lens, a painter, who died in London, a. d. 
 
 1708. He was a mezzotinto fcraper, and a drawing mafterj and we have 
 
 fome few etchings by his hand. He was alfo employed to make drawino-s 
 
 for Sturt and other engravers. He died a. d. 1725, aged 66. He fcraped 
 
 in mezzotinto the judgment of Paris, from Sir Peter Lely ; a confiderablc 
 
 number of portraits, hiftoricalJubjeSls, and land/capes -, and feveral views, 
 
 jiower-pitces, &c. They are executed in a ftyle, however, that does him 
 
 no great honour. He made alfo feveral drawings in Indian ink, of vieivs 
 
 in England. 
 
 BERNARD LENS, the Younger. 
 
 Flourifhed, 17 10. 
 
 This artift was the fon of Bernard Lens, mentioned in the preceding 
 article. He was drawing-mafter to the late duke of Cumberland, and 
 riie princefles Mary and Louifa. He excelled principally in making draw- 
 ings in water colours, which he performed in a moft admirable manner, from 
 the piftures of Rubens and Van Dyck. It is remarked to the honour of 
 Lens, that he added to the character of an excellent artift, that of a good 
 man. He died fome years fince, at Knight's-bridge, where he had retired after 
 felling his colledion. We have three or four little books of land/cafes 
 etched by him, and fome i^^vf portraits, &c. 
 
 JOHN FRANCIS LEONART, or LEONARD. 
 
 Flouriftied, 1670, 
 
 This artift was a native of Bruffcls, or at leaft he refided there, and alfo 
 ^01.. II. N at 
 
LEO [ 90 ] LEO 
 
 at Nuremberg. Portraits, for books form the chief part of his works, 
 which he executed with the graver, and in mezzotinto ; but his prints in 
 both manners are exceedingly indifferent. Some of his engraved plates 
 are to be found in the Hiflory of the Emperor Leopold, by Galezze Gualda, 
 publifhed at Vienna, 1674; and in mezzotinto we have feveral by him from 
 Van Dyck, and other mafters. 
 
 HENRY LEONARD. 
 
 Flourifhed, 1670, 
 
 Leonard was a very indifferent engraver. He refided at Venice, where he 
 executed feveral portraits for ihe Hijiory of the Emperor Leopold, publifhed at 
 Venice, 1674. He ufually figned his name, L^OKariai, in order to make a 
 diftinftion between his works, and thofe of John Francis Leonart, mentioned 
 in the preceding article j for both of them at times engraved for the fame 
 publications. 
 
 FRANCESCO LEONCINI. 
 
 Flourillied, 
 
 This name is affixed to a flight, incorre<fl etching in the painter's flyle, 
 bearing fome reiemblance to that of Baptifta Franco. It is a fmall upright 
 plate, and reprefents the flight into Egypt. Three boys are depicted, fleep- 
 iug in the fore-ground, emblematical perhaps of the innocents which were 
 flain J and St John appears kneeling towards the right hand. He figna his 
 came, " Francefco Leoncini de St. Geminiano F. et inventor." 
 
 LEON D A V E N. See Davem. 
 
 G. LEONE. 
 
 Flourifhed, 1690. 
 An Italian painter ; but, I prefume, of no great note. He flourifhed 
 towards the conclufion of the lafl century. We have, etched from his own 
 defigns, two fets of animals, which are executed in a fpirited manner. 
 
 OTTAVIO LEON I. 
 
 Flourifhed, 1620. 
 This artift was a native of Rome ; and, under the inflruftion of his father, 
 he attained to fome degree of excellence as a painter. Wc have by his hand 
 a fet oi portraits of the painters, engraved on fmall upright plates, in a very 
 fmgular manner. The hair and draperies are executed with ftrokes, and. 
 the faces with round dots j the dark parts of the eyes and fharp fhadows 
 being affifled with ftrokes, which are managed in a fkilful manner, and 
 produce a very pleafmg effed. Thefe heads are finely drawn; and 
 fome of them finifhed in a much higher ftyle, than is ufual with painters, 
 when they take up the point or the graver. This fet of prints was publifhed 
 at Rome in 1624. 
 
 . BER- 
 
 >.•; 
 
L E P [ 91 3 LET 
 
 BERNARD LEPICIE. 
 
 Flourifhedj 1730. 
 
 This artift was a native of France, and probably inftruiSled in the art of 
 engraving by John Audran, whofe ftyle he imitated, and fometimes 
 with no fmall degree of fuccefs. He did not draw very corredly, 
 yet his bell prints are by no means deftitute of merit. He was in- 
 vited into England, I believe by Du Bofc. It is certain, however, that he 
 affifted that engraver in the execution of the Cartoons, upon a fmaller fcale . 
 than thofe of l3origny, for the bookfellers ; but thefe are by no means favour- 
 able fpecimens of this artift's abilities. Some few of his plates are executed 
 almoft entirely with the graver ; but in a cold and filvery ftyle. How long 
 he refided in London, I do not know ; neither have we any account where he 
 died. The following engravings are by him : 
 
 "The circumcifion of Chrijl, from Julio Romano. 
 
 Jupiter and Juno, the fame, from the fame. 
 
 Jupiter and lo, the fame. 
 
 St. John preaching in the wildernefSy after Bacchiche. All thefe plates 
 were engraved for the colleftion of prints known by the name of the Crozat 
 Cabinet, 
 
 Town love, and its companion, the village love ; two middling-fized oval 
 plates, from Charles Coypel, 
 
 Alfo feveral portraits ; among others, that of Charles the Firft of Eng- 
 land, with his child, reprefented as in prifon. 
 
 Renee Elisabeth Marlie, the widow of Lepicie, engraved 
 
 The Flemip cook, a middling-fized upright plate, from Teniers j and fe- 
 veral other prints, from Chardin and other matters. 
 
 J. M. L E R C H. 
 
 Flourilhed, 1670. 
 He refided at Vienna, where, conjointly with Hoffman, he engraved and 
 ■^•ah\\fh.ed the fiege of Brandenburg ; a large three-flieet print, from Nypoort. 
 It is badly etched, in a flight, coarfe ftyle, without effedt. Several portraits 
 for Priorata's Hiflory of the Emperor Leopold, are by this engraver ; but they 
 are very indifferently executed. 
 
 DE LERPINIERE. 
 Born, Died, 1785. . 1 
 
 This artift was a landfcape painter, who refided at Walcot Place, Lam- 
 beth, where he died. ■ We have two large landfcapes "with ruins, coarftly 
 engraved by him from the defigns of John Taylor, Efq. 
 
 HENRY DE LETH. 
 Flourifhed, 
 
 He refided at Amfterdam, where he engraved and publifhed one hundred 
 views of Kenncmland, which are very indifferently executed. 
 
 N 2 THOMAS 
 
LEU [ 92 ] LIB 
 
 THOMAS DE LEU. 
 Flourifhed, 1580. 
 
 This artiftwas a native of France. He worked entirely with the graver,in 
 a very neat, clearftyle, much refembling that of the Wierix's. Had he poffefled- 
 as much tade, as he did fkill in the management of the mechanical part of 
 hh plates, he might doubtlefs have been ranked among the firfl mafters in 
 the art of engraving ; but there is a ftiffnefs in his works, which, joined to 
 a want of correftnefs in the outlines, lelTens their value. However, they 
 ftill pofTefs great merit, his portraits efpecially, of which he engraved a 
 prodigious number. 
 
 I fhall mention by this artift, only, an ecce homo, with angels bearing the 
 fymbols of the paffion. 7'he twelve Sibyl's, from his own defigns, and 
 '"Juflice rewarding the labours of the hujbandman, from Frederic Zuccaro. 
 
 Among his portraits, I think that of M. Nicolas de Neufville is a fine 
 fpecimen of his ability. 
 
 J. LEUPENICIE. 
 
 Flourifhed, 1677. 
 
 By this artifl we have fome flight etchings, retouched with the graver. 
 They appear to be the works of a painter ; but they do not bear the marks 
 of a fuperior genius. They are middling -fized plates, length-ways, and 
 reprefent various views in Holland^ and are dated 1677. 
 
 LUCAS of L E Y D E N. See Jacobs. 
 
 LEYSEBETTEN. See Lisebetten. 
 
 HUMPHRY LHUYD. 
 
 Flourifhed, 1570. 
 
 This artift, who was probably a native of Wales, engraved a map of Ben- 
 lighjhire for Abraham Ortelius's Theat?-um Orbis Terrarumy printed at 
 Cologn, A. D. 1572.. 
 
 MATTHEW LIART. 
 
 Flourifhed, 1770. 
 He was a native of England, and rcfided at London ; but never arrived at 
 any fuperior degree of excellence in the art of engraving. He was a fludent 
 in the Roval Academy, and died fome few years fince. We have by him 
 thefacrifi'ce of Abraham, from Andrea Sacchi, a middling-fized plate, length- 
 ways ; and the death of Adonis, from a pifture by Mr. Weft, the fame. 
 
 GEORGE LIBERAL. 
 
 Flouiilhed, 1565. 
 An ancient painter, and engraver on wood. This artift, in conjunftion 
 with M. Wolfgang Miererpeck, dcfigned and engraved on wood the large 
 ■plants and animals, for the Commentaries of Matthiolus upon Diofcorides. The 
 
 onlv 
 
Lie [ 93 ] LIE 
 
 only account we have of Liberal is from MatthioluSj who calls him Homo 
 Artis pingendi feretijfimus. 
 
 GIULIO LICINIO, called PORDENONE. 
 
 Born, 1520. Died, 1570. ^ 
 
 This artift was born at Venice, and was called Pordenone, from his uncle 
 Giovanni Antonio Licinis, who was a native of that place. Giulio excelled 
 in hiftorical painting ; and imitated his uncle's mode of colouring with much 
 exaftnefs. He alfo made feveral etchings from his uncle's defigns. 
 
 G. Antonio Licinis, is alio faid to have etched fome few prints, which 
 are marked A. L. P. 1. 
 
 HANS, or JOHT^ L I E F R I N C K. 
 
 Flourifhed, i6ji. 
 
 One of thofe mafters whoare diftinguiflied by the name of little majiers, 
 on account of the diminutivenefs of their works. Liefrinck, I believe, pub- 
 liflied many prints, engraved by other mafters, which have been falfeiy 
 attributed to him ; thofe in particular marked with a monogram, compofed 
 of an H. with a C. upon the crofs bar of the H. If thefe prints were en- 
 graved by him, the monogram mufc ftand for the name of the inventor. He 
 certainly did engrave himfelf, and worked with the graver only j but his 
 prints have no particular merit to recommend them. We have by him a 
 fet of twelve finall plates, length-ways, reprefcnting birds of various kinds. 
 Alfo feveral plates o^ ornaments, and other trifling fubjedts. Some engrav- 
 ings, marked with the letters H. L. are alfo attributed to him-. 
 
 JAN, or JOHN LIEVENS. 
 
 Born, 1607. Died, t.- 
 
 This celebrated artift was a native of Leyden. He difcovered an early in- 
 clination for the arts, and was the difciplc firft of Joris van Schooten, and 
 afterwards of Peter Laftman. He excelled principally in painting of por- 
 traits ; but he alfo executed feveral hiftorical fubjefts with great fuccefs. He 
 came over in^o England, where he refided three years, and painted die por- 
 traits of Charles the Firft, the queen, the prince of IVales, and feveral of the 
 nobility ; after vvhich he returned to Antwerp, where he met with lull em- 
 ployment for his pencil. We have feveral etchings by this mafter, which 
 are performed in a flight, but mafterly manner. The chiaro fcuro is 
 very fkilfully managed in them, fo as to produce a moft powerful effeft. His 
 ftyle of etching bears fome refemblance to that of Rembrant; but it is 
 coarfer, in general, and lefs finiftied. The following are by him, all of 
 them from his own defigns. 
 
 The reJurreQion of Lazarus, a middling- fized upright plate. 
 
 St Jerom feated in his cell, holding a crucifix, a fmall upright plate. 
 
 St. Francis holding a/cull^ the lame. 
 
 Several excellent portraits ; and, amongft them, 
 
 Ephraim Bonus, a half figure feated in a chair. 
 
 Jacobus Gouters, etched by Lievens j but the face apparently was finiflied 
 afterwards by Cornelius Vificher. 
 
 Daniel 
 
L I G [ 94 ] LIN 
 
 Daniel hlenifius, 
 
 Alfo feveral ftudies of heads, &c. of various fizes. He frequently ne- 
 glefted to fign his name at length, and/ubftituted the initials I. L. only ; and 
 fometimes his name is fpelt Lyvyns. 
 
 f 
 
 JOHNLIGHTBODY. 
 
 Flouriflied, 
 An obfcure Englifli engraver, vvhofe works have very little merit to recom- 
 mend them. I have feen the name affixed to a few fmiU etchings of 
 beggars. And perhaps the fmall wooden cuts, for books marked with the 
 initials I. L. are by this artift. They are, however, as indifferent as his 
 etchings. 
 
 WILLIAM LIGHTFOOT. 
 Flourilhed, 1660. 
 Evelyn fpeaking concerning this artift, ufed thefe words, " Lightfoot 
 " hath a veiy curious graver, and fpecial talent for the ncatnefs of his ftroke, 
 " little inferior to Wierix." He mentions alfo " two or thr££: madonaSy" 
 as publiflied by him, which met with the approbation of the pmslic. I am 
 not acquainted with this artift, or his works; but I conceive him to be the 
 fame with William Lightfoot the painter, who was an Englifliman, and 
 refided at London. He excelled in painting of perfpeftive views, architefture, 
 and landfcapes. He was alfo concerned in ornamenting fome part of the 
 Royal Exchange. 
 
 FRANCOIS DE LIGNY. 
 Flouriflied, 
 We only know of two very indifferent land/capes by this engraver. They 
 are middling-fized plates, length-ways, after Le Gafpre. 
 
 GIACOMO LIGOZIO 
 
 Flourifhed, 1600. 
 
 He was an Italian painter of fome degree of eminence, and excelled prin- 
 cipally in hiftorical fubjeflis. He was in great favour with the grand duke 
 of Tufcany, by whom he was much employed. This artift engraved both 
 on copper and on wood, chiefly from his own compofitions. 
 
 HANS, or JOHN VON LINCK. 
 Flourifhed, 
 I am not acquainted with the works of this artift. He is mentioned by 
 profeflor Chrifl, as an engraver ; and the prints marked with a monogram, 
 compofcd of an H. aa L. and an F. joined together, in the manner expreftcd 
 upon the plate at the end of the volume, are attributed to him ; and the 
 monogram is thus explained by that author, Hans Von Linck Faciebat. 
 
 CHRIS. 
 
LIN [ 95 ] L I O 
 
 CHRISTIAN PHILIP LINDEMAN. 
 Flourifhed, 1725. 
 A modern engraver, who refidedat Augfburg, where he executed a con- 
 fiderable number of plates. He frequently marked his engravings with the 
 initials of his names only, thus, C. P. L. and fometimes added the date. 
 
 DANIEL LINDENMACHER. 
 
 Flourifhed, 
 
 To this artift are attributed the engravings, marked with a fingle mono- 
 gram, compofedof a D. an M. and an L. joined together, in the manner 
 exprefled upon the plate at the end of the volume. 
 
 JOHN LINGLEBACH. 
 
 Born, 1625. Died, 1687. 
 
 This artift was born at Frankfort upon the Maine. He learned the art of 
 painting in Holland, and went from thence to Rome to complete his ftudies. 
 He principally excelled in painting battles, fairs, fea-ports, and fea-fights ; 
 and his piftures are fpoken of with the warmeft commendations. We have 
 fome flight, but mafterly etchings by his hand, reprefenting land/cafes, Jhip- 
 pi»g, &c. from his own compofitions. 
 
 P. LION. 
 
 Flouriflied, 1774. 
 The name of a modern engraver affixed to the portrait of tbe Comte de 
 Gujries, in mezzotinto, dated 1774. 
 
 MICHAEL LIOTARD. 
 
 Flourifhed, 1760. K.y 
 A modern engraver, who was born at Geneva, where he refided at the time 
 Bafan publilhed his Dictionary of Engravers. While he was upon his flu- 
 dies at Venice, he engraved Venus in her chariot ; Apollo rifing from the 
 water ; Bacchus and Ariadne ; Fan and Syrinx -, and the rape of Europa : 
 all large plates, from the Cartoons painted in frefco, in the palace of the 
 duke of Parma, by Carlo Cignani ; and a fet of Jubje£fs from the Bible, con- 
 fiiling of nine large plates, from Sebaflian Ricci. 
 
 JOHN STEPHEN LIOTARD. 
 
 Flourifhed, 1760. 
 
 This artift was a painter, and brother to Michael Liotard, mentioned in the 
 
 preceding article. He refided fays Bafan, feveral years in Italy, alfo at Con- 
 
 ftantinople, and in Germany. He etched a few portraits; among others 
 
 bis own, a -whole length -with a long beard, a fmall upright plate; alfo that 
 
 4 of 
 
LIS r 96 ] LOG 
 
 of M. Herault, lieutenant-general of the police at Paris, a middling- fized 
 upright plate. 
 
 PETER VAN LISEBETTEN, or LISEBETIUS. 
 
 Fiouriflied, 1660. 
 
 A very indifferent artift, who engraved feveral of the plates for the col- 
 leftion of prints, known by tlie name of the Gallery of Teniers. They arc 
 performed in a coarfe, incorredl ftyle ; and by no means worth fpecifying. 
 We have alfo fome portraits by his hand ; equally indifferent. 
 
 CLAUDE ANTOINE LITTRET. 
 Born, 1735. Died, 1755. 
 
 This engraver was a Frenchman ; and really his works poffefs fome 
 merit ; efpecially thofe which are executed in a (light ftyle. He came over 
 into England about the year 1768 ; but he did not meet with much encou- 
 ragement. He refided at London, a confiderable time, and returning to 
 his own country died at Rouen, a. d. 1755, aged 40. His principal perfor- 
 mances are, ^ 
 
 The concert of the grand fultan, a large plate, length-ways, from Vanloo. 
 
 The portrait of M. de Sartine, a fmall upright plate. 
 
 Love conduced by Fidelity, and its companion, fmall upright plates, from 
 Schenau. His laft work was the portrait of lord Mansfield, a whole length, 
 feated in a chair, from D. Martin ; but Littret dying before it was completed, 
 the painter undertook to finifh it himfelf, which tafk he performed with great 
 fuccefs. 
 
 ANGE LAURENT DE LA LIVE. 
 
 Flourifhed, 
 
 He is mentioned by Bafan as a modern connoiffeur, who for his own amufe- 
 ment etched feveral plates; particularly fome little fubjeSls and landjcapes, 
 from Boucher ; a fet of fmall upright plates of caricaturas, after Selis ; a 
 group of beggars, with this title, Les Fermiers brutes ; a middling fized upright 
 piate, after Greuze. 
 
 LIVENS. See Lievens, 
 
 J. LLOYD. 
 
 Fiouriflied, 
 A name affixed to a portrait of Harriet hen Haniet ; a middling-fized, 
 upright plate, in an oval border. 
 
 MICHAEL VAN LOCHOM. 
 
 Flourifhed, 1635. 
 
 An artift of no kind of note. He refided at Paris, where, fays Bafan, he 
 
 engraved 
 
L O C [ 97 ] L O D 
 
 engraved feveral plates for Crifpin de Pafle, whofe ftyle he endea- 
 voured to imitate. It is certain, that he worked with the graver only, and 
 in a very indifferent manner. His labours feem to have been chiefly for the 
 bookfellers. I fliall mention only a fronti/piece to the Life of Louis' the 
 Thirteenth, into which are introduced feveral fmall figures, and a portrait o^ 
 that monarch on horfeback. This appears to me to be one of his bed prints. 
 It is dated 1630. Several portraits annexed to theWorks of Hipocrates^ pub- 
 lifhed at Paris, 1639. Other portraits after Ferdinand EUe, &c. Some 
 authors have falfely attributed to this artift the prints marked with an IVI. and 
 an L. joined together -, but they certainly belong rather to Michael Lafne. 
 
 H. Von Lochoai is mentioned as an engraver by profeflbr Chrift, who, 
 however, fpeaks very doubtfully upon the fubjeft. To him, by fome authors, 
 are attributed the prints marked with thefe initials, H. v. L. 
 
 B. V. L O C H O M, or L O C H O N. 
 
 Flourifhed, 
 
 By this artifl we have a fet of fmall ornamental plates for gold- 
 fmiths and jewellers, from H. Tangen, engraved in conjundion withH. 
 Janffen. They are executed in a very neat ftyle. We have alfo by him 
 a fet of fmall plates apparently from his own defigns, reprefenting 
 huntings of various kinds ; wlfich, from the Angularity of their forms, I fliould 
 fufpeft to have been intended for fans. 
 
 RENE LOCHON. 
 
 Flourifhed, 1650. 
 This artifl: was a native of France. He worked entirely with the graver; 
 and portraits, fome of which feem to have been executed from his own 
 defigns, formed the far greater, as well as the beft part of his performances. 
 His ftyle of engraving bears fome diftant refemblance to that of Nanteuil j 
 but, in point of merit, his works are far inferior to thole 'of that great mafter. 
 I fliall not particularize any of his portraits ; they are by no means uncom- 
 mon. Le Comte, enumerating his works, fays he engraved fifty-one plates 
 from the following painters, namely, Guido, Nicolo PoufTin, Champagne, 
 and Chauveau ; amongft which are part of the prints for a work entitled, 
 Les Tableaux de la Penitence, in fmall folio, from the laft mentioned mafter. 
 
 L O C K L E Y. 
 
 Flourifhed, 
 
 The name of an engraver of no note, affixed to the portrait of Michael 
 Malard, in oilavo. 
 
 L O D E R. 
 
 Flourifhed, 1760. 
 A modern painter. He was, according to Bafan, a native of Germany. 
 We have, as that author informs us, feveral etchings by his hand. 
 VOL. II. O W I L- 
 
L O D [ 98 ] L O E 
 
 WILLIAM LODGE. 
 
 Born, 1649. Died, 1689. 
 
 This ingenious artift was the fon of Mr. William Lodge, a gentleman of 
 fome confequence in the town of Leeds. He was born July 4, 1649, and 
 became the heir of three hundred pounds a year. From fchool he went to 
 the Univerfity of Cambridge, where he refided fome time at Jefus college ; 
 from whence he was fent to Lincoln's-Inn, to ftudy the law. But this em- 
 ployment not fuiting his genius, he chofe to travel j and attended Lord 
 Falconberg to Venice, where that nobleman was fent as ambaffador from the 
 Britifla court. In this city he met with Giacomo Barri's Viaggio PittorefcOy 
 in which is contained an account of the moft eftimable pidlures in Italy, and 
 alfo of the famous cabinet of Canon Settala at Milan. He was fo pleafed 
 with this work, that he tranflated it into Englifli, and added the heads of 
 the great painters, etched by himfelf, and a map of Italy. It was printed, 
 A. D. 1679. 
 
 On his return to England, he contrafted a ftrift friendihip with Francis 
 Place, whofe difpofition greatly refembled his own. They ufed frequently 
 to make excurfions together, for two or three months at a time, as occafion 
 ferved, in order to draw views of the country. It happened once, as they 
 were amufing themfelves in this manner in Wales, they were taken up as 
 jefuitical fpies (it being at the time of the difcovery of the Popifh plot) and 
 put into prifon, notwithftanding all their remonftrances ; where they were 
 confined, till the arrival of fome of their friends from Chefter, who confirm- 
 ing their innocence, they were rcleafed. 
 
 Lodge died at Leeds ; and it was intended to bury his corps at Gifburn, 
 near Craven. But by the accident of the hearfe breaking down at Har- 
 A" wood, as it was paffing through that place, and the coffin being much 
 damaged, he was interred there, Aug. 27, 1689. 
 
 Befides the portraits above-mentioned, we have feveral views by this artift, 
 etched in a flight, but fpirited ftyle, from his own defigns, which he made 
 both abroad and at home. They bear the marks of genius and a good tafle. 
 
 I fhall particularize the following: 
 
 A fet of middling-fized plates, length-ways, entitled, a Book of divers 
 Profpeils, done after the life ly William Lodge. 
 
 A Iheet print, containing the views of Leeds and Wakefield. 
 
 Vievj of the city of York, a middling-fized plate, length-ways. 
 
 Lambeth hoiife, from the Thames. 
 
 The Pent du Gard in LanguedoCy figned with a monogram, compofed of a 
 W. and an L. joined together. See the plate of monograms at the end of 
 the volume. 
 
 Several other views of churches^ caflles, &c. 
 
 ARNOLD LOEMANS. 
 Flourifhed, 
 An engraver and printfeller. He flourifhed towards the conclufion of the 
 laft century, and refided at Antwerp. Wc have fome engravings of but little 
 
 account 
 
LOG [ 99 ] L O I 
 
 account by him, from the Flemifli matters; alfo feveral portraits j and, 
 among them, that of Jaques Caliot, the artift. 
 
 DAVID LOGGAN. . 
 Born, Died, 1693. 
 
 He was a native of Dantzick, and, according to fo:Tie authors, received 
 his firft inftruftions in the art of engraving from Simon de Pafs, in Denmark. 
 He afterwards refided in Holland, and iludied under Hondius. From 
 thence he came into En^dand. He met with encouragement at both 
 the Univerfities ; but particularly at Oxford, where he flayed a con- 
 fiderable time, and married Mrs. Jordan, a woman of a good family, 
 ne'ar Witney in Oxfordfliire ; by whom he had, at leaft, one fon, who was 
 fellow of Magdalen College. In the latter part of his life, he refided in 
 London, at a houfe in Leicefter Fields, where he died a. d, 1693. His 
 prints are dated from 1653. 
 
 He worked, in general, with the graver only, in a neat, but ftiff and dry 
 ftyle, without the leaft appearance of tafte or genius, We have, however, 
 fome few etchings by him ; but they are things of little confeqiience. His 
 portraits, of which he executed a great number, are chiefly after drawinors 
 of his own, which he made from the life in black lead. Dfyden, in his Art 
 of Poetry, fatyrizes a vain poet with thefe fevere lines : 
 
 And at the front of all his fenfelefs plays. 
 Makes David Loggan crown his head with bays. 
 
 The following engravings are by this artift : 
 
 Two views oi Oxford, on one fheet. Views of the different /i«Mr build- 
 ings at Oxford. Eleven plates, intitled, Habitus Academicorum Oxoniie, a 
 T)o£fo7'e ad Servient em, or the Habits of the Academics of Oxford, from the 
 DoUor to the Servitor. 
 
 Two views of Cambridge. A whole-fheet view of King's College Chapel^ 
 in the fame univerfity. It is faid, that he hurt his eyes whilft he was 
 making the drawing for this plate. To thefe I Ihall add the following por- 
 traits, which are ufually reckoned among his beft prints : 
 
 George, duke of Albemarle, a half-fheet print, from the life. 
 
 Sir Edward Coke, the fame. 
 
 Edward, earl of Clarendon, the fame. 
 
 Lord keeper Guilford, the fame, in an oval. 
 
 Mother Loufe of Loufe-Hall, a half-fheet print. To this engraving, it is 
 faid, that he owed much of that reputation, which he gained at Oxford, 
 Valck affifted him in the portraits of 'Thomas Ifham and Robert Strafford. 
 
 NICHOLAS LOIR. 
 
 Born, 1624. Died, 1679. 
 This artift was a native of Paris, and the fon of a goldfirith in that city. 
 He learned the art of painting under Le Brun, or, as others fay, Le Sueur, 
 
 O 2 and 
 
t O I [ 100 ] L O I 
 
 and went to Rome, whilfl: he was yet young, to finifh his ftudies. It is 
 remarked of him, that he poflefled every talent neceflary to complete the 
 artift ; but from the little attention he paid to the correfVion of his firft 
 thoughts, before he proceeded to the execution of them, his works are by no 
 means equal to the expedlations that were formed of him, from his juvenile 
 eflays. His drawing, though mannered, is, in general, very correft, efpe- 
 cially in tlie female figures and infants, which he introduced into his paint- 
 ings. He died at the age of 55, being at that time profeflbr of painting in the 
 Royal Academy of Paris. We have about one hundred and fifty etch- 
 ings by his hand, which are executed in a flight, but bold, free ftyle -, and 
 fome of them finifhed with more care, than painters ufually beftow upon their 
 plates. I fliall mention the following only from his own defigns. 
 
 Twelve fmall upright fubjefts oi the Virgin and Child. 
 
 Cleobis and Biton, drawing the chariot in which their Mother is Jeated, tf 
 the temple of Juno j a middling-fized plate, length-ways. 
 
 Two land/capes, large plates, length -ways. 
 
 ALEXIS LOIR. 
 Flourifhed, 1660. < > 
 
 This artift was brother to Nicholas Loir, mentioned in the preceding article. 
 He was brought up by his father in the profeffion of a goldfmith, to which 
 he alfojoined that of an engraver ; and fucceeded in both. He handled the 
 point and the graver with great facility ; and thofe prints appear tome to be 
 the molt fpirited and beft, in which he has intermixed an equal proportion 
 of both. He drew correctly, and ftudied to preferve the ftyle of the mafter 
 he worked after ; but from his covering the lights too equally, we often find 
 a flatnefs and want of effeft, even in his moft eftimable works. The fol- 
 lowing are by him : 
 
 The fall of the evil angels, a large upright print on two plates, from Le 
 Brun. 
 
 The tniirder of the innocents^ a very large print, length-ways, from the fame, 
 on two plates. 
 
 7; Mofes found by Pharaoh's daughter, a large plate, length-ways, from 
 Pouflln, 
 
 A dead Chrifl with the Virgin Mary, a large upright plate, arched at top, 
 from Mi.q-nard. 
 
 Chrifl prefented in the Temple, a large upright plate, from Jouvenet. 
 
 Chrifl at the foot of the crofs, furrounded by many figures, the fame, from 
 the fame. 
 
 Alfo feveral etchings from his brother's defigns, ornaments^ &c, 
 
 L O I S E L. 
 
 Flouriftied, 1645. 
 
 A native of France, who refided apparently at Paris, where he engraved 
 feveral of the plates for the large folio volume of Flans and Views, publilhed 
 by Beaulieu. 
 
 P. Loi- 
 
L O I C loi ] L O L 
 
 P, LoisELL, the name of an engraver, far inferior to the preceding artiflr, 
 affixed to fome flight etchings, fomething in the flyle of Gay wood, for, (if I 
 miftake not) Benlowe's Iheophilia, or Love's Sacrifice. He might perhaps 
 be of the fame family. 
 
 PETER LOISY. 
 
 Flourifhed, 1663. 
 
 This artift appears to have been a native of France. He was a goldfmitli, 
 and an engraver of the matrices or dies for the ftriking of money. He 
 publiQied an heraldrical book in folio, entitled, Eftat de Uillujtre confreire 
 de San£t George en la franche Bourgougne, avec les Armes, blajonsy et recep- 
 tions des Srs. conferes vivants 1663. It confifbs of the coats of arms, inclofed 
 in ornamental borders. They are executed entirely with the graver, in a 
 dark, heavy flyle. He ufually figns his name " Petrus de Loify;" to which 
 he adds the word Bijtintinus ; and at the end he calls himfelf Pierre de Loify ^ 
 Maijlre orphaivre et graveur des monnoyes de Befancon. 
 
 P. De Loisi, or Loisy, a native, as he himfelf informs us, oi Burgundy y 
 is a name affixed to feveral portraits, am.ong others, to that of Bonaventura 
 comes abuquoys, dated 1620. Thefe can hardly be executed by the mafter 
 above-mentioned, as there is a diftance of forty- three years between the dates; 
 yet the fimiliarity of the flyle of engraving, feems greatly to favour the fup- 
 pofition that they were. 
 
 LORENZO LOLI. 
 
 Flourilhed, 1650. 
 
 This artifl was a native of Bologna, and the fcholar of Guido. As a 
 painter, I believe, he never attained to any very fuperior degree of excel- 
 lence. We have feveral flight, but fpirited etchings by him from Guido, 
 Sirani, and alfo from his own defigns. In thefe he has evidently imitated 
 the ftyle of Guido ; but in point of correftnefs or charafler he has by no 
 means equalled the etchings by that great mafter. 
 
 The following, among others, are by him : 
 
 A holy family, from Guido, into which St. John is introduced, and Jofeph 
 is reprefented leaning upon a pedeftal j a fmall upright plate. 
 
 Flight into Egypt, a middling-fized upright plate, from the fame mafter. 
 Poilly alfo engraved this fubjeft. 
 
 A holy family, with Elizabeth holding a book, a fmall upright plate in aa 
 oval, from Sirani. 
 
 An angel flying over a globe, blowing a trumpet ; a fmall upright plate, 
 from the fame mafter. 
 
 St. Jerotn Jeated at the foot of a crucifix, a fmall upright plate, from the 
 fame. 
 
 The Virgin Mary appearing to St. Francis and St. Auguftine, from a defign 
 of his own. 
 
 He did not always fign his name at length, but often thus L. LL. F. or 
 L. Lo. F. or Laur, Lot, &c, 
 
 L. A M- 
 
L Q M [103] L O M 
 
 LAMBERT LOMBARD. 
 
 Flouriflied, 
 
 This artift, who was a painter and archlted; at Liege, has been by Sandrart, 
 and other authors after him, falfely confounded with Lambert Suavius, who 
 was his difciple. By Suavius we have many engravings ^ but Lombard 
 does not appear to have engraved at all. 
 
 CLAUDE LOMBARD. 
 
 Flourifhed, 1665. 
 
 He is mentioned doubtfully by profefTor Chrift, as an engraver of Paris, 
 to whom the prints, marked with the initials C. L. with the date 1665^ are 
 ufually attributed. I am not acquainted with his works. 
 
 PETER LOMBARD, or LOMBART. 
 Flouriflied, 1660. t)^. 
 
 This artift was a native of France, if not of Paris, where he learned the art 
 of engraving. Ir appears, that he came into England before the Revolution, 
 becaufe^fome of his plates for Englifli publications are dated prior to that 
 event. How long he ftayedhere is quite uncertain ; but it is thought, that 
 he was not returned to France in the year 1672, at which time a fet of eight 
 prints, the Jeven Jciences z.n^ the frontifpiece, are mentioned in Overton's Ca- 
 talogue, as engraved by him. This artift executed a vaft variety of plates, 
 as well hiftorical as emblematical ; which, however, were chiefly for books. 
 But his beft works are portraits i and of thefe he produced a confiderable 
 number. 
 
 He rarely etched, but, in general, executed his plates entirely with the 
 graver. He worked in a very neat, laboured ilyle ; and if his good tafte 
 had been equal to his alTiduity, his works might have compared with thofe 
 of the firft mafters. He was not only deficient in tafte, but his drawing is 
 frequently incorreft ; his outlines are hard ; and the continual famenefs, 
 which runs through all his engravings, is difgufting to the eye. Befides, 
 the dark Ihadows want force and boldnefs; and the lights are too 
 equally covered, which gives a flatnefs to the figures, and prevents their 
 relieving from the back-ground with any ftriking effedt: and this fault 
 is evident, even in his engravings from the piflures of Van Dyck. His 
 beft portraits, however, though not perfed, are by no means devoid of 
 merit, or undefervedly noticed by the collectors in general. The multitude 
 of book plates, which he executed for the folio edition of Ogilby's Virgil, 
 Homer, and other poets, with frontifpieces of all kinds, I fhall not think of 
 fpecifying ; but confine myfelf to the few following engravings^ which are 
 reckoned among his beft : 
 
 The laft flipper, a large upright plate, from Nicholas Pouffin. 
 
 The angel appearing to Jojeph, a middling-fized upright plate, after Ph. 
 Champagne. 
 
 A crucifixion, the fame, from the fame. 
 
 Charles 
 
L O M [ 103 ] L O N 
 
 Charles the -Firfl of England on hor/ehack, a large half-fheet print j the face 
 of which was afterwards taken out, and that of Oliver Cromwell fubftituted in 
 its ftead. 
 
 A fet of twelve half-lengths, ten of which are ladies, from Van Dyck. 
 
 Oliver Cromwell, with his pao;e, a half-fheet print, after Walker. 
 
 Walker the ■painter, a large upright-plate, in an oval. 
 
 Sir Samuel Moreland, after Lely, an oval in quarto. 
 
 Ann Hyde, dutchejs of York, an oval in oftavo, after the fame, 
 
 Samuel Malines, a fmall half-flieet print, in an oval. 
 
 Dr. Charlton, an oval in oftavo ; with many foreign portraits equally me- 
 ritorious. 
 
 He alfo engraved from Raphael, Annibale Carracci, Guido, Vignon, Le 
 Febure, and other matters 5 and thefe prints are dated from 1654, to 167 1. 
 He ufed a mark occafionally, compofed of a P. and an I^. joined together, 
 in the manner exprefied on the plate at the end of the volume. 
 
 ADRIAN LOMELLIN. 
 Flourifhed, 1660. 
 
 Bafan, with great propriety, calls Lomellin a very indifferent engraver. 
 Such he really was, in every fenfe of the word. He worked with the graver 
 only, but in a ftyle, which manifefts his want of genius, tafte and judgment, 
 unfortunately feveral of the capital pi6tures of Rubens fell into the hands of 
 this engraver ; and his works are fpecified only for the merit of the originals. 
 I Ihall mention the following : 
 
 Abigail appeaftng David with her prejents, a large plate, length-ways, from 
 Rubens. 
 
 'The circumcifion ofChriJi, a middling- fized upright plate, from the fame. 
 
 The triumph of charity, a la.ge print, length-ways, on two plates, from the 
 fame. 
 
 Time dif covering Truth, the fame, from the fame. 
 
 An ajfumption of the Virgin, a large upright plate, arched at the top, 
 
 Chrijt taken in the garden, a middling-fized upright plate, from Van Dyck. 
 
 The judgment of Paris, a large plate, length-ways, from Rubens. The 
 impredions of this bad plate, without the dedication, are exceedingly rare. 
 Captain Bailie has an impreffion, with all the figures graved in, and appa- 
 rently finiOied ; but the back-ground is only drawn in with the point, with- 
 out anv part of it being completed. This, however, muft have been a very 
 unirtift-like method of proceeding ; the more'ufual mode is to begin with 
 the back-ground. 
 
 We have alfo feveral portraits by this engraver j among them, that of 
 queen Catherine^ confort of Charles the Second, &c. 
 
 JOHN VAN LONDERSELL. 
 
 Flourifhed, 1660. 
 This artlft was a native of Flanders. He worked entirely with the graver; 
 in a ftiff, dry flyle, greatly refembling that of his contemporary, Nicholas 
 
 dc 
 
L O N [ 104 ] X O O 
 
 de Bruin. Yet his beft prints are not without a confiderable fliare of merit. 
 The following, among others, are by him : 
 
 The infide of a cathedral, a middling-fized plate, length-ways, from Hen- 
 .drick Arts. 
 
 A fet of /^«^<;v7p^j, middling-fized plates, length-ways, from James Sa- 
 very. 
 
 Several land/capes, large plates, length-ways, from D. Vinckenbooms. 
 
 In fome few inftances he abbreviates his name in this^manner : J. Londt 
 and J. Lender fee. 
 
 AHASUERUS VON LONDERSEL. 
 
 Flouriflied, 1580. 
 
 This engraver was a native of Germany, and an engraver on wood. He 
 may be ranked among the little matters ; for rhe prints attributed to him are 
 ufually very fmall, and neatly executed, in a manner not a little refembling 
 that of Virgil Solis. His ufual monogram is compoled of a V. and an L. 
 joined together, with an A. before it. He alfo, according to profeflbr Chrift, 
 ufed another monogram, compofedofan A. and aV. joined together, with 
 an L. following it, which, fays he, appears upon certain fine engravings, 
 executed in Upper Germany, about the year 1594. See both thefe mono- 
 grams, exadlly copied on the plate at the end of the volume. It is to be 
 remarked, that on the engravings marked with the former monogram, we 
 fometimes find the initials P. B. indicating either the defigner, in thofe 
 inftances, or an affiftant engraver. We have fome Bible cuts by this artifl, 
 and the prints for a large Herbal by Matthias de Lobel j alfo many of thofe, 
 in the quarto edition in French, of the 'Travels of Nicholas de Kicolay intt 
 Turkey, printed at Antv?erp, 1576. 
 
 LONGRAFF. 
 
 Flourifhed, 1698. 
 
 This artift, who was apparently a native of Holland, engraved a fet of 
 ornamental plates for goldfmiths and jewellers. They are executed with 
 the graver only, in a ver)' neat ftyle. 
 
 D. E. L O N S. 
 
 Flourifhed, 1612. 
 An obfcure artift, by whom we have an etching of a holy family, with 
 Elizabeth and St. John, from A. Van Nieulandt. It is executed in a bold, 
 free ftyle j but the heads, and other extremities of the figures, are by no 
 means corredtly drawn. 
 
 L O O F F S. 
 
 Flouriftied, 
 An obfcure engraver, whofe name is affixed to a portrait of Vanden Bro- 
 men, a half- flieet print. 
 
 a H. V A N 
 
LOO [ 105 ] LOR 
 
 H. VAN LOON. 
 
 Flourifhed, 1695. 
 
 This artift was probably related to Theodore Van Loon, the hiftorical 
 painter, who was a native of Bruflels. He apparently refided at Paris. Wc 
 have by him many neat plates oi fortifications, plans of towns, &c. for a 
 work entitled, Les Forces de L' Europe, by M. de Fer, geographer to the 
 king, publifhed at Paris, 1695. 
 
 FRANCESCO ANTONIO LORENZINI. 
 Born, 1665. Died, » 
 
 This artift was a native of Bologna. He was an ecclefiaftic of the order 
 of St. Francis ; but turning his mind to the arts, he ftudied painting under 
 Lorenzo Pafinelli. Being in the end better pleafed with etching, he quitted 
 painting, and applied himfelf to that only. We have a confiderable number 
 of plates by his hand, which do him, however, very little crediti among them 
 may be reckoned the following: 
 
 Mojes flriking the rock, a large plate, length-ways, from Bafan. 
 
 St. John preaching in the wildernefs, a large plate, length-ways, from Pa- 
 finelli. 
 
 St, Anthony of Padua performing a miracle, from the fame, a large upriorht 
 plate, arched at the top. 
 
 The martyrdom of St. Urjula and her companions, a large plate, length- 
 ways, from the faiTie. 
 
 Several of the plates, engraved from the pictures in the grand gallery at 
 Florence. He alfo engraved from the Carraccii, Guido, &c. 
 
 LORENZO LORENZINI. 
 
 Flourifhed, 1759. ,>'- 
 
 An Italian artift, who engraved part of the coUedion of prints, from the 
 cabinet of the marquis Gerini. 
 
 MELCHIOR LORICH. 
 
 Flouriftied, 1560. 
 
 This ingenious artift was a native of Henfburg in Germany. He was a 
 painter, a defigner, and an engraver, both on wood and on copper. His 
 paintings I am not acquainted with ; but his engravings evidently prove him 
 to have been a man of genius. They are, in general, dellgned with great 
 fpirit; and he drew the human figure with a tolerable degree of correftnefs. 
 His works on wood are executed in a bold, free ftyle 5 thofe on copper are 
 neat to an exceffive degree ; but it muft be owned, that what is gained in 
 neatnefs is fometimes loft in freedom and fpirit. A very extraordinary exer- 
 tion of this artift with the graver is in zfigurefaflenedto a crofs, apparently 
 from, a defignof Michael Angelo Buonaroti. . The left leg and the arms are 
 greatly fore-lhortened. This figure, if it be not quite correct in all its parts, 
 is, however, notwithftanding the difficulty of expreffing thofe which are forr- 
 fliortcned, well drawn upon the whole, and finiflied with the graver onlv, in 
 
 VOL. II. P a ftyle 
 
LOR [ io6 ] LOT 
 
 a ftyle equal in neatnefs to that of Jerom or Anthony Wierix, and, I think, 
 fuperior to him in point of tafte. It is dated 1550. Lorich did not often fign 
 his name at length ; but ufed a monogram, compofed of an M. and an L. 
 joined too;ether, and ufually furmounted with an F. with the date, which is 
 fometimes omitted. In the mark to the figure above-mentioned, the L. 
 is upon the top of the M. and the F. for fecit by the fide of both. See 
 the plate at the end of the volume. We have by this artift. 
 
 The portrait of Jll^ert Durer, a fmall upright plate, dated 1 5 50. 
 
 A w07nans head, a fmall upright plate, dated i 55 1 . 
 
 The ponrz\to( the grand feignour, and the/iiltaua, his favourite; two fmall 
 plates, very fcarce. Thefe are all very neatly executed on copper. 
 
 On wood I (hall only mentipn the following : 
 
 A fet of prints reprefenting the habits, cujloms, &c. of the Turks, in fmall 
 folio, dated from 1570, to 1581. 
 
 A woman fianding preffing her breafis, with a variety of animals below ; 
 a very fpirited print in folio. At the top is this infcription, £>p0 &atunu 
 coniujc, iTi)atcrquc aDeoruiu, dated 1665. 
 
 A lady in full drefs, a fmall upright print, dated 1551. 
 
 L O R I O N E. 
 
 Flourilhed, 
 A name affixed to a flight, fliff etching, reprefenting ruins in a land- 
 /cape, VN'ith fcveral figures, apparently the work of a painter. 
 
 CLAUDE LORRAINE. See Gelee. 
 
 LOUIS JOSEPH LORRAINE. 
 
 Flourilhed, 1750. 
 A French painter, whorefided in RulTia, where he died. We have by his 
 hand feveral etchings from his own compofition ; alfo four fmall plates from 
 Vie Tvoy, VQpTtie:r\l\ngthe Judgment of Solomon. Solomon facrificing to the 
 Idols. EJlher before Ahafuerus, and the death of Cleopatra. 
 
 JOHN BAPTIST LORRAINE. 
 Flourilhed, 1760. 
 A modern French engraver, by whom we have feveral engravings from 
 various mafl:ers ; alfo a few portraits. 
 
 L O S N E. See Laulne. 
 
 LOTHARINGUS. See Beatrici. 
 
 M. LOU- 
 
LOU [ 107 ] LOW 
 
 M. L O U R O N. 
 
 Flouriflied, 
 We have fome (light etchings by this artift, confifting o^ figures on foot ayid 
 on horfeback. They are all fmali plates, length-ways ; and from the hafty 
 manner in which they are executed, he appears evidently to have been 
 a painter. They are from his own defigns. I believe there is a miftake in 
 the name ; and that it fhould have been written Lauron. Marcellus Lauron 
 was a native of Holland, and a painter of much repute. He refided a con- 
 fiderable time in England, and died at Richmond in Surry, about the vcar 
 1703, aged 52. See. Lauron. 
 
 FRANCOIS DE LOUVEMENT. 
 
 Flourifhed, 1680. 
 
 This engraver was a native of France. It appears from Florent le Comte, 
 that he was in Italy, and worked at Naples, at the time Francois de Poilly 
 refided there. What time he returned to France is not recorded, nor whei« 
 or when he died. We have by his hand, 
 
 'the martyrdom of St. Stephen^ a large upright plate, from Pietro de Cortona. 
 
 St. Francis of Xavier, interceding for the people aff.iEled with the pefiilence. 
 
 The fame, from Ciro Ferri. 
 
 He alfo engraved from Lanfranc, Sollmeni, and other mafters. 
 
 JOHN LOUIS, or LOUYS. 
 
 Flourifhed, 1640. 
 
 This artift, according to Bafan, was a native of Flanders, He learned the 
 art of engraving from Peter Soutman, at the time that Suyderhoef ftudied 
 under the fame maftef j but Louis never equalled his fellow difciple, either 
 in tafte, or delicacy of execution. His ufual ftyle of engraving bears fome 
 refemblance to that of his mafter's. I fhall only mention the following prints 
 by this engraver : 
 
 Diana, with her Nymphs, repofing after the chafe, a middling-fized plate, 
 length-ways, from Rubens. 
 
 The reJurreSlion of Lazarus, zvc{\dd\ing-^\ze.i\ upright plate, from J. Lie- 
 vens. 
 
 Lctiis XIII. of France, and its companion, Ann of Juftria, his queen, 
 together with Philip IV. of Spain, and its companion, Elizabeth of Bourbon, 
 his queen : all four middling-fized upright plates, from Rubens. 
 
 He alfo engraved portraits and other fubjefts from Van Dyck, Oftade, 
 Both, and other mafters. 
 
 ROBERT LOWRIE. 
 
 Flourifhed, 1770 
 
 A modern engraver in mezzotinto, by whom w.e have feveral portraits ; 
 as Mrj, Baddeley the aclrefs, after Zoffany, &c. 
 
 Pa L O Y R. 
 
L O Y [ io8 ] LUC 
 
 L O Y R. See Loir. 
 
 J A Q^U E S L U B I N. 
 
 Flouriflied, 1696. . 
 
 An engraver of fome note. He was a native of France, and probably a 
 dllliple of Edclinck; at It-aft he endeavoured to imitate the ftyle of that maf- 
 tcr, and fomctimes not without fuccefs. We have by him, 
 
 Chrijl carried to the tomb, a large plate, length-ways, from Le Sueur. 
 
 Robert Arnaud d'Jndilli, and feveral other portraits, for Perrault's col- 
 lection oi lUiifirious Men., publifhed 1696. 
 
 LUCAS of L E Y D E N. See Jacobs. 
 
 LUCAS. 
 
 Flourifhed, 1700. 
 
 A French artift, who flourifhed at the commencement of the prefent cen- 
 tury. We have feveral plates of architefture, very neatly engraved by him, 
 iox ^\^ CQ)\iiQi\on o{ Views of Verjailles, in a loofe folio, publifhed by P, 
 Menant. 
 
 Claude Lucas, the fon of this gentleman, according to Bafan, was alfo 
 an artift, and executed feveral plates with the graver only. 
 
 MICHAEL LUCENSIS. 
 Flouriflied, 1550. 
 
 He is cited as an engraver by Florent Le Comte j and it is certain, that he 
 was eflabliihed at Rome as a printfeller. His name and the initials M. L. 
 are both upon a middling- fized upright plate, flightly etched, reprefenting 
 a holy family, into which St. Mark, &c. is introduced, from Julio Romano, 
 This print has alfo the monogram, attributed to Marius Kartarius. The 
 name of the engraver is figned at length in this manner : Michaelis Lucenjis 
 Opera. 
 
 Michael Lucchese, mentioned in the Abecedario, to whom a very fin- 
 gular monogram is attributed, is apparently the fame artift. It is affixed to 
 a St. Sebajlian, dated 1 550, and alfo to a madona from Raphael. 
 
 LUCCHESE. See Lucensis. 
 
 ANTONIO FRANCESCO LUCINI. 
 Flouriflied, 1646. 
 
 An engraver, who refided at Florence. The prints marked with a mono- 
 gram, compofed of an A. and an F. joined together, and followed by an L. 
 and an F. are attributed to him. See the plate of monograms at the end of 
 the volume. 
 
 HANS. 
 
LUC [ 109 ] L U T 
 
 HANS, or JOHN VAN LUCK. 
 
 Flourifhed, 
 
 An ancient engraver on wood, to whom the prints, marked with an L. 
 an H. and an F. joined together, are attributed. See this monogram copied 
 on the plate at the end of the volume. 
 
 LUGRENCELLIS. 
 
 Flourifhed, 
 To a bold, fpirited etching, in a mafterly ftyle, refembling that of Caf- 
 tiglione, reprefenting a Bacchanal, I find this name affixed : Lugrencelis 
 inv. etjculp. 
 
 L U I K E N. See Luyken. 
 
 GEORGE L U M L E Y. 
 
 Flouriflied, 
 
 An engraver in mezzotinto, who refided at York. We have by him 
 feveral portraits, &c. 
 
 L U N A R D U S. 
 
 Flouriflied, 1520. 
 
 This obfcure artift was an engraver on wood. I have feen fome frontif- 
 pieces executed by him, in a bold fpirited ftyle, apparently from his own 
 compofition. They prove him to have been a man of genius, and inferior 
 to none of the matters in that clafs of engraving, who were contemporary 
 with him, 
 
 JAMES LUTMA. 
 Flouriflied, 1650. 
 
 By this artift, who, I am inclined to think, was a goldfmith, efta- 
 blifhed at Amfterdam, we have a fet of twelve middling-fized upright 
 plates of ornamental fields a.nd foliage, etched in a neat ftyle, and finiflied 
 with the graver. They are from thedefigns of John Lutma of Oude, who 
 was probably rhe father of the above-mentioned engraver, and of 
 
 John Lutma, who adds the word junior to his name. He alfo engraved 
 fome plates, one of which only I fliall fpecify. It reprefents a large foun- 
 tain, withjlatues, and the Antonine column, with fome other ruins at Rome. 
 Itis firft etched in a coarfe, bold ftyle; and the fliadows are worked upon 
 with a fine mezzotinto tool. The efFed produced by this mixture of etch- 
 ing and mezzotinto is confufed and heavy ; but not altogether difagreeable 
 to the eye. It is dated 1656. 
 
 4 JANUS 
 
L U T [ no ], L U T 
 
 JANUSLUTMA. 
 Flouriflied, 
 
 This artift was a native of Amfterdam, and probably the fon of John Lut- 
 ma the younger, mentioned in the preceding article. His bufinefs was tliat of 
 a goldfmith ; but he alfo amufed himfelf with engraving, which he executed 
 in a new ftyle, calling it, opus maUet, or the work of the hammer j becaufe 
 it was performed with a hammer, and a fmall punch or chifel, refembling a 
 point, which made an impreffion upon the copper, and by being repeated as 
 occafion required, the fhadows were formed cither darker or fainter, at plea- 
 fure. The barb, which was naturally raifed upon the furface of the copper 
 by fuch an operation, was not entirely removed by the fcraper ; and, in the 
 firft imprelTions, it is the means of producing a foft and agreeable efFe6b. We 
 have four plates executed by him in this manner, fine impreffions of whicli 
 are very fcarce. They are as follows : 
 
 The portrait of John Lutina, his father, reprefented as a bull; a middling- 
 fized upright plate. 
 
 His own portrait, the fame. 
 
 The poet Vondel, the fame. 
 
 P. C liooft, the hijiorian, the fame: all of them apparently from his own 
 defigns. 
 
 'O' 
 
 I. U T T E R E L. 
 
 Flourifhed, 1680. 
 
 He was, it appears, firft brought up to the law, at the New-Inn; but having 
 a difpofition for the arts, he abandoned that profefTion ; and applied himfelf 
 to drawing, efpecially in crayons; and with no fmall degree of fuccefs. 
 
 Engraving in mezzotinto being at this time but newly invented, the prints 
 executed in this manner were much fought after. This was fufficient encou- 
 ragement to put Luttercl upon attempting the difcovery of the fecret. His firft 
 invention for laying the mezzotinto ground was by a roller (with teeth I pre- 
 fumc) but his fuccefs was not equal to the hopes he had formed in its favour. 
 Lloyd, a printitller, with whom our arcift was intimate, engaged with him to 
 procure the fecret ; and an agreement was made between them, that Lut- 
 terel fliould fcrape the plates; and Lloyd fell the impreffions. Accord- 
 ingly Lloyd fiicceedcd, and bribed one Blois, who was employed by Bloote- 
 lino- to lay grounds for him, with fo fmall a fum as forty lliillings, to reveal 
 it. But when Lloyd was in polTefllon of the fecret, he refufed to communi- 
 cate it to Luttercl, which occafioned a quarrel between them. Lutterel 
 then made another attempt in his own way, and produced a ludicrous print, 
 of an old woman blowing a candle out backiuards, which fold gready. Soon 
 after he became acquainted with Van Somcr, and from him learned the whole 
 proc'-fs of the art ; and an intimacy commenced between him and Becket. 
 On the latter going into bufinefs for himfelf, Lutterel engraved a confiderable 
 number of portraits for him, and otherways greatly affifted him. His beft 
 portrait is faid to be that of Le Piper, the painter ; to which I ftiall add tlie 
 
 following 
 
•L U T L 1" ] L U Y 
 
 following only : The dutchefs of Cleveland, after Lely. Robert Cony, M. D. 
 a half-fheet print j and Ben Hamet, in quarto. 
 
 BENEDETTO LUTI. 
 Born, 1666. Died, 1724. 
 
 An enninent painter, born at Florence. He was the difciple of Antonio 
 Donnenico Gabbiani. He applied himfelf very clofely to his ftudies, and 
 excelled in hiftorical painting, which he performed not only in oil, but 
 in crayons. His works are generally and juftly efteemed. His merit 
 procured him, from the eledtor of Mentz, the honour of knighthood, with 
 a prefent of a crofs enriched with diamonds. He amufed himlelf but little 
 with the point, two etchings being ail we know of by his hand ; and both of 
 them are very rare. They are as follows : 
 
 A crucifixion, with St. John and Mary Magdalen at the foot of the crofs, a 
 fmall upright plate, from a compofition of his own. 
 
 A landfcape, a middling- fized plate, length-ways, from Guercino. 
 
 JOHN LUYKEN. 
 Born, 1649. Died, 17 12. 
 
 This ingenious artift was born at Amfterdam. I do not read of him as a 
 painter, but as a defigner and an engraver. Bafan fays of his prints, " We 
 " remark in them a fertility of genius, joined with great fpirit, judgment, and 
 " facility of execution. He is," adds that author, " the Callot, the Delia 
 " Bella, and the L.e Clerc of Holland." In number, I believe, his works 
 will nearly equal thofe of any one of the above-mentioned artifts ; but when 
 put in the fcale with them in point of merit, they mull be found defeftive. 
 He neither drew fo correftly, nor etched in fo clear or determined a ftyle. 
 It is true, there are few of his prints, into which he has not introduced a pro- 
 digious number of figures ; but then the groups are feldom very artfully 
 managed ; the lights, for want of harmony, and from being too much fcat- 
 tered, confufe the fubjeft, and fatigue the eye. It is only comparatively we 
 now fpeak of them. Confidering them by themfelves, they polTefs great merit; 
 though unequal upon the whole to the works of the above great mafters. 
 He died at Amfterdam, 1763. The following are by him, all from his own 
 compofitions. 
 
 Several fets of large hiftorical plates, length-ways, taken from the Bible. 
 
 The hiftory of the martyrs, a fet of fmall plates, length -ways. 
 
 The martyrdom of St. Bartholomew, a large plate, length-ways, on two 
 plates. 
 
 The aJTafJination of Henry the Fourth of France, a middling-fized plate, 
 length- ways. 
 
 A great variety of other hiftorical and emblematical fubjeSis, fairs, public 
 ceremonies, land/capes, book ornaments, &c. &c. 
 
 It is this artift, I prefume, that profcfTor Chrifl fpeaks of under the name 
 of John LvycK., who, he informs us, invented and drew a very confider- 
 able number of hiftorical fubjeSs ; many of which he engraved himfelf on 
 copper, and often ufed the initials, I. L. 
 
 G A S- 
 
L U Y [ 112 ] L U Y 
 
 CASPAR LUYKEN. 
 Flourifhed, 1700. 
 
 This artifl; was the Ton and fcholar of John Luyken, mentioned in the 
 preceding article. He defigned and engraved a confiderable number of 
 plates ; but his works are neither fo numerous nor fo meritorious as thofe 
 of his father, whofe ftyle he imitated. Profeflbr Chrift mentions a modern 
 engraver, refiding at Nuremberg, whom he calls Caspar Luvck, who, adds 
 he, ufed thefe initials, L. C. F. the F. ftanding {or fecit. If he and Gafpar 
 Luyken be not one and the fame perfon (which I fufpeft to be the cafe) I 
 am not in the leaft acquainted with his works. 
 
 D E R I C 
 
M A A [ "3 ] MAC 
 
 M. 
 
 DERICK, or THEODORE MAAS, or MAES. 
 Born, 1656. Died, 
 
 A Celebrated painter of landfcapes and battles. He was born at 
 Haerlem ; and his firft mafter was Hendrick Mommers, a fruit pain- 
 ter; but preferring the works of Nicholas Berchem, he quitted Mommers, 
 and became the difciple of Berchem, He laftly ftudied under Huchtenburg, 
 whofe ftyle of painting he followed with great fuccefs. We have feveral 
 etchings by his hand from compofitions of his own, particularly a fet of fmall 
 plates, reprefenting/^/izVn, borfes, &c, 
 
 P. M A A S, or MAES. 
 
 Flourifhed, 
 
 He was probably a relation to Derick Maas, mentioned in the preceding 
 article, and alfo a painter. I have feen a fmall plate, length-ways, etched 
 in a very flight, but fpirited ftyle, reprefenting the Virgin and Child, -with 
 two angels, to which thefe words are affixed, P. Mass fecit in Aqua fortis. 
 
 Profeflbr Chrift mentions P. Maes, to whom he attributes the prints 
 marked with an M. furmounted by a P. in the manner reprefented on the 
 plate at the end of the volume. But the prints thus marked are very indif- 
 ferent, and chiefly copies, fo that at any rate they cannot belong to the fore- 
 going artiflr. 
 
 FLORIO MACCHI. 
 
 Flouriflied, 1600. 
 
 This artift was a native of Bologna, and a fcholar of Lodovica Carracci, 
 He is mentioned in the Abecedario as an engraver alfo j but none of his 
 works are therein fpecified. 
 
 MACE. 
 Flourifhed, 
 
 This artifl was a native of France. He was employed by Monfieur 
 Jabach, to copy the drawings of landfcapes, which he had in his cabinet, and 
 to etch them. A confiderable number ot the plates in that colledion are by 
 him, the reft are by the two Corneilles, Pefne, andRoufTeau. 
 
 VOL. II. Q G I 0« 
 
MAG r "4 ] M A J 
 
 GIOVANNI MAGGI. 
 
 Flourifhed, 1600. 
 
 This artiftwas a native of Rome. He is fpoken of as a painter; but he 
 is much better known as an engraver. We have by him many flight etch- 
 int^s, which, however, are not worthy of any very great commendation. He 
 undertook to engrave, on a very large fcale, the flan of Rome, with all the 
 Jlreets, principal buildings., &c. But wanting money, the enterprife was 
 never put into execution by him ; afterwards it was performed upon wood 
 by Paolo Maupini. We have by him, among other etchings, a middling- 
 fized plate, length-ways, reprefentingrt /^/7^f«/)f; with ruins and a water- 
 fall, fubfcribed, "J. Maius i. et F. 1595." The portrait of a f^r^//- 
 , 77al, as large as life ; and a fet oi fountains at Rome, in fmall folio, engraved 
 conjointly with Domenico Parafachi, dated 16 1 8. 
 
 ANDREA MAGLIAR. 
 
 Flouriflied, 
 
 An Italian artift, who, according to Bafan, flouriflied at the commence- 
 ment of the prefent century, and engraved feveral prints after Solimene 
 and others. 
 
 GiosEFFO Magliar, fon of this artift, was alfo an engraver. Great 
 cxpeftations were formed from the early fpecimens he gave of his abilities; 
 he died very young. We have by him, Chrifi appearing to St. William^ a 
 middling -fized upright plate, from Solimene. 
 
 M A I I R. See Meyer. 
 
 ISAAC MAJOR. 
 
 Flouriflied, 1620. \ 
 
 He was a native of Germany, and difcovering an inclination for the arts, 
 he was placed witli Roland Savery, under whofe directions he learned the 
 firft principles of iandfcape painting, but being defirous of adding the 
 knowledge of engraving to that of painting, he had recourfe to Giles Sade- 
 ler ; and from him received inftrudions in that art. He applied himfelf 
 chiefly to the ftudy of landfcapes. But his works do not difcover any great 
 indication of tafte, or a fuperior genius j though confidering the age in which 
 he lived, they are not devoid of merit. He united the point with the graver, 
 but not with fufficient lightnefs or eafe. The deep fliadows are not powerful 
 enough, nor the lights properly harmonized or maflTed together; fo that the 
 efFedl is feeble and confufed. We have by him ; 
 
 A fet of fix middling-fized landfcapes, length-ways, from Peter Srephani, 
 A very large Iandfcape, length-ways, into which is introduced a figure of 
 St . Jerom, from Roland Savery ; and feveral others from his own compo- 
 fitions. 
 
 M A I R 
 
MAI [ 115 3 MAI 
 
 M A I R. 
 
 Flourifhedj 1499. 
 
 An ancient German mafter, who, from the refemblance we find in his 
 manner of engraving to that of Martin Schoen, may with great pro- 
 bability be thought to have been his difciple. He defigned in the fame 
 Gothic ftyle, but ftill ftiffer, and without thofe marks of genius, and fertility 
 of invention or cxpreffion, which we find in the works of Martin Schoen. 
 His figures, in general, are not only difproportioned to one another, but 
 very incorredlly drawn j efpecially when he attempted to exprefs the naked 
 parts of them. However, it mull be faid, that if intrinfic merit can have 
 very little fhare in the recommendation of Mair's works to the notice 
 of the public, the Angularity of fome of them v/ill, in a great meafure, 
 fupply that defeft, efpecially with the curious coUeflor. For, according to 
 all appearance, he was the inventor of that fpecies of engraving, known by 
 the name of chiaro-fcuro ; and his mode of performing it was very fimple. 
 He firft engraved the fubjedt propofed upon copper, and finished it as much 
 as the artilfs of his day ufually did. He then prepared a block of wood, 
 upon which he cut out the extreme lights, and then impreffed it upon the 
 print ; by which means a faint tint was added to all the reft of the work, 
 excepting only in thofe parts, where the lights were meant to predominate, 
 which appear to be heightened with white paint. The drawings for this fpe- 
 cies of engraving were made on a tinted paper with a pen, and the lights were 
 drawn upon the paper with white paint. The prints performed in the ftylc 
 above-mentioned, are exceedingly good reprefentations of fuch drawings. 
 The following, among many others, are by this mafter; all of which have 
 his name, and moft of them the date, 1499. 
 
 Sampfon carrying the gates of Gaza, a middling-fized upright plate. 
 
 ^he wife mens' offering, a fmall plate, length-ways. 
 
 The martyrdom of St. Sebaflian, a middling-fized plate, length-ways. 
 
 A man talking to a woman, asfeen in a houfe through the door, at the bottom 
 is reprefented a dog fnarling at a monkey ; a middling-fized upright plate. 
 
 The Virgin holding the infant Chrijl feated on the lap of St. Ann, a fmall 
 upright plate. On the pedeltals of the columns on each fide is a W. the 
 mark of another ancient engraver, from whom it was probably copied. 
 
 The Virgin and Child, with Jofeph holding a candle. The heads of the 
 oxen appear with a crib in the back-ground, buildings, &c. A little 
 angel is kneeling in the front, and another is feen looking over the battle- 
 ments of the building. The ftar is reprefented over the head ot the infant, 
 and its rays fall immediately upon him. This fingular print, which is in , 
 chiaro fcuro, is feven inches three quarters high, by nearly five inches and a 
 half wide, and dated 1499. 
 
 ALEXANDER MAIR. 
 
 Flourifhed, 1660. 
 
 This engraver was a native of Augfburg, where he chiefly refided. We 
 
 0^2 have 
 
MAI [ ii6 ] M A L 
 
 have by his hand feveral book plates and frontifpieces, ornannented with 
 figures both on wood and on copper ; the latter of which are executed in a 
 very mafterly ftyl^", w-i'h the graver only. They fliow us, that he had great 
 command of that inliru'.nent ; and the drawing of the naked parts of the 
 human figure, whenever they are introduced, is much fuperior to what one 
 ufually meets with in works of this kind. It is greatly to be lamented, that 
 a man poflefTed of fuch alailities, as Mair feems to have been mafter of, fhouid 
 not have been employed upon fijbjeds of greater iiTiportance. Tiie fron- 
 tifpiece to Marc Velfcr's DiJJertation upon the Antiquities of Augsburg is 
 by him, dated 1596 ; alfo the frontifpiece to the Uranometria, b^ John 
 Bayer, dated 1603. He feldom figned his name at length, but ufed a mark, 
 compofed of an A. with a fmall m. under it, in the manner exprelTed upon 
 the plate at the end of the volume. 
 
 Paul Mair, an engraver of Nuremberg, and probably of the fame 
 family with Alexander Mair mentioned above, flourilbed, according to M. 
 Chrift, about the fame time, and marked his plates with the initials P. and 
 M. joined together in the manner expreflcd upon the plate at the end of the 
 volume. Paul Mair is faid alfo to have engraved on wood. 
 
 e' 
 
 M A I U S. See Maggi. 
 
 MAISON NEUVE. 
 
 Flourifhed, 1760. 
 
 A modern French engraver, by whom we have feveral prints, particularly 
 the French Parnajfus, from a bronze, and feveral portraits, among others, that 
 of Jaques Theodore Klein, Sec. 
 
 PETER MALEUVRE. 
 
 Flourifhed, 1760. 
 A modern French artift, who refided at Paris, when Bafan published his 
 Diftionary of Engravers. We have feveral prints engraved by himj 
 among others the dozer, a middling-fized upright plate, from Cracfbeck. 
 
 CHARLES DE MALLERY. 
 
 FlourijQied, i6oc. 
 This artift was a defigner, an engraver, and printfeller. He refided at 
 Amfterdam. It does not appear from whom he received his inftruftions in 
 the art of defign and engraving ; but from the great refemblance his ftyle, 
 -with refpedt to both, bears to that of the Wierex's, one would be led to 
 imagine, that he ftudied in their fchool. He worked with the graver only ; 
 and fo exceedingly neatly, that he nearly, if not entirely, equalled the moft 
 laboured performances of Jerom and Anthony Wierix. But then he certainly 
 did not draw fo correftly ; fo that he feems to have poflelTed the fame fhare of 
 patience and attention, without equaljudgment and knowledge of the human 
 
 figure. 
 
M A L [ 117 J MAN 
 
 figure. His portraits, which, in my opinion, conftitute the beft part of his 
 ■works, do him great honour -, fome of them in particular are exceedingly fine. 
 
 The works of this artift are very numerous. I ftiali mention the few 
 following engravings only by his hand : 
 
 Aholy family .y with Mary Magdalen, half figures only, a fmall plate, length- 
 ways, apparently from his own defign. 
 
 Several heads, as o( Chrift, the Virgin Mary, the apojlles, faints, &c. with 
 a variety of devotional Jubje5fs, as well from his own defigns, as from thofe of 
 Anthony Sallarts and other matters. 
 
 Part of the plates for the great huntings, by Straden, in conjunflion with 
 the Galles, the Collaerts, &c. 
 
 The hiflory of the ftlk worms, which were brought by two monks into 
 Europe, on fix middling-fized plates, length-ways, from J. Straden, entitled 
 Vermis Sericns. 
 
 Several plates of horfes, for a book, entitled Le Cavalerice Francois, dated 
 1602. 
 
 He alfo engraved from Martin de Vos, and feveral other matters. 
 
 PHILIP DE MALLERY. 
 
 Flouriflied, 1650. 
 
 According to profeflbr Chrift, this artift refided at Antorf, in Germany, 
 where he engraved feveral fmall ^zy/onVaZ/z^^V^j on copper. They are, he 
 tells us, well executed, and were publiftied about the year 1650. The mo- 
 nogram, which this matter ufed, is compofed of an M. a P. reverfed, and an 
 E. all joined together, in the manner exprelTed upon the plate at the end of 
 the volume. But certainly to me it appears to be rather an M. a C. an A. 
 and an L. which, if the date were not fo diftant, I fhould think better ex- 
 plained by Charles Mallery. 
 
 BERNARD MALPUCCI. 
 
 Flouriflied, 
 
 According to the author of the Abecedario, he was a native of Mantua, 
 and not only a painter, but an engraver on wood, in the manner diftinguifhed 
 by the appellation of chiaro-fcuro. He ufed three blocks, one for the outline, 
 another for the fliadows, and a third for the lights. His mark is compoled 
 of the initials B. M. with three V.'s following, thus : B. M. VVV. though 
 Papillon fays, that the letters which follow ought to be reverfed in this 
 manner: B. M.^^^. There is very little certainty, however, with refpedl 
 to this artift. 
 
 D E MAN. 
 Flourifhed, 
 The name of an engraver, affixed to the portrait oi Ant, van Opjial p5for» 
 
 DANIEL 
 
MAN [ "8 ] MAN 
 
 DANIEL MANASER. 
 
 Flourifhed, 1626. 
 
 This engraver refided at Augfburg. He worked chiefly with the graver, 
 in a neat, ftifF ftyle. Plates of archicefture, plans of buildings, &c. feem to 
 have formed the principal parts of his performances. In conjunftion with 
 Wolfgang Kilian, he executed the plates for a work, entitled, 5^//V^ SS. 
 Vdalrici et afra /higufi^e Vinddicorum Uifioria, publiihed at Augfturg, 1626. 
 He frequently marked his plates with the initials of his name only, in this 
 manner : D. M. F. the F. as ufual {landing ioT fecit. 
 
 ALLAIN MANESON. 
 
 FJourilhed, 
 
 In all probability this man was rather an author, than an engraver, and 
 only purfued the art in order to embellifh his works with fuch cuts, as might 
 be neceflary for the more ready explanation of his difcourfes. I have feen 
 a very indifferent engraving, repreienting the ce'ieflialjpbere, with this in- 
 fcription affixed, Allain Manejon inv. etjculp. au College Royalle de Bourgogne. 
 
 ADRIEN MANGLARD. 
 
 Born, Died, 1760. 
 
 A modern French painter, who during his ftudies at Rome, died in that' 
 city, A. D. 1760, according toBafan. We have feveral etchings by his hand, 
 particularly land/capes and/ea views, from his own compofitions, 
 
 JACOB MANN L. 
 
 Flouriflied, 1730. 
 
 He was a me2Zotinto fcraper; and M. Heineken fpeaks of him as a man 
 of ablUties. He was employed by C. Lauch, the keeper of the grand 
 gallery at Vienna, to engrave the pidtures which were in that gallery. 
 Accordingly, thirty-one were really finiflied, when the death of the employer 
 and of the engraver prevented the further execution of this laudable enter- 
 prize. And it feemsthat only eleven were ever publiihed j the reft of the 
 plates being afterwards loft, or, as it is faid, fold and deftroyed by the heirs 
 ofMannl. As thefe prints are now become exceedingly rare, I Ihall tran- 
 fcrlbe from the above mentioned author the complete lift. 
 
 I. The work, he tells us, is without any title j but at the head of it is 
 placed the portrait of the emperor, Charles the Sixth. 
 
 1. A dead Chrijt in the tomb, Supported by an angel, half figures, after thp 
 younger Palma. 
 
 3. The Virgin, a half figure, holding upon her knees the infant Chrijl, who 
 is careffing St. John, after Van Dyck. 
 
 4. Mary Magdalen bewailing her fins, accompanied by an angel, from An- 
 tonio Correggio. 
 
 5. St. Fray, cis preying, from Giacomo Baftano, 
 
 6. St. Clair praying, from the fame painter. 
 
 7. The 
 
MAN [ 119 J MAN 
 
 7. The refentence of St , Peter, a half figure, from Spagnoletto. 
 
 8. The martyrdom of St. Bartholomew , from Luca Giordino. 
 
 9. Chriji praying in the Garden qf Olives, accompanied by an angel, from 
 Michael Angelo Caravaggio, 
 
 10. Vsnus beholding herjelf in a mirroitri which is held by Love, from 
 Titian. 
 
 11. Judith departing from the tent of Holophernes, from Paolo Veronefe. 
 
 12. Chrift in the Temple converfing with the dolors, half figures, from 
 Spagnoletto. 
 
 13. Sampfon delivered to the Philiftines, a large print, from Van Dyck, 
 
 14. An eccehomoy half figure, from Titian. 
 
 15. 27^1? Virgin Mary reprejented as very forroivful, a half figure, from the 
 fame mafter. 
 
 16. A philofopher meditating upon afciill, a half figure, from Luca Gior- 
 dano. 
 
 17. A geometrician meafuring with his compajfes the figures in a book, a half 
 figure from the fame painter. 
 
 18. St Marguerit a treading upon the dragon from Raphael. 
 
 19. Tobit rejloring his father to fight, hili Hgures, from Michael Angelo 
 Caravaggio. 
 
 20. ChriJI betrayed, hM Rgures, after Manfrede, 
 '21. Sufanna at the bath, from Tintoret. 
 
 22. Sufanna furprifed by the two Elders, from Annibale Carracci. 
 
 23. Jupiter and Mercury entertained by Baucis and Philemon, after Carl 
 Loth. 
 
 24. Diana and her Nymphs at the bath. The figures in this piflure 
 were painted by Abraham Willeborts, and the animals by John Fyt. 
 
 25. The Virgin holding the infant Chrift upon a table, from Titian. 
 
 26. A warrior accompanied by a man, to whom he gives his hand, after 
 Giorgione da Caftelfranco. 
 
 27. A dying Magdalen, from the younger Palma. 
 
 28. Chrift carrying his crofs, and St. Veronica receiving the Sudarium, 
 half figures, from Giacomo Baffano. 
 
 29. Judith with the head of Holophernes, a half figure, from Alexander 
 Varotari. 
 
 30. Judith, a half figure, after Carlo Veneziano. 
 
 2,^. A child holding a dog, a half figure, from Paolo Veronefe. 
 
 Prenner afTifted by Stampart, alfo undertook this work; but the prints 
 executed by them, chiefly etchings, are very indifferently executed, and by 
 no means equal to thofe above cited by Mannl. 
 
 JOHN ELIAS MANSFIELD. 
 Flouriflied, 1760. 
 A modern engraver, who, according to Bafan, refided in Germany; and 
 by whom we have feveral prints from various matters. 
 
 ANDREA 
 
MAN [ 120 ] MAN 
 
 ANDREA MANTEGNA. 
 Born, 1 45 1 . Died, 1 5 1 7 . 
 
 According to the general opinion of authors, this celebrated artift was born 
 at a village near Mantua. Some few indeed have afferted, that he was a 
 native of Padua. However, all feem to agree, that he was of low parentage, 
 and, in the early part of his life, had no other employment, than that of 
 attending upon cattle. His leifure hours, which of courfe were not a few, 
 he employed in drawing and defigning. Some of thefe fpecimens of his 
 genius being feen by his friends, he was placed with a painter, named Gia- 
 como Squarcione, who was fo pleafed with him, that he adopted him as his 
 Ion, and took all poffible pains to inftruft him in the principles of the art; 
 very properly judging, from the early prodiiftions of his pencil, that he would, 
 in procefs of time, acquire the reputation of a great mafter. Neither was 
 he deceived; for it is faid, that, at the age of feventeen, Mantegna was em- 
 ployed to paint tlie altar-piece for the church of Saint Sophia at Padua, which 
 was looked upon with admiration by every one, and gained him the daughter 
 of Giacomo Bellini for*his wife. He ftudied the antiques with unwearied 
 affiduity; and accordingly, in all his works, we difcover much of that chaft- 
 inefs and fimplicity, which is the characteriftic of thofe noble relics of the 
 remoter times. But, at the fame time, being negleftful of nature, a know- 
 ledge of which ought always to be joined to the Itudy of the antiques, his 
 outlines are, in general, hard and dry; and the gradation of the lights and 
 Ihadows, are not managed with that fkill which is requifite to produce an 
 agreeable effe£t. He was much employed by the duke of Mantua; who 
 was fo well pleafed with his paindngs, that he rewarded him in a bountiful 
 manner, and conferred upon him the honour of knighthood. His mofl: 
 efteemcd performance is faid to be the triumph of Julius Csfar, v/hich is pre- 
 ferved at this time in the Royal Palace at Hampton Court. 
 
 Concerning the mode of engraving, adopted by this great artill, performed 
 by fingle ftrol<.es, running from one corner of the plate to another, without 
 any fecond ftrokcs or hatching over them, in refemblance of drawings made 
 with a pen, we have already fpoken in the Eflay prefixed to the firft volume 
 Chap. IV. and VI. and a faithful copy from one of his engravings, is given, 
 plate VI. of the fame volume; to which the reader is referred. With re- 
 fpeft to the general obfervation, that the Italians confider him as the inventor 
 of engraving on metal, it mull be made one would think, by luch only, as 
 have not ken Vafari, whoexprefsly attributes the honour to Finiguerra, and 
 places the xra of the invention as early as 1600 ; at which time, Mantegna was 
 only nine years old. From the artift, whoever he might be, that executed the 
 original of plate V. it is probable, that Mantegna, as well as his contempo- 
 rary Pollaioli, received their inftruftions in the art of engraving; at lead, it is 
 certain, that they botli of them adopted precifely the fame mode ot pcrfo.*--' 
 mance. By profeffor Chi ill, and others, a mark, compofed of an M. and an A. 
 joined together, fometimes with an F. either above the monogram, joined to it, 
 or following it, is attributed to this mafter. But all thofe marks, without doubt, 
 belong to Marc Antonio Raimondi, and not to Mantegna. Thereader may fee 
 
 them 
 
 > 
 
MAN' [ J2I ] MAR 
 
 them diftinguifhed upon the plate of monograms, among the marks of 
 Marc Antonio. A tablet, like that expreffed upon the fame plate, is fre- 
 quently found upon the engravings of Mancegna ; but this is by no means 
 a proof, that the print was executed by him ; for Brixianus, and feveral other 
 contemporary engravers, ufed a fimilar tablet. Mantegna's prints are beft 
 diftinguifhed by the excellency of the defign, and the truth of the outlines, 
 efpecially where the naked parts of the human figure occur. 
 
 The following prints, among others, are by this matter : 
 
 The entombing of Chrift, a middling-fized plate, length-ways. On the 
 tomb is this infcription, humani generis redemptori. 
 
 Chrift holding the ftandard of the crojs between two faints, a large upright 
 plate. 
 
 A battle of Jea gods, in which isjeen a back-figure of Neptune ; a middling- 
 fized plate, length-ways. 
 
 A battle of Tritons, &c. without the figure of Neptune, the fame. 
 
 Four dancing female figures, the fame. 
 
 A Bacchanalian, a large plate, length-ways, in which a young man, in- 
 toxicated with liquor, appears feated upon a tub, fupported by a fatyr. 
 
 The triumph of Julius C<efar, engraved from his own painting, on nine 
 middling-fized plates, nearly fquare. A complete fet of thefe engraving is 
 exceedingly rare. They were copied in chiaro-fcuro by Andrea Andreani. 
 
 BENEDETTO MANTEGNA. See Montecna. 
 
 M A N T U A N U S. See Ghisi. 
 
 RODOLPHE MANUEL. See Deutsch. 
 
 M A N W A I R I N G. 
 
 Flouriflied, 1760. 
 A name affixed to the portrait of the Rev. Mr. Madan. 
 
 CARLO MARATTL 
 
 Born, 1625. Died, 1713. 
 
 This celebrated painter was born at Camerino, in the Marquifate of 
 Ancona. He was the difciple of Andrea Sacchi, and excelled in hiftorical 
 and portrait painting. He ftudied with great attention, not only the moft 
 excellent remains of antiquity, but alfo the remarkable paintings of the 
 Italian fchools ; by which means he made himfelf mafter of the moft beau- 
 tiful and elegant forms ; and thefe he introduced into his own compofitions 
 with great fuccefs. But he is particularly commended for the dio-- 
 nity and grace, which he manifefted in the airs and turn of the heads 
 of his female fiaiures. 
 
 He amufed himfelf with the point; and his etchings are executed 
 in a -free, fpirited ftyle; much neater, and better finiftied, than thofe 
 of painters ufually are. The charadtrs of the heads of his figures 
 
 VOL. II. R are 
 
MAR [ 122 ] M A R 
 
 are finely expreffed ; and the naked parts of tiiem, wherever they occur, 
 are touched in a maftcrly manner. 
 
 We have many prints by him, all of which are much efteemed j and, 
 among them, the following: 
 
 A fet of ten fmall upright plates, the fubjeds taken from the life of the 
 Virgin, after his own compofitions. 
 
 Several holy families and madouiu, the fame, of various fizes. 
 
 Jofeph difcoveriiig himfelf to his brethren, a middling fized plate, length- 
 ways, from Francis Mola. 
 
 Chrifl dijcourfing loith the woman of Samaria^ a large upright plate, from 
 Annibale Carracci. 
 
 "The fcourging of St. Andrew., a middling fized plate, length-ways, from 
 Dominichino. 
 
 Heliodorus dnven for/i the Temple, a large print, length-ways, arched at 
 the top, on two plates, from a pifture of Raphael in the Vatican. 
 
 St. Charles Borromee, interceding for the people affdcled with the plague yZ. 
 large upright plate, from Perugin. 
 
 MARC ANTONIO. See Raimondi. 
 
 MARC D E RAVENNA. See Ravenna. 
 
 A. MARCENAY DE GHUY. 
 
 Flourifhed, 1760. 
 
 A modern French engraver, by whom we have the following prints : 
 Tohit refloring fight to his father Tobias, a fmall upright plate, from 
 
 Rembrant. 
 
 The tejiament of Eudamidas, a middling-fized plate, length-ways, from 
 
 Pouflln ; and fcveral portraits ; among them, Henry IV. of France, the 
 
 duke of Sully, Marpal Saxe, &c. 
 
 PETER MARC HAND, or MARCHANT. 
 
 Flouriflied, 1577. 
 
 An ancient engraver on wood and copper. According to profeflor Chrift, 
 he marked his prints with a monogram, compofed of a P. and an M. joined 
 together, in the manner exprefied upon the plate at the end of the volume j 
 to which was ufually added the date, 1577. I much doubt, whether the 
 mark with the date above-mentioned can poffibly belong to this artift. 
 
 I have fecn his name at length, affixed to a book of goldfmiths ornaments, 
 confining chiefly of fprigs and foliage, executed in a very neat, free ftyle, with 
 the graver only. To his name he added the date in this manner : " Petrus 
 «' Mirchant fecit, 1623." Sometimes he ufed a monogram, not greatly 
 different from that given by M. Chrift. See the plate of monograms. 
 
 Marchand is alfo the name of a modern artift, affixed to a portrait of 
 Mrs. Gibber, after Hudfon. 
 
 MARCO. 
 
MAR [ 123 ] M A R 
 
 MARCO. 
 Flouril"hed, 
 This is only the baptifmal name of fome painter, for fuch he appears to 
 have been, by a rude, Qight etching of a landfcape, into which is introduced 
 the Sibyl JJjowing to the emperor Jugujlus the Virgin and Child, who appear in 
 the chads. It is a large plate, length-ways ; and the name is infcribed in this 
 manner : marco. av. f. but without any date. 
 
 M A R C O U L. 
 Flouriflied, 
 
 According to Florent le Comte, we have engraved by him feveral 
 ornamental prints for lock and gunfmiths, he being himfelf in that way of 
 bufinefs. 
 
 J A QJJ ES MARGHUCCI. 
 Flouriihedj 
 An engraver and printfeller, by whom, according to M. Heineken, wc 
 have fome prints of antique bufts, Jlatiies, &c. 
 
 MICHAEL MARIESCHI. 
 Born, Died, 1743. 
 
 This artift was a native of Venice, and excelled in defigning and painting 
 of architedure. He worked a confiderable time in Germany; and afterwards 
 returned to Venice, where he painted the moft remarkable views in that city, 
 which he alfo etched. He died, 1743* 
 
 JOHN MARIETTE. 
 
 Born, Died, 1742. 
 
 This Ingenious artift was a native of France. He ftudied under J. B. 
 Corneille, his brother-in-law, with the intention, it feems, of becoming a 
 a painter. But, by the advice of Charles L,e Brun, he quitted that purfuit, 
 and applied himfelf to defigning and engraving, and alfo carried on a con- 
 fiderable commerce in prints. His co.npofuioas have frequently a confiderable 
 degree of merit. The heads of his figures are often well charaftenzed ; his 
 drawing, though much mannered, is not abfolutely incorredl. His ftyle of 
 graving is coarfe and flight. He worked with both the point, and graver i 
 but never greatly excelled in the ufe of either. We have a prodigious 
 number of prints by this mafter ; many of them f nail plates tor books, 
 vignettes, and other ornaments of the like kind, as well from his own com- 
 pofitions, as from thofe of Corneille and other mafters. The following are 
 placed among his m.oft capital works : 
 
 St. Peter delivered from prifon by an angel, a large plate, length-ways, from 
 Dominichir.o. 
 
 Mojes found by Pharaoh's daughter, the fame, from Nicholas Pouflln. 
 
 R 2 ^he 
 
MAR [ 124 ] MAR 
 
 The angels mir.ijlring to Chrifi in the defart, a large upright plate from Lr 
 Brun. 
 
 M A R I N U S. 
 Flouriflied, 1630. 
 
 This artift was a native of Flanders, and he refided principally at An- 
 twerp. His plates are executed in a very fingular ftyle, with the graver 
 only. The ftrokes are very line and delicate, and crofled over each other in 
 a lozenge-like form, which he filled up with thin, long dots. Fie alfo feems 
 to have greatly affefted to fhow his command of the graver, by the twilling 
 and turning of the ftrokes, without the leaft reftridtion. His prints, though 
 generally very neat, want the ftyle of the maftcr in the determination of the 
 folds of the draperies, and the outline of the huiTsan figure, the extremities 
 of which are heavy and not marked with precifion. Cornelius V'ilTcher 
 feems to have had an eye to the works of this mafter -, for his ufual ftyle of 
 engraving bears no fmall refemblance to that of Marinus, but confiderably 
 improved, efpecially with regard to the clearncfs and beauty of efivft. Fine 
 impreftions from the beft plates of Marinus are held in very high eftimation ; 
 among which the following may juftly be reckoned : 
 
 ne flight into Egypt, a night piece; a large plate, length-ways, from 
 Rubens. 
 
 St. Ignatius curing the dijeajed ; a large upright plate, from the fame painter. 
 
 St. Francis of Xavier reftoring life to a dead -perfon, its companion, the 
 fame. 
 
 The adoration of thefhepherds, a large upright plate, from Jaques Jordaens. 
 
 Chrifi before the high priejl Caiphas, the fame, from the fame painter. 
 
 The martyrdom of St. JpoUinus, the fame, from the fame. 
 
 The village children forming a g-rotefque concert, a iniddling-fized plate, 
 length-ways, from C. Sachtleven, dated 1633. 
 
 He alio engraved from Michael Angelo, Carravaggio, Van Dyck, and 
 other mafters. 
 
 M A R I O T T I. 
 Flouriftied, 
 By this artift, who, I prefume, was an Italian and a painter, we have etched, 
 in a flight fpirited ftyle, a frontilpiece to a colieftion of altar-pieces, pub- 
 liftied at Rome by Giovanni Giacomo Roffi, in folio. It is from a defign 
 of Giro Ferri ; and the naked parts of the figures which occur in it are well 
 drawn, and in the ftyle of a painter. 
 
 M A R L I E. See Lepice. 
 
 M A R L O W. 
 FlouriJhed, 1675. 
 The name of an obfcure Englifh engraver, whofe only employment appears 
 
 t9 
 
M A R [ 125 ] M A R ■ 
 
 to have been for the bookfellers. We find ir fiibfcribed to a portrait of 
 John Mayne, which was prefixed to a Piaclice of Arithmetic^ in odtavo, pub- ' 
 liihed 1675. 
 
 EDMUND MAR M ION. 
 
 Flouriflied, 
 
 If this artift was not an Englifiiman, he certainly refided in England. We 
 have feveral flight etchings by him, but not executed in a fuperior ftyle. 
 The manner he adopted bears fome refemblance to that of Gay wood ; but 
 the latter was certainly the better arcift of the two. I have feen two or three 
 fmall domeftic fubjedts by Marmion, reprefenting gentlemen and ladies, 
 from defigns of his own. His name is alfo affixed to the portrait oi George 
 'Tooke of Popes. 
 
 JOHN MAROT. 
 
 Flourifhed, 1670. 
 
 This artift was a native of France, and an archite6i: of fome note. He 
 chiefly, however, employed himfelf in engraving plans and elevations of 
 buildings, views of churches, palaces, and other great architeftal works, in 
 v.hich he was alTifted by his fon. " His works," fays M. Heineken, " are 
 " very confiderable, efpecially if we join to them thofe of Daniel Marot, 
 " architeft to William the Third, king of England, who alfo engraved a 
 " great number of plates. We have a collecStion of prints, entitled, Receuil 
 " des Planches des Sieurs Marot, fere l£ fils ; and," continues the fame author, 
 " as I find, in that colledlion, prints marked with the name of Daniel Marot, 
 *' I am led to believe, that Daniel, the architedl above mentioned, was the 
 " fon of John Marot." 
 
 A. D. Marotte is a name affixed to feveral plates, in a large folio col- 
 leftion of plans and elevations of the public buildings at Rome, entitled, 
 Les Edifices Antiques de Rome, publifhed at Paris by Antoine Defgodetz, 
 1682. The name probably ought to be fpelt Marot, as I cannot find the 
 leaft account of any artift named Marotte; and the ftyle of engravino-, in 
 which thofe plates is executed, exaflly refembles that of the Marots. 
 
 WILLIAM MARSHALL. 
 
 Flourin:ied, 1640. i.- 
 
 He was one of thofe laborious artifts, v.hofe engravings were chiefly con- 
 fined to the ornamenting of books. And indeed his patience and afliduity 
 is all we can admire, when we turn over his prints, which are prodigioufly 
 numerous. He worked with the graver only, but in a dry, taftelefs llyle j 
 and from the fimilarity, which appears in the defign of all his portraits, it is 
 liippofed, that he worked from his own drawings after the life, though he did 
 not add the words, ad vivum, as was common upon fuch occafions. But, if 
 we grant this to be the cafe, the art'ft will acquire very little additional 
 honour upon that account j for there is full as great a want of tafte 
 
 manifcft 
 
:M A R [ 126 ] M A R 
 
 manifefl; in the defign, as in the execution of his works on copper. As far 
 as one can judge from the portraits, which we have by him, he appears to 
 have begun to engrave early in the reign of James the Firft 5 and he was em- 
 ployed by Mofcley the bookfeller, for forty years from the year 1634. Por- 
 traits conftitute the beft part of his performances ; but we have befides a 
 large number of frontifpieces, ornamental pages, and other decorations for 
 books, by his hand. I fhall take notice of the following prints only : 
 
 yllexander, earl of Sterling, an oval in quarto. 
 
 Dr. Donne when young, an o6lavo plate. 
 
 The Rev. Dr. John Taylor, an oval quarto. 
 
 The Rev. John Sym, the fame. 
 
 Rev. Jofiah Shute, an oval in folio. 
 
 Sir Thomas Fairfax on horfeback, a fmall half-flieet print. 
 
 The frontifpiece to the Arcadian Priiicefs, in odlavo, dated 1635. 
 
 The frontifpiece to the Evangelical harmony, printed at Cambridge, in 
 quarto. 
 
 The frontifpiece to Virgil's Works hy Ogilby, dated 1649. 
 
 DES MARTEAU. 
 Flouriflied, 1760. 
 
 This ino-enious artift revived the fpecies of engiaving, which had been 
 attempted in feveral ftyles by fome of the old matters, alio bv Lutma, Bou • 
 langer, and other more modern artifts ; and indeed carried it to great perfec- 
 tion. It is performed with a point, and confifts entirely of dots, which are 
 alfo foftened and harmonized with the graver. We have by Des Marteau, who 
 was a native of France, and reiided at Paris, feveral excellent engravings, in 
 imitation of chalk drawings ; particularly academical ftudies, from the 
 drawings of the greateft French artifts. He did not, however, confine 
 himfelf entirely to academy figures ; we have feveral paftoral fubjeds by 
 him, from Boucher, and fome few hiftorical and emblematical prints : among 
 them are the following : 
 
 Lycurgus flruck upon the face by a plebeian, by which blow he lofl his eye, a 
 middling-fized plate, length-ways, from the younger Cochin. 
 
 Jiifiice protecting the arts, a fmall upright plate, from the fame. 
 
 An alle<yorical JubjeCl upon the death of the Dauphin, the fame, from the 
 lame. 
 
 PETER M A R T E N E S I E. 
 Flourifhed, 1760. 
 This artift was a native of Antwerp, and the difciple of Le Bas, whofe 
 ftyle of engraving he imitated, and with fome fuccefs. He refided at An- 
 twerp, where he executed feveral plates ; among others. 
 The country watering place, a middling-fized, upright plate, from Berchem. 
 The father of the family, a large plate, length-ways, from Greuze. 
 
 MARTIN SCHOEN. See Schoen. 
 
 M A R- 
 
MAR [ 127 ] MAS 
 
 MARTINET. 
 
 Flourifhed, 
 
 The name of a modern French lady, who was daughter in-law to Nicholas 
 Dupuis, from whom {he learned the art of engraving. We have by her hand, 
 among other things, the death of Adonis, a large upright plate, from Bianchi. 
 
 Martinet, brother to the above-mentioned lady, engraved fome fmall 
 views, vignettes, animals, &c. 
 
 MARTINI. 
 
 Flourifhed, 
 
 To an emhlernatical Juhje5t, very (lightly, and indeed very indifferently 
 etched, I have fcen this inlcription. Martini opus. It is a fmall upright 
 plate ; but the artift is entirely unknown to me. 
 
 M A R T I R. 
 
 Floiirifl:ied, 
 A name affixed to the portrait of Vincentius Maculanus.. 
 
 M A R V I E. 
 
 Flourifhed, 
 This artift does not feem to have been a regular engraver, but adefigner. 
 However, he etched a few plates, particularly on--, reprefenting the rejoicing 
 made at the birth of the duke of Burgundy, which was finifhed with the graver 
 by J. Ouvrier. 
 
 F. D E LA M A S E. 
 
 Flouriflied, 
 By this obfcure artift, who apparently was a native of France, we have 
 fome few etchings, which feem to merit more attention than has been paid 
 to them. I fhall mention one in particular, reprefenting St. Jerom in his 
 cavern, a middling-fizcd upright plate, from La Hyre, which proves him 
 to have been a man of ability. 
 
 MAS QJJ E L I E R. 
 
 Flourifhed, 1760. 
 A modern French engraver, by whom we have feveral plates, and, among 
 others, <tn old man reprejented in a dejart, kneeling near a fcull, a middling- 
 fized upright plate, from Gerard Dou, entitled, Diogenes-, alfo feveral w^- 
 nettes and other ornamental book-plates, &c. 
 
 MAS- 
 
MAS [ 128 ] MAS 
 
 M A S S A R D. 
 
 Flourilhed, 1760. 
 
 A modern French artift, by whom we have a viriety of vignettes and other 
 book-plates, from the younger Cochin, Parifcau, and other mafters. 
 
 JOHN BAPTIST MASSE. 
 
 Flourifhedj 1750. 
 This artift was an excellent miniature painter. He was living, when 
 Bafan publiftied his Diftionary, at Paris, his native city ; but muft, at that 
 time, have been a very old man. It appears, that in the early part of 
 his life, he applied himfelf to engraving ; but he afterwards quitted that 
 profefTion, and ihidied painting. However, to his care we owe the fcveral 
 fine engravings from the pictures of Le Brun in the gallery at Verfailles. 
 Part of the drawings he made himfelf, for the engravers who were employed 
 to work from, and direfted the work, which, fays Baian, required every exer- 
 tion on his part, to bring it to that perfedion with which it was executed. He 
 eno-raved himielf, the portrait of Mary of M'^dicis, which is placed at the 
 head of the colle6tion of prints, entitled, the Luxembourg Gallery, from the 
 pidures of Rubens. 
 
 G. M A S S I. 
 Flouriflied, 1730. 
 Is a name affixed to a portrait of ^/rtOT«« Sahiati, Card, from P. Nelli. 
 dated 1730. 
 
 C. M A S S I N I. 
 Flourifhed, 
 
 The name of an Italian artift, who was apparently a painter. It is affixed 
 to a fmall upright etcliing, very Ilightly executed, from G. F. Greut, repre- 
 fcnting Penelope with her web. 
 
 ANTHONY MASON. 
 
 Flouriihed, 1670. 
 
 This artift was a native of France. He flouriftied towards the conclufion 
 of the laft century, and refided, I believe, chiefly at Paris. It appears, that 
 he fometimes amufcd himfelf with painting portraits from the life, fome of 
 which he alfo engraved. We liave no account of the life of this extraordi- 
 nary artift ; nor are we even informed from what mafterhe learned the prin- 
 ciples of engraving. Indeed it feems to have been from no mafter ; for 
 he followed no particular ftyle, but adopted a new one of his own. He 
 worked entirely with the graver, and handled that inftrument with aftonifli- 
 ing facility. He feems to have had no kind of rule to direft him, with 
 refpedl to the turning of the ftrokes ; but twifted and twirled them about, 
 without the leaft regard to the d fferent forms he intended to exprefs, making 
 
 4 them 
 
MAT [ 129 ] MAT 
 
 them entirely fubfervient to his own caprice. Yet the effedl: he has produced 
 in this fingular manner, is not only far fuperior to what one could have fup- 
 pofed, but is often very piclurefque and beautiful. It was not in hiftorical 
 engraving that his greateft Ilrength confided. He could not draw the naked 
 parts of the human figure (o correctly as was neceffary ; but where the fub- 
 je£t required the figures to be clothed, he fucceeded in a wonderful manner. 
 He paid great attention to the minuti^ of the defigns he copied from. The 
 hair of the gray-headed man, as the portrait of Brifacier is called, is executed 
 with fo much lightnefs and precifion, that none, who have not feen 
 and examined it, can form an idea adequate to its fingular merit. But 
 thefe beauties, in many other inftances, occur in the works of JMaflbn. It 
 is needlefs to point them out more particularly, as they are obvious even to 
 the common eye. 
 
 Among the moft efteemed works by this admirable artift, may be reckoned 
 the following : 
 
 'The ajjumption of the Virgin, a large upright plate, from Rubens. 
 
 A holy family, a middling-fized plate, length-ways, from N. Mignard. 
 
 Chrifi with the Pilgrims at Emaus, a large plate, length-ways, from Titian, 
 the original pifture of which is in the cabinet of the king of France. This 
 admirable print is commonly known by the name of the table-cloth, for 
 the cloth, with which the table is covered, is executed in a very fingular 
 ftyle. I have feen a proof imprelTion of this plate, in which little more is 
 done than outlines of the figures, &c. fcratched in with a "dry point upon the 
 plate. 
 
 Alfo the following portraits : 
 
 The comte de Harcourt, a large upright plate. 
 
 Guillaume de Brifacier, Jecretary to the queen of France, a middling-fized 
 upright plate ; ufually known in England by the name of the Gray headed 
 Ma>7, becaufe the hair in this print is fo finely executed. 
 
 Anne of Auftria, queen of France, a large oval plate, from Mignard. 
 
 The vicomte de Turenne, the fame. 
 
 M. Guido Patin, Med. Doci. a fmall upright plate, from a pi6ture painted 
 by himfelf, as we may learn from this infcription affixed to it. Ant. Majfon 
 ad vivam ping, et fculp . 1670. 
 
 Magdalene Masson, daughter to the above-mentioned artift, alfo en- 
 graved feveral portraits in a very neat ftyle ; among others that of Zo«/j 
 Hen. de Gondrin de Montefpan, from a painting by her father. 
 
 JAQJJES MATHAM, or MAETHAM. 
 
 Born, 1 57 1. Died, 
 
 This artift was born at Haerlem; and after the death of his father, Henry 
 
 Goltzius, a celebrated painter and engraver, married his mother. From his 
 
 father-in-law he learned the art of engraving. At what age this event took 
 
 place is uncertain ; but we may reafonably conclude, whilft Matham was yet 
 
 very young. Advifed, no doubt, by his tutor, lie went to Italy, to complete 
 
 his ftudies from the works of the greateft mafters ; and in that country he 
 
 VOA. ". S engraved 
 
MAT [ 130 ] MAT 
 
 eno-raved a confiderable number of plates. At his return, he worked under 
 the eye of Goltzius, and produced many very valuable prints. Following 
 the example of his tather-in-law, he worked entirely with the graver, in a 
 clear, free ftyle ; but never equalled him in point of tafte or correftnefs of 
 drawing, efpecially when continedto the naked parts of the human figure. 
 
 The following prints by this artift are greatly efteemed. 
 
 Jbyaha7n putting away Hagar and Ipmael, a large upright plate, from 
 Abraham Bloemart. The companion, reprefenting Elifia and the ividozu 
 of Sarepta, was engraved by Saenredam. 
 
 Sampfon Jleeping upon the knees ofDalilab, a middling-fized plate, length- 
 ways, from Rubens. 
 
 The vifitation of the Virgin, a large plate, length-ways, from Francois 
 Salviati. 
 
 The nativity ofChriJi, a large upright plate, from Taddeo Zucchero. 
 
 The Virgin and child, with Elizabeth and St. John, who is prefenting a bird 
 to the infant Chrift, a middling-fized upright plate, from M. de Boys. 
 
 The marriage in Cana of Galilee, a very large plate, length-ways, from F. 
 Salviati. 
 
 The fame fubjeof, a middling-fized plate, length-ways, from Taddeo 
 Zucchero. 
 
 Chrift raifing the widow' s fon from the dead, a large upright plate, arched 
 at the top, from Frederic Zucchero. 
 
 The crucifixion, a large upright plate, from Albert Durer. 
 
 The fame fubjeSl, after Goltzius, a middling-fized upright plate. 
 
 Chrifi with the two difciples at Emmaus, a fmall upright plate from the 
 fame. 
 
 The affumption of the Virgin, a large upright plate, from Taddeo Zucchero. 
 
 The alliance of Venus with Ceres and Bacchus, a middling-fized plate, 
 length-ways, from Titian. 
 
 Mount Parnaffus, from the pifture of Raphael in the Vatican. 
 
 The loves of the Gods, four middling-fized upright plates. I. Jupiter and 
 Europa. II. Apollo and Leucothoe. III. Mars and Venus. IV. Hercules 
 and Deianira. 
 
 The type of the human life, a very large print on three plates. 
 
 Four times of the day, four middling-fized plates, length-ways, from Carl 
 van Mander. 
 
 Perfius and Jndromeda, a. middling-fized plate, length-ways, from H. 
 Goltzius. 
 
 Cupid and Pfyche, a middling-fized upright plate, from Abraham Bloemart. 
 Several large landfcapes, from the fame painter. 
 
 Wc have fome few portraits by this mafter j among others, that o( Jbra' 
 ham Bloemart, from Paul Moreelfe, &c. 
 
 He alfo engraved from Michael Angelo, Paolo Veronefe, Spranger, and 
 a Variety of other mafbers. 
 
 Matham fometimes ufcd a monogram, compofed of an I. an M. and an A. 
 joined togetlier. See the plate at the end of the volume. 
 
 T H E O- 
 
MAT [ 131 ] MAT 
 
 THEODORE MATHAM. 
 Flouriflied, 1630. 
 
 He was the fon of Jaques Matham, mentioned in the foregoing article; 
 and fronn his father learned the firft principles of engraving. He went to 
 Italy to complete his ftudies, and worked in the fchool of Cornelius Bloemart, 
 conjointly with Michael Natalis, Perfyn, and other Flemifli engravers. He 
 did not confine himfelf to the graver only, but fometimes called in the 
 alTiftance of the point. The greater part of his works confifts in portraits ; 
 and many of them are executed in a manner, that does him much honour as 
 an arcift. The following prints are by him : 
 
 The Virgin and Child, with St. John, a middling-fized upright plate, 
 after Bafan, for the coUeftion of engravings from the pidures in the cabinet 
 of M. Reynot. 
 
 ^ holy family, a middling-fized plate, length- ways, from J. Sandrarc. 
 
 Add to thefe the following portraits : 
 
 Michael le Blon, agent to the crown of Sweden, a fmall upright plate, from 
 Vandyck, very fcarce. 
 
 Stephen Vacht, dean ofSarten, a middling-fized upright plate, from J. Spil- 
 berge. 
 
 Claudius a Salmafi, from Dubordieu, the fame. 
 
 Gafpar BarUus, Med. et Philof. the fame, from J. Sandrart. 
 
 Nocuit Differ y the fame, without the painter's name, dated 1638. 
 
 "With many others from P. Gribber, J. Mytens, J. Raveftien, and other 
 Dutch and Flemilh mailers. He often figned the initials T. M. only to his 
 plates i and fometimes he added to them the -word fecit or fculp. for /culpflt. 
 
 ADRIAN MATHAM. 
 Flourilhed, 1630. 
 
 This engraver was a native of Haerlem, but of the fame family with the 
 two preceding artifts. He worked with the graver only, in a ftyle greatly 
 refembling that of Jaques De Gheyn the elder, who was the difciple of Henry 
 Goltzius ; but his works are by no means equal to thofe of that mafter in 
 point of merit. Matham drew the human figure very incorreftly ; the ex- 
 tremities efpccially are heavy, and not well marked. The following en- 
 gravings are by him : 
 
 Part of the plates for a large folio volume, entitled, Academie de Uejpee, 
 publiflied at Antwerp, 1628, by Girard Thibault. 
 
 The golden age, a middling-fized plate, length-ways, from Goltzius. 
 
 An old man careffing a woman, to whom he prefents his purfe ; a large 
 upright plate, from the fame. The heads are nearly half the fize of nature. 
 
 Two beggars, one a man with a wooden leg, who is playing upon the viol ; 
 the other, a woman finging a ballad; a middling-fized upright plate, from 
 A. Vander Venne. 
 
 S 2 M ATHEUS 
 
MAT [ ^3'- ] MAT 
 
 M A T H E U S. 
 
 Flourifhed, 1620. 
 
 This artifl: refided at Paris, where he appears to have worked confiderably 
 for the bookfellers. His engravings art; by no means deftitute of merit. 
 They are exceflively neat, performed with the graver only, and, from the 
 ftylein which they are executed, I iTiould fufpeft that he was the difciple of 
 Thomas de Leu. They appear to be chiefly from his own defigns, and 
 confift in general, of frontifpieces of various fizes, and other ornamental book 
 plates. The figures, which he occafionally introduced, are not badly pro- 
 portioned, or ill drawn. I ihall mention the following prints only by this 
 mafter, all from his own defigns : 
 
 Tbe adoration of the wife men, a fmall upright plate. 
 
 The frontifpiece to a General Hijlory of France, in folio, publiflied at 
 Paris, 1619. 
 
 The frontifpiece to a book, entitled. Amours D'Endimion et de la Lune, the 
 fame, 1624. 
 
 The frontifpiece to the Works of Thomas Aquinas, Paris, 1622, &c. 
 
 C. M A T H E Y. 
 
 Flouriflied, 
 
 The name of an engraver of no great note, affixed to the portrait of 
 Michael Angela Corelli, after Howard ; and fome few others. 
 
 A. M A T H I E U. 
 
 Flourifhed, 1656. 
 
 This artift was apparently a native of France. We have by him fome 
 fpirited etchings, retouched with the graver, in a ftyle fomewhat refembling 
 that of Callot, for a thin folio volume, entitled, Les Arnies triomphantes de 
 fon Altejfe Monjeigneur le Due d'E/peron, pour le SuieLt dejon heureufe entree^ 
 faite dans la Ville deDiion,le %me. May 1656, confifting of the triumphal 
 decorations, which were ufed at the public entry. 
 
 CORNELIUS MATSYS. 
 Flouriflied, 1545. 
 This artift is placed by M. Heineken in the Flemifh fchool. He flourifned 
 about the middle of the fixteenth century ; and from the fmallnefs of his 
 engravings in general, may properly be ranked among the little matters. 
 We have a great number of plates by this artift, chiefly, if not all, from his^ 
 own defigns. His ftyle of engraving bears fome refemblance to that of 
 Francis de Babylone ; but his drawing, though not entirely correft, is cer- 
 tainly fuperior to what we difcover in the works of that old engraver. The 
 . figures defigned by Matfys have much of the Italian tafte in them ; and 
 
 fometimes 
 
MAT L 133 1 jM A T 
 
 ibmetimes they are by no means inelegant, or badly proporrioned. What he 
 failed moft in feems to have been the heads of his female figures, which are 
 neither handfome nor expreffive. Matfys generally ufed a monogram com- 
 pofed by a C. an M. and an A. joined together, to which he often 
 added the date. But we frequently meet with another monogram, much 
 refembling that of Matfys, compofed by a C. an M. and an E. joined 
 together, bearing nearly the fame date. Hence M. Heineken, and other 
 ingenious authors have been led to conclude, that both marks belongad 
 to the fame perfon, and read the name Cornelius Met, or Metfys. 
 Profefibr Chrift attributes the laft monogram to a painter named Gafpar, or 
 rather Cafpar Medebech, of Cologna; but he had forgotten that the fame 
 engraver has, on fome few prints, not only affixed the monogram as mentioned, 
 but his name, or the abbreviation of his name, thus, cor. met. which he him- 
 felf reads Cornelius Metenfis ; and perhaps with great probability of truth. 
 Therefore the three laft letters, met. cannot agree with the name of Mede- 
 bech. But, in order to avoid, as much as poffible, this confufion of names, 
 I fhall lay before the reader my reafons for fuppofing, that thefe marks 
 belonged to two different perfon s j and if theyfliould not appear to be fatis- 
 faftory, he muft judge for himfelf Firft, thofe engravings marked with the for- 
 mer monogram, have more fpirit and appearance of originality of defign, than 
 thofe marked with the latter, which are not only very ftiff and formal, but 
 often copies from other prints. Secondly, the ftyle of the former engravings 
 is more loofe and free ; the latter appears to be founded upon that of Aide- 
 graver; it is neater indeed, in general, but by no means equal in point of 
 merit. Thirdly, in any compleat let of prints, whether taken from the Bible 
 hijiories, or whether they reprefent the virtues, vices, &c. both thefe marks 
 never occur, as they would be likely to do, if they were both of them adopted 
 by the fame mafter; efpecially as we find them upon different prints of the 
 fame date : for thefe artifts were certainly contemporary with each other. 
 The reader will find the prints, marked with the latter monogram, noticed 
 under the article metensis j and both the monograms copied on the plate at 
 the end of the volume. The following prints are all marked in the manner 
 firft mentioned : 
 
 A fet of prints from the Old Teftament, fmall plates, length-ways. Upon 
 fome of thefe, particularly that wherein the angel is reprefented appearing 
 to Hagar in the defert, and that reprefenting' the meeting of Abraham with 
 Melchizedeck, the above-mentioned monogram is not only afHxed, but 
 the name written at length in this manner, Cornelius Matfys fecit : they are 
 dated 1549 and 1550. 
 
 the cardinal virtues, fmall upright plates. 
 
 Cleopatra with the afp, a fmall plate, length-ways, dated 1550. 
 
 An old man with two old women, one of whom holds a bafket of eggs, a fmall 
 upright plate, dated 1549. 
 
 A fet of goldfmiths ornaments, fmall upright plates ; and a variety of other 
 fubjedls. 
 
 COR- 
 
MAT [ 134 1 M A U 
 
 CORNELIUS MATTEUS. 
 
 Flourifhed, 
 
 The name of an artlft, who by his ftyle of etching I fufpeft to have been 
 3 painter. It is affixed to a fmall landscape, with a ruin in the back-ground, 
 etched in a flight, fpirited ftyle, bearing fome refemblance to that adopted by 
 H. Swanefield. 
 
 LODOVICO MATTIOLI. 
 
 Born, 1662. Died, 
 
 This artift was born at Bologna. He learned the firft principles of 
 drawing from Carlo Cignani, and improved himfelf from the works of the 
 great matters. He contra6led a clofe friendlliip with Giufeppc Maria Crefpi, 
 a celebrated painter, and etched feveral plates from his paintings. We 
 have alfo etchings by Mattioli from his own compofitions, and from thofc 
 of Lodovico Carracci, and other matters. 
 
 MAUCOURT. 
 
 Flourittied, 
 
 A modern painter, who alfo engraved feveral mezzotintos from his own 
 compofitions. According to Bafan, he refided at London. 
 
 HENRY MAUPERCHE. 
 
 Flourifhed, i-- 
 
 This artift was a native of France, and excelled in painting landfcapes. 
 He alfo amufed himfelf with the point, and imitated the ftyle of etching 
 adopted by Swanefield, with fome fuccefs. We have by him, a fet of land- 
 fcapes, into v/hich he has introduced fome hiftorical fubjedls from the Bible; 
 middling-fized plates, length-ways, from his own compofitions. Six plates 
 reprefenting the hijlory of 'Tobity the fame. Six reprefenting the hijiory of 
 the Virgin Mary, from the annunciation to the flight into Egypt, both 
 inckifive, the fame. Twelve fmall landfcapes, length-ways, from Swanefield. 
 
 PAUL MAUPIN. 
 Flouriflied, 
 This artift was born at Abbeville in Picardy, and engraved upon wood. 
 We have by him fome prints in chiaro-fcuro, from Jaques Stella, and a 
 very large plan of Rome, with views of the public buildings, which Giovanni 
 Maggi firft undertook to perform j but that artift was obliged to abandon 
 the enterprize, for want of fufficient money to complete it. Bafan mentions 
 another IMaupin, who, he tells us, was a relation to the foregoing artift, and 
 an engraver on wood ; but he has not fpecified any of his works j and Pa- 
 pillon fpeaks of an engraver on wood, whom he calls Saint Maupin, and 
 informs us that he was a native of Lions, and that, in the year 1625, he 
 
 entrraved a view of that town on wood. 
 
 CHRIS- 
 
M A U [ 135 ] M A Z 
 
 CHRISTOPHER MAUREAR. 
 
 Flourifhedj 1590. 
 
 This artift was an engraver on wood, and, according to profefTor Chrift, the 
 difciple of Tobie, or Chriftopher Stimmer. We have many neat little en- 
 gravings by him, chiefly from the defigns of Tobie Stimmer, and Joft 
 Ammon. His mark is compofed of a C. and an M. joined together, in 
 the manner reprefented on the plate at the end of the volume. He appears 
 to have been a native of Zurich. 
 
 DE SAINT MAURICE. 
 
 Flourifhed, 1760. 
 
 This gentleman was an officer in the guards at Paris, and a lover of the 
 arts. He was not only a man of tafte and a colleftor, but he amufed him- 
 felf alfo with the graver. We have by him, among other prints, one repre- 
 fenting an old man flaying upon the flute^ encompajjed by Jive children j a very 
 fmall plate, length-ways, from Le Nain. 
 
 FRANCESCO MAZZUOLI, called PARMIGIANO. 
 Born, 1504. Died, 1540. 
 
 This juftly celebrated artift was born at Parma, and was taught the firft 
 principles of painting by his two uncles. The great reputation, which 
 Michael Angelo Buonaroti and Raphael had acquired by their works, incited 
 his curiofity to go to Rome to examine them. In this city he refided a con- 
 fiderable time, and ftudied the paintings of the latter with great attention, and 
 with great fuccefs. From the fertility of his genius, and the foundnefs of 
 his judgment, it was reafonable to expeft every thing that was excellent at his 
 hand. But his progrefs towards perfecftion was greatly retarded by an idle 
 infatuation, which led him to the ftudy of alchemy; in purfuit of which, 
 he not only wafted a confiderable part of his property, but, what is far worfe, 
 much of that precious time, which \( properly applied, would doubtlefsly 
 have greatly augmented his reputation. 
 
 As a painter, it is needlefs to fpeak of him here. The high efteem 
 his works have juftly been held in for fo many years is a fufficient proof 
 of their value. As a defigner and an engraver only, he claims a place 
 in the prefent work. 
 
 In the etchings of this great mafter, we difcover the hand of the artift, 
 working out a fyftem, as it were, from his own imagination, and ftriving to 
 produce the forms he wanted to exprefs. We fee the difficulty he laboured 
 under ; and cannot doubt, from the examination of the mechanical part of 
 the execution of his works, that he had no inftruftion. It appears to be 
 fomething entirel) new to him, without the knowledge of any thing better. 
 We know, that he certainly was not the firft inventor of etching, becaufe it 
 was pra<5tifed in Germany, before he was of age to attempt it, yet it appears, 
 as if he had been unacquainted of the prior difcovery, or only knew of it 
 imperfeftly by report ; and, in the latter cafe, he might have been nearly 
 
 as 
 
/■ 
 
 t* 
 
 M A Z [ 136 ] M A Z 
 
 as much at a lofs, as in the former. But to return from this digrefTion. 
 The fpirit and genius, which appear through the cloud, are fuch as juftly 
 render his etchings exceedingly valuable ; and on this account, they have 
 been often copied, and fometimcs indifterently. The mechanical part of 
 them is fcratched in with the point, often badly corroded with the aqua fortis, 
 and retouched with the graver, without the leaft appearance of knowledge, 
 as an engraver. But looking beyond thefe defecSts the fweet characters of the 
 heads, to the elegant turns of the figures, and to the beauty and fimplicity 
 of the compofitions of thefe rude flcetches, what is wanting, in the excellen- 
 cy of the mechanical part of the art, is abundantly fupplied to the judicious 
 eye, in the fire and animation of the mafter. The copies are always better 
 than the originals, with refpeft to the regularity of the workmanfhip. But 
 even the beft of them are exceedingly defedlive in ftyle and fpirit ; fo that 
 they are eafUy diftinguifhed upon the comparifon. Good impreffions of 
 the originals are very rare.; fuch, I mean, as are not retouched. From the 
 foulnefs of the copper upon which he engraved, and the little fkill he had 
 in managing the aqua fortis, his etchings are feldom clear or perfedl in their 
 appearance ; though fome indeed are greatly fuperior to others in this refped: -, 
 and thofe perhaps he executed in the latter part of his life. 
 
 It is alio faid, that he engraved many prints on wooden blocks in chiaro- 
 fcuro ; but it is much more likely, as Bafan juftly obferves, that he was 
 only the direftor of thefe works, and that they were executed by Ugo 
 da Carpi, Andrea Andreani, and other matters. De Piles tells us, that 
 Parmigiano kept an engraver in his houfe, named Antonio Frontano, 
 who robbed him of all his plates, defigns, and wooden engravings for 
 the chiaro-fcuros, which drove him nearly to diftraftion ; though he after- 
 wards recovered the greater part of them. Papillon mentioning the fame 
 circumftance, adds, that Frontano was an engraver on wood and copper 
 alfo. But how far this ftory is to be depended upon, I cannot fay. 
 
 The following etchings are by this great mafter : 
 
 Mojes and the burning bujh, a fmall plate length-ways, which, from the 
 great rudenefs of its appearance, feems to have been one of his firft 
 attempts. 
 
 A holy family i wherein the Virgin is repr-efented/eated, and the Child in a 
 cradle before her ; a middling fized plate, length -ways. 
 
 The adoration of the fiepherds, a fmall upright plate. 
 
 The entombing of Chrift, a middling-fized upright plate. Guido copied 
 this print, nearly in the fame fize. 
 
 The refirreStion of Chrijt, a fmall upright plate. 
 
 A fet of thirteen fmall upright plates, reprefenting Chriji and the twelve 
 apojlles, fingle figures. 
 
 A mother inflru5lingher four daughters a fmall plate, length-ways. 
 
 A fmall upright plate, reprefenting a back figure of a man, with a woman 
 by his fide. All thefe are from his own compofitions. 
 
 St. Peter and St. John healing the lame man, from the cartoon of Raphael, 
 
 a middling-fized plate, length- ways. Bafan fpeaking of this print fays, 
 
 it imitates by means of a fecond plate (or rather perhaps a wooden block) 
 
 .2 the 
 
M A Z [ 137 ] M E C 
 
 the effeifl of a drawing. I have never feen any of the tinted iniprefilons. One 
 which I have before me is a fine fpirited etching. We fee he has mixed his 
 own fweet manner with that of Raphael, in the treatment of the heads ; and 
 it feems to me to lofe nothing by the alteration. This, in my opinion, is one 
 of his fineft and moft determined etchings. 
 
 M A Z O T. 
 
 Flourifhed, 
 
 An artift of no note, by whom we have fome few indifferent portraits .; 
 among others, that oi Ch'iflian IV. king of Denmark. 
 
 CHRISTIAN DE MECHEL. 
 
 Flourifhed, 1760. 
 
 This artift was a native of Bale. He refided at Paris at the time Baflm 
 publifhed his Didtionary of Engravers. We have by him the following 
 prints : 
 
 A fhilojofher mending his pen, a middling-fized upright plate, from Metzu. 
 
 Cupid Jhooting an arrow, a middling-fizcd upright plate, from Carlo 
 Vanloo. 
 
 Four fmall views of the Rhine, from Weirotter, &c. 
 
 ISRAEL VAN MECHEL N, 
 Born, Died, 1523. 
 
 I have already fpoken of this artift, and of his works, in the fourth Chapter 
 of the Effay on the Art of Engraving, given in the former part of the firft 
 volume. It appears, that he was born at Mecheln, a village near Bocholt, 
 a town upon the banks of the Aa, in the Biftiopric of Munfter in Weftphalia. 
 But he refided chiefly at Bocholt. 
 
 His father, whofe baptifmal name was alfo Ifrael, was a goldfmith ; and 
 it is very probable, that the fon himfelfwas firft brought up to that bufinefs. 
 The great mull iplicity of engravings by this artift, and the apparent diftance 
 of time in which they were executed, has led M. Heineken, a very able and 
 accurate writer on the fubjeft of engraving, to conclude, that the father 
 engraved, as well as the fon. I have already given my opinion in this doubt- 
 ful cafe. 1 fhall now proceed to lay before my reader a few fpecimens of 
 the prints by this artift, which differ the moft from one another, that the 
 colleftor may the more eafily refer to them, and decide for himfelf, if he thinks 
 that difference fufficiently great to juftify the fuppofition of their having been 
 done by more than one engraver. If fo, the rudeft, of courfe, will be attri- 
 buted to the father. 
 
 The life of Chrifi, a fet of prints nearly eight inches and an half high, by 
 five inches three quarters wide. 
 
 The dejcent of the Holy Ghoji ; feven inches and three quarters high, by 
 four inches three quarters wide. 
 
 VOL. II. T St. 
 
M E C [ 138 J M E C 
 
 Sf. Luke pointing the Virgin and Child, a middling-fized upright plate. 
 
 All the above prints may be ranked among, his moft early ones. They 
 are drawn in a very bad ftyle ; the heads are fliort and thick, without expref- 
 fion ; and the wliole of the figures \'o poorly executed, that they bear the 
 evident marks of a firft attempt. Thefe are, without doubt, the plates M. 
 Mcineken had before him, when he thought of dividing the works of this 
 mafter, and attributing a part to the father. But, on carefully examining 
 the reft of his performances, we fhall fee a gradual advancement in the art; 
 fo that it will be impoffible, at any rate, to draw the line, with any precifion, 
 between the works of the father and the fon. And it is alfo worthy obfer- 
 vation, that we find thofe prints in general may be reckoned among his beft, 
 which were alfo engraved by Martin Schoen. This feems to prove, not only 
 the priority of the engravings by Schoen; but alfo, that Ifrael was more 
 Ikilful in imitating the works of others, than in defigning for himfelf; and 
 this may perhaps, in great meafure, account for the manifeft difference 
 which appears in his engravings. The following plates may be reckoned 
 among his beft. 
 
 Judith and Holofernes. An army is reprefented in the back-ground, 
 with cannons and other inftruments of war, a middling-fized plate. Length- 
 ways. 
 
 The death of the Virgin, a middling-fized upright plate. M. Schoen, and 
 feveral other contemporary artifts, engraved this fubjeft. 
 
 The Virgin fianding upon a crejcent, crowned by two angels, and accompa- 
 nied by two others ; the fall of Satan is reprefented below-, a large upright 
 plate. 
 
 The Virgin Jeated in a land/cape, holding the Child to kifs it ; the Deity 
 appears in the clouds above ; and Jojeph is reprefented fleeping at the Virgin's 
 left hand; a middling-fized upright plate. Albert Durer, and other mafters, 
 copied this print. There is a groat fingularity with regard to this print ; for, 
 inftead of being finiftied in his ufual ftyle, it is fcratched with the point of 
 the graver ; and the effed is by no means unlike that which we fee in 
 •feveral of the prints by Rembrandt. 
 
 The Virgin and Child fur rounded by four angels, a middling-fized uprighs 
 plate, dated 1480. 
 
 The Virgin Jeated holding the infant Chrifl; a garden wall appears in the 
 back-ground ; a fmall upright plate, with this infcription : 3tJC potiffima 
 tparta. This defign was alfo engraved by Martin Schoen. 
 
 Herod's cruelty^ a middling-fized upright plate. 
 
 Herodias with the head of John the Bapti/i, at the feaft of Herod, twelve 
 inches long, by eight inches and a half high; 
 
 The Jcourgingof Chrijl, a middling-fized upright plate. 
 
 6V. Jerom Jeated in a room, pointing to a f cull which lies upon the table ; the 
 lion's head appears to the right ; five inches three quarters higli, by four 
 inches wide. This print, in my opinion, is his mafter-piece. It was copied 
 in the iame fize and way by Lucas of Leyden. 
 
 yl man and vjoman walking, with death behind a tree fhaking an hour glajs ; 
 ftven inches and a half high, by four and a half wide. This was alio en- 
 graved by an artift, whofe mark ii coiiipofed of an H. and an S. joined 
 
 together ; 
 
M E C [ 139 ] M E D 
 
 together ; by one, who figns his plates with a fingle W- and by feveral 
 others ; but the beft copy is by Albert Durer. 
 
 Several male and female /awts, (ing\c figvres; among them is St. Agnes \ 
 which print is faithfully copied on the third plate given in this volume. 
 
 St. Anthony home into the air by many devils; a middling-fized upright 
 plate. This compofition was engraved by Martin Schoen, and is, I think, 
 one of that artift's moft capital performances. 
 
 ^hree naked women, with a globe hanging above them, on which we find 
 thefe three letters, <S>. )1B. 3. which are thus interpreted, <S>tytt SdjUte 3llc, 
 God keep all. Albert Durer and feveral other mailers copied this print. 
 
 The portrait of /?'/j/i2//'^r. 
 
 His own portrait, and that o'ihis wife. 
 
 A 'portrait holding a Jcidl, with this infcription, IRcfpite j^iUfm. 
 
 A cup richly ornamented. The fame cup was alfo engraved by M. Schoen, 
 and in the fame fize. 
 
 A variety of goldjmiths ornajnents, of feveral fizes; and a prodigious num- 
 ber of other fubjefts. 
 
 The engravings by this artift are ufualiy figned in the following manner : 
 I. M. or I. V. M. or I/rahel V. M. or jfrahel V. M. tzu Boeckholt. Tlie 
 letters are ufualiy exprefled in the Gothic charafter, and are decorated witij 
 ornamental flourifhes. 
 
 M E C H E L N. 
 
 Flourifhed, 1623. 
 
 The name of an artift, affixed to the portrait of Pope Urban the Eighth, 
 dated a. d. 1623. 
 
 MARY OF MEDICI S. 
 Born, 1574. Died, 1642. 
 This illuftrious perfonage was queen to Henry the Fourth of France. 
 She was a aprincefs of the houfe of Medicis in Tufcany. When the arts 
 were reviving in Italy, they met with great encouragement from the grandees 
 of this noble family. It is indeed faid, that many of them amufed them- 
 fclves in fuch branches of the arts as were agreeable to their fancy. 
 Of this great lady we find it recorded, that fhe was not only exceedingly 
 fond of painting, but drew very neatly. We have a wooden cut, faid to 
 have been executed by her own hand. Her partiality for the arts is indeed 
 well known ; and to her encouragement we owe that noble colleftion of pic- 
 tures, painted by Rubens, preferved in the Luxemburg Gallery at Paris, in 
 which are reprefented the feveral aftions of her life. The life of the king 
 was alfo intended to have been executed by the fame artift ; but the death of 
 that monarch, with the troubles occafioned by that accident, prevented the 
 completion of the defign, though Rubens had already begun feveral of the 
 piftures. The wooden cut above-mentioned is about eleven inches and a 
 half-high. It reprefents the bufi of a yoimg lady ; and fome have fuppoled 
 it to be intended for her own portrait^ at the age of fixteen or eighteen. 
 
 T 1 The 
 
M E E [ 140 J M E E 
 
 The outline is tolerably corredt, and the execution far beyond what one could 
 reafonably expcft from the hand of a perfon of fuch diftinttion. It imitates 
 hatchings, crolTed two and fometimes three times. The ftrokes, it is true, 
 are rather unequal, and, in fome few inftances, broken into one another ; 
 but it is, however, fufEciently well engraved to convince us, that it was not 
 her firft eflay. Papillon adds to his defcription of this print, that, with all 
 its faults, it was fuperior to the works of feveral engravers on wood, whom 
 he knew i engravers, I fuppofe he means, who had been regularly brought 
 up to the art. At the bottom of this curious print is the following infcription. 
 
 Maria Medici, f. 
 mdlxxxvii. 
 
 This print is alfo mentioned by the younger Fournier, in his DiflTerta- 
 tion upon the Art of Engraving on Wood. 
 
 At the bottom of one of the impreffions from this engraving, preferved in 
 the royal collection at Paris, is written as follows: 
 
 La flanche de cette ejlampe a ete gravee par le Reine Marie de MediciSy 
 qui la donna a M. Champagne, dans le temps qu'il lapeignoit, le quel Chum- 
 pagne a ecrit derriere la planche ce quifuit . 
 
 Le Vendredi 22 de Fevrier 1629, le reine mere y Marie de Medicis, m^a 
 trouve digne de ce rare prejent, faite de Ja propre main. Champagne* 
 
 Which in Englifh will read thus : 
 
 The plate, or rather wooden block, from which this print was taken, was 
 engraved by queen Mary of Medicis, who gave it to M. Champagne, at the 
 time he was painting her portrait; which Champagne wrote upon the back of 
 the block as follows ; 
 
 On Friday, the a2d of February, 1629, the queen dowager, Mary of Me- 
 dicis, thought me worthy of this rare prefent, engraved by her own hand. 
 Champagne. 
 
 JOHN VANDER MEER. 
 Born, 1627. Died, 1690. 
 
 This artift, according to fome authors, was born at Haerlem ; or, as 
 others fay, at Schoonhoven. It is equally uncertain under what mafter he 
 learned the principles of painting; though Bafan, without mentioning his 
 authority, tells us, that he ftudied under John Broers and Berchem ; but he 
 feems to have confounded him with the younger Vander Meer, who was a 
 difciple of Berchem. He adds, that he went to Italy, in order to perfedl 
 himfelf in the art. He excelled in painting landfcapes, battles, and fea 
 views. He died at Haerlem, a. d. 1690, aged 63. We have by him four 
 fmall land/capes with Jheep,v/hich are very fcarce. 
 
 John Vander Meer, the younger, who was called De Jonghe, was 
 thought to be the fon of the above-mentioned artift; and, it is faid, that he 
 alfo engraved. I have been inclined to attribute to this artift thofe fpirited 
 etchings, which the reader will find mentioned under De Jonge. The 
 battles there fpoken of may have been engraved from .the defigns of his 
 father. This artift, as before obferved, was the fcholar of Berchem, and a 
 very celebrated landfcape painter. He died 168 3. 
 
M E E f 141 ] M E I 
 
 D E M E E R E. 
 
 Flourifhed, 
 
 The name ofa miferable engraver, affixed to a crucifixion, with St. Francis 
 at ths bottom of the crojs ; a raiddling-fized upright plate, from Rubens. 
 
 M E H E U X. 
 
 Flouriflied, 
 
 An engraver, who flourifhed in the laft century, by whonn we have feveral 
 mezzotintos of no great value i annong others, a copy of the rat foijonery 
 from Cornelius VifTcher. 
 
 D. MEIER. 
 
 Flourifhed, 16 17. 
 
 A very indifFerent artifl:, who would have done well to have kept his name 
 in obfcurity. It is, however, affixed to a flight etching of a grand fire- 
 work., exhibited at Paris, at die celebration of the peace between France and 
 Spain : It is dated 16 17. 
 
 CHRISTOPHER MEIGEL. 
 
 Flourifhed, 
 He refided at Nuremberg, where he publifhed afmall folio volume,, con- 
 taining a great number of very indifFerent engravings, difplaying the follies 
 of different -people ofallprofefjions, which apparently were engraved by himfelf. 
 
 ROBERT M E I G H A N. 
 
 Flourifhed, 1628. 
 
 He was not properly an engraver, but a bookfeller. He lived in St. 
 Dunftan's Church Yard. His name appears in the records of the flationers 
 company; and, in the year 1630, he publifhed an edition of the Merry 
 "Wives of Windfor by Shakfpeare. A head of John Clavel, dated 1628, is 
 faid to have been executed by him. 
 
 W. WOLFGANG MEIERPECK. 
 Flourifhed, 1560. 
 This artift, who was a painter and engraver on wood, conjointly with 
 George Liberal, defigned and engraved on wood the plants, animals, and 
 other figures, for the Commentaries of Matthiolus upon Diofcorides, for three 
 feparate editions, in the German and Bohemian languages, and alfo in Latin : 
 they were printed in Germany about the year 1560. 
 
 B. M E I S. 
 
 Flourifhed, 
 By this artifl, who, I fuppofe, was a painter, I have leen a fmall upright 
 4 etching. 
 
MEL [ 142 ] MEL 
 
 etching, very flightly executed, in a ftyle fomething refembling that of Caf- 
 tiglione. It reprclcnts a poet writing, and is fubfcribed B. Meis fecit. 
 
 MEL. See Miele. 
 
 ADRIAN MELAR. 
 
 Flourifhed, 1650. 
 
 This engraver refided at Antwerp, where he had an opportunity of feeing 
 the works of the great engravers from Rubens and Van Dyck. He feenis, 
 indeed, to have formed his tafte upon thofe of Paul Pontius j but his iiniu- 
 tions of that great mafter are every way defective. He engraved feveral 
 portraits ; and they, with all their faults, appear to me to be the bed part 
 of his works. We liave by him, 
 
 . A fet of figures, reprefenting the inhalitants of Africa, and of both the 
 Indies. 
 
 St. Michael overcoming the Devil, a middling-fized upright plate, from 
 Rubens. 
 
 The portrait oi Francois de Moura; alfo that of Chriftopher Bernhardt, Sec. 
 
 COUNT DE MELEUN. 
 
 Flouriflied, 1760. 
 
 This gentleman was fond of the arts, and amufed himfelf with the point. 
 We have feveral fmall plates engraved by him, from Berchem, Callot, and 
 other mafters. 
 
 CHARLES DOMINI Q^U E M E L I N I. 
 
 Flourifhed, 1760. 
 
 This artift was a native of Turin ; but refided at Paris at the time 
 Bafan publirtied his Diftionary of Engravers. We have feveral engravings 
 by his hand ; and, among others, the following : 
 
 The fair caufe, a middling-fized upright plate, from Nattier. 
 
 The children of the prince of Turin, from Drouais, a middling-fized plate, 
 length-ways. 
 
 CLAUDE MELLAN. 
 Born, 1601. Died, 1688. ^^ 
 This fingular arcifl was a native of Abbeville in Picardy. His father 
 was the receiver of the culloms in that town ; and he took great care of the 
 education of his fon. His genius for drawing difcovering itfelf very early in 
 life, he was fent to Paris and placed under the dircftion of Simon Vouet, in 
 order to perfeft himfelf in that art, and his Ihidies promifcd fuccels j but he 
 was diverted from his application to them by the defire he had of learning the 
 management of the graver, which he acquired with much facility. From 
 Paris, at the age of fixteen, he went to Rome, where he engraved a con- 
 
 fiderable 
 
M EL [ 143 ] MEL 
 
 fiderable number of platrs, many of which are held in great eftimation ; 
 particularly thofr for the Juftinian Gallery, the portrait oi the Marquis Juf~ 
 ijriian, and that of Pope Urban VIII. Returning to France, he married aC 
 Paris, and fittled there, a. d. 1654. The king of France being made 
 acqiKiintcd with his merit, affigned him apartments in the Louvre, in the 
 double quality of a painter and an engraver. Surrounded with honour, 
 and hlcfled with an excellent conltitution, which exempted him from the dif- 
 eafcs uiualiy attendant on age, he enjoyed a competent fortune, and was 
 greatly efteemed by all who knew him. He died a. d. 1688, aged 87 
 years. He does not appear to have had any children; tor his plates, at the 
 death of his wife, became the property of his nephev/. 
 
 Florent le Comte tells us, '< that Charles the Second v/as fo muchpleafed 
 " with his performances, that he invited him to come into England, making 
 " him, at the fame time, very advantageous offers. But the love of his 
 " country," continues that author, " prevented his accepting of th.-m." 
 
 It is remarked, that moftof the plates which he engraved at Rome, and 
 before he went thither, arc executed in the ufual manner; that is, with 
 parallel ftrokes, croflcd with fecond and third ftrokes, as the depth of 
 the fiiadows might require. But afterwards he adopted a new mode of 
 working with fingle ftrokes only, without any lecond ftrokes laid upon them ; 
 and the fhadows are exprefTed by the fame ftrokes, being made ftronger, and 
 brought nearer to each other. The cficft, which he produced by this method 
 of engraving, is foft and clear. In fmgle figures, and fmall fubie<5ts, he fuc- 
 ceeded very happily; but in large compofitions, where great depth of 
 fhadow was required, he has failed, and that in proportion as the force of 
 colour was wanted. Befides, in fubjedts where feveral figures occur, the 
 famenefs of ftyle, which neceifarily appears in every part of the plate, 
 fatigues the eye, and prevents objefts from relieving each other, and adds 
 greatly to the flatnefs of the efteft. His neateft plates in this ftyle have an 
 unfinifhed appearance, by no means fuitable to large engravino-s ; but, at 
 the fame time, a lightnefs exceedingly agreeable, when confined to fmall 
 ones. According to Le Comte, the works of this nnafter amount to 
 342. I fhall mention the following only, chiefly from his own compofitions : 
 ^y 'The face of Chriji, called the Sudarium of St. Veronica, a middlino--fized 
 upright plate, which is executed entirely by a fingle fpiral line, begun at the 
 extremity of the nofe, and continued without quitting over the whole face 
 and back-ground ; and the better to indulge this fingular undertakino-, rhe 
 face is reprefented full in the front, and the point of the nofe as near to the 
 centre, as it could conveniently be placed. 
 
 St. Peter Nolafque, carried hy two angels, a middling-fized upright plate. 
 This is efteemed as one of his rareft prints. 
 
 Four large plates, length-ways, relative to the life of St. Bruno. I. That 
 faint giving the habit to a brother of the order. 11. His exhortation to the 
 brotherhood. \\\. His entry into the council. IV. The fame faint floozmng the 
 hofl to the foldiers, 
 
 St. Bruno praying in the de/ert, a middling-fized upright plate. 
 
 St. 
 
MEL [ U4 ] MEN 
 
 Sf. Francis praying, the fame fize as the above ; and feveral other fubje£ts 
 of like kind. 
 
 Pa.n o( the antique Jiatues hr the Juftinian Gallery ; which work confifts 
 of two volumes and 3 1 2 prints, 
 
 Part of the antique ftatnes and hulls preferved in the royal palace of France : 
 the fet was completed by Stephen Baudet. 
 
 A great number of eftimable portraits ; among others, that of Pope Urban 
 VIII. and the Marquis Juftinian, mentioned abovej alfo Cardinal Bentivoglio, 
 the Marquis de Crequi, M. de Peirefe, M. de Gaffendi, &c. 
 
 He alfo engraved from Tintoret, Simon Vouet, Le Bernin, Nicholas 
 Poufin, Stella, and other mailers. It is to be obferved, that Mellan did not 
 always write his name at length, but fometimes the initials only, or abbre- 
 viated thus: C. M. or C. Mel. or CI. Mell. &c. 
 
 FRANCESCO ANTONIO MELONI. 
 Born, Died, 17 13. 
 
 This artift was a native of Bologna. He appeared to be very fond of 
 painting, and was accordingly placed in the fchool of Francefchini, in order 
 to acquire a knowledge of that art. Time, however, foon convinced him, 
 that his difpofition was not altogether formed for that purfuit. He then 
 took up the graver, and with more fuccefs. He worked not only from the 
 pictures of his mailer, but alio from thofe of feveral other Italian artills. He 
 died at Venice, 17 13. The following are reckoned among his beft engrav- 
 ings, 
 
 The adoration of the Jhepherds, a middling-fized upright plate from Carlo 
 Cignani. 
 
 Aurora, the fame, from the fame mafter. 
 
 P. M E N A N T. 
 Flouriihed, 17 15. 
 This artift, who appears to have been a native of France, drew after 
 nature, a great part of the views of the palace and gardens at Verjailles ; moll 
 of which he engraved himfelf : the reft are executed by Raymond, Fonbonne, 
 Scotin, Lucas, and other artifts. Thefe views are contained in a very large 
 folio volume. They are fufficiently neat ; but very ftiff, and without eifed. 
 In fhort, neither the drawing or engraving do any honour to the artift. 
 
 M E N T Z. See Mecheln. 
 
 J. G. M E N T Z E L. 
 
 Flouriftied, 1715. 
 
 He is fpoken of as an engraver in the Printfellers Catalogues i but 
 I am not acquainted with his works, 
 
 GIO- 
 
M E R [ 145 ] M E R 
 
 GIOVANNI BATISTA MERCATL 
 
 Flourifliedj 1620. 
 
 This artift was a native of Sienna j but he refided, as we find by his 
 prints, at Rome. His principal employment feems to have been drawing ; 
 but he etched alio, and we have feveral very fpirited prints by him, which, 
 though (lightly executed, indicate the hand of the mafter. I fliall notice the 
 follovvins; onlv. 
 
 A female Jaint refufing to offer Jacrifice to an idol. As there is no painter's 
 name to this print, it was probably etched from a defign of his own. 
 
 A holy family 'ivithSt. Catherine, a fmall upright plate, from Correggio. 
 
 He worked alfo from Pietro de Cortona, and other mafters. 
 
 ANTHONY LE MERCIER. 
 
 Flourilhed, 
 
 By this artift we have foine very (light, but fpirited and mafterly etchings, 
 after the defigns of P. Collo. They confift of a fet cf fmall folio plates of 
 architeSlal ornaments, chimney-pieces, &c. 
 
 James Mercier is mentioned by Florent le Comte as an engraver; and 
 that author informs us, that he worked from the defigns of Michael Angelo 
 Buonarota. I have feen the name " I. le Mercier." affixed to a (light etching 
 in the painter's ftyle, and not without merit, reprefenting the pope going in 
 proceffion. 
 
 CASPAR M E R I A N. 
 
 Flourilhed, 
 
 This artift was a native of Germany. He engraved a fet of plates, repre- 
 fenting the ceremonies at the ele^ion of the emperor Leopold, 
 
 MATTHEW M E R I A N, the Elder. 
 Born, 1593. Died, 1651. 
 
 This ingenious artift was a native of Bafil. His firft ftudies were under 
 the direftion of Theodore Meyer, who inftrufted him in the art of drawing. 
 When he quitted the Ichool of this maft-er, he entered that of Theodore de 
 Brye, and added to his former attainments a knowledge of the art of engrav- 
 ing. Merian was a man of genius. His beft works are landfcapes and 
 views of towns, palaces, &c. They are ufually etched in a (light, free ftyle, 
 and retouched, as occafion required, with the graver. They have the 
 appearance of being really copied from the fubjedls they reprefent, and 
 with great exaftnefs, for which reafon they will always be valuable ; but, at 
 the fame time, with no great tafte, or attention to the pifturefque beauties 
 of the compofition. The figures, which he has introduced into his prints, 
 can by no means be confidered as the beft part of them. They are neither 
 corrcfb, nor well defigned 5 but as his excellence did not confift in drawingof 
 
 VOL. II. U tlie 
 
M E R [ 146 ] M E R 
 
 the human figure, we ought to pafs them over as fecondary obje6ts, and not 
 be too fevire in our remarks. 
 
 Merian married the daughter of De Brye, by whom he had iffue ; and he 
 died, A. D. 1651, aged 58, at Francfort, according to fome authors; or at 
 Schwalbach, as is aflerted by others. It is no fmall addition to the honour of 
 this juftly efteemed artift, that Wenceflaus Hollar was his dilciple. 
 
 The works of Merian are exceedingly numerous. His landfcapes, views. 
 Sec. according to Le Comtc, amount to 500 and upwards. 
 
 1 fliall only fpecify his works (which are very common) in the following 
 general manner : 
 
 A fet of plates taken (i-om/acred hiftory. 
 
 A fet of landjcafes, from Paul Brill. 
 
 A great variety ot vieivs of cities, towns, caflles, palaces, and other topo- 
 graphical works of different fizes. 
 
 yid^nj frontifpieces, and other ornamental plates for hooks. 
 
 Several portraits ; and, among them, that of Daniel Sevnertus, a fmall 
 upright oval head ; alfo Arnoldus Weickcrdtis, Med. Do5l. the faa-:c, dated 
 1626. 
 
 The various marks, ufed by this artift, are copied on the plate at the end 
 ©f the volume. 
 
 MATTHEW MERIAN, the Younger. 
 
 Flourifhed, 1640. 
 
 He was fon to the artift, mentioned in the foregoing article ; but not 
 equal to his father in merit. It is thought that he was in England ; for we 
 have engraved by him an emblematical frontijpiece, with the portrait of Dr. 
 yo/j« DoK7/if, which was prefixed to the folio volume of his Sermons, pub- 
 liftied 1640. 
 
 C. Merian, Junior, was probably a relation of the above-mentioned 
 artift, and is alio fuppofed to have refided in England. The plates to 
 Dodonas Grove by Howel, have the name of this artift affixed to them. 
 
 MARIA SIBYLLA MERIAN. 
 Born, 1647. Died, 17 17. 
 This lady was the grand-daughter of Matthew Merian the elder, and pro- 
 bably the daughter of Matthew Merian, mentioned in the preceding article. 
 She was born at Francfort, and, fhowing an early inclination for the arts, 
 was placed under Abraham Mignion, from whom flie learned that 
 neatnefs and delicacy of colouring, which fo eminently diftinguifties her 
 works. Her genius led her to the liudy of natural hiftory ; and flie excelled 
 in reprefenting infeds, reptiles, flowers, and fruit. She ufually painted 
 thefe fubjeds on vellum, in water colours, and finidied thein with the greateft 
 precifion and neatnefs. She undertook a voyage to Surinam, in order to 
 paint the infedts and reptiles peculiar to that country ; and, at her return 
 to Francfort, fhe caufed them to be engraved, executing many of tlie 
 plates herfelf, and publilhed the colledion in two large folio volumes, with 
 a full defcription of them in the Geraian language. In the Bricifti Mufetim 
 
 is 
 
M E R [ 147 ] MET 
 
 is preferved great part of her works» which deferve every poffible com- 
 mendation. They are fo well known to the curious in general, that their 
 merit need not be any farther infilled upon. 
 
 She died, a. d, 17 17, aged 74, and left a daughter, named Dorothea 
 Henrietta Graff, who painted in the fame ftyle. She accompanied 
 lier mother to Surinam, and, after her death, publilhed a third volume, of 
 infers., reptiles, Sec. the plates being engraved from the remaining defigns of 
 Maria Sibylla. , 
 
 J A QJJ ESVANMERLIN. 
 
 Flourifhed, 
 
 This artift, with Theodore Van Merli.nt, who was probably his brother, 
 according to Florent Le Comte, engraved a few plates from Martin de Vos,^ 
 Pelegrin and other mafters. To a portrait of Anthony Turner, a Jefuit, the 
 name Vain Merlin is affixed ; but to which of the above artifts it fhould be 
 retributed, I am at a lofs to fay. 
 
 M A D E L A I N E L E M E R S I O N. 
 
 Flouriflied, 
 This lady's name is affixed to a landfcape with cattle, etched in a (light 
 Ilyle, bearing fome diftant refemblance to that of Dankers, when he copied 
 the defigns of Berchem. It was publiflied at Paris without date, or the 
 painter's name. 
 
 E. M E S N I L. 
 
 Flourifhed, 1760. 
 
 A modern Frerich engraver, by whom we have feveral prints, from Mieris, 
 Karel de Moore, and other painters. 
 
 M E T E L L L See Mitelli. 
 
 CORNELIUS METENSIS 
 
 Flourifiied, 1540. 
 
 This artifl: is alfo called Metfys, and ufually confounded with Matfys. 
 I have, however, ventured to place him by himfelf, and have given my 
 rcafons for this feparation in my account of Matfys, to which the reader is 
 referred. Metenfis confl;antl7 marked his prints in this manner : CoR. Met. 
 or with a monogram, compofed of a C. an M. and an E. joined together, ui 
 the manner repreft-nted upon the plate at tiie end of the voltime. His ftyle 
 of engraving bears fome refemblance to that of Matfys ; but in general, it 
 is ftifFer and neater ; and feveral of his plates are copies only from other en- 
 gravings. However, fome of his works are not devoid of merit. Appa- 
 rently he refided in Italy, for he copied the works of the Italian arciflrs; and 
 it is not improbable, but that he was the difciple of George Pens; but 
 
 U 2 this 
 
MET [ 148 ] M E Y 
 
 this is my conjcdure only. I (hall mention the few following engravings by 
 this artift, of which the two firfl are copied from other prints. 
 
 ne entombing of Cbrifl, a fmall upright plate from an etching by ParmU 
 giano. 
 
 A fmall plate length-ways reprefenting a battle, from G. Pens. 
 
 Judith with the head of Holof ernes, a very fmall upright plate, dated 1539. 
 
 The miraculous draught offjljes, a fmall plate, length- ways, from Raphael. 
 
 Several peafants feated in a fied, a very fmall plate, length-ways, dated 
 
 1530- 
 Several dancixgfgures, &c.^ 
 
 J. J. M E T G E R. 
 
 Flouriflied, 1672. 
 
 The name of this artift is ajRxed to tlie portrait of Giovanni Everard' 
 Nitardo, Card, engraved for the fecond volume of Priorato's Hijlory of the- 
 Emperor Leopold: it is, however, a very indifferent performance. 
 
 JOSEPH METZKER. 
 
 Flouriflied, 1566. 
 
 According toprofeflbr Chrirt, this artift was a goldfmith, who refided at 
 Gorlitz. The fame author infonns us, that he engraved on wood, and attri- 
 butes to him the prints, marked with an I. and an M. joined together, in the 
 manner exprefled upon the plate at the end of the volume, and with the 
 date 1566. 
 
 M E U N I E R. See Munier, 
 
 I. F. M E U R S, 
 
 • Flourifhed, \6-]O.J 
 
 . The name of this indifferent artift is affixed to the anatomical engravings 
 for the 0(fVavo edition o( Thojnas BerthoUn's Anatomy, .■^xihYxihtd at Batavia, 
 1669, 
 
 J. V. Meurs, a name affixed to the portrait oflycho Brahe the ajlronomer ; 
 a fmall upright plate, arched at the top. It is executed with the graver 
 only, in a very neat, but ftiff ftyle. His labours were chiefly confined to the 
 ornamenting of books. We have alfo fevcral frontifpieces by him, which 
 do him no great credit. 
 
 C. H. Van Meurs refrded, according to Bafan, at Amfterdam, where he 
 engraved afet of prints from Mieris, Vander Wcrfl-', and other mafters. 
 
 RAPHAEL DE MEY. 
 
 Flouriflied, 
 
 This engraver, according to profeffor Chrift, copied fome of tli« works of 
 Henry Goltzius, and perhaps was the difciple of that great matter. 
 
 J O A C PI r M 
 
M E Y [ 149 ] M E Y 
 
 JOACHIM MEYER. 
 
 Flourifliedj 1570. 
 
 This artift was a native of Strafbourg. We have by him, engraved on 
 wood, a fet of fixty-two prints, reprefenting a variety of combats with the 
 /"juord. 
 
 ANDREA MEYER. 
 
 Flourifliedj 
 
 According to profefibr Chrift, this artift was a native of Zurich in Switzer- 
 land. He followed the profeffion of a painter ; and alfo amufed himfelf 
 with the graver. We have feveral views of towns, faid to have been 
 . executed by his hand. See a very fingular monogram on the plate at the 
 end of the volume, which is attributed to him. 
 
 D I RICK, or DID ERIC MEYER. 
 
 Born, 1571. Died, 1658. 
 
 He was a native of Zurich, and probably of the fame family with Andrea: 
 Meyer, mentioned above. This artift painted both portraits and hiftorical 
 fubiefts with fuccefs. We have, engraved by him, a fet of portraits of the 
 illuftrious perfonages of Switzerland. His mark, according to profeffor 
 Chrift, was compoTed of aD. and an IVL joined together. Sec the plate at 
 the end of the volume. 
 
 R O D O L P H MEYER. 
 
 Born, 1605. Died, 1638. 
 
 He was fon to Dirick Meyer, mentioned above. I do not find that he 
 praftifed painting, but he engraved with tolerable fuccefs. We have by 
 him feveral portraits, and fome emblematical prints. His mark, compofed 
 of an R. and an M. is reprefented on the plate at the end of the volume. 
 
 Conrad Meyer, brother to Rodolph Meyer, born a. d, 1618. He was 
 both a painter and an engraver. ProfefTor Chrift attributes to hira feveral fine 
 engravings, dated 1670, particularly the cuts for the Praife of Folly hy 
 Erafmus, marked with the initials C. M. It is certain, that we have feveral 
 engravings by this artift, from his own compofitions. 
 
 JOHN MEYER. 
 
 Flourifned, 1600. 
 This artift refided at Nuremberg; but was probably of the fame family 
 as the foregoing. He was a painter ; but we have feveral prints by him ; 
 fome of them from his own compositions ; particularly a let of battles^ 
 fmall plates, length-ways, etched in a very flight but fpirited ftyle. He alfo 
 engraved a fet o^ fountains at Rome, which were printed at Nuremberg, at the 
 expence of Sandrart, 
 
 Eeux. 
 
M E Y , [^50] M E Y 
 
 Felix Meyer, a celebrated painter of landfcapes and aninnals, faid to 
 be of the fame family, etched a few plates from his own defigns. He 
 died, A. D, 17 1 3, aged 60 years. 
 
 Paul Meyer, who refided at Nuremberg, ^^as alfo an engraver. He 
 flouriflied towards the commencement of the fevcnteenth century, and was 
 probably a relation of tlie above artills. 
 
 ALBERT METERING. 
 
 Born, 1645. Died, 17 14. 
 This artift was a native of Amfterdam. He excelled in painting land- 
 fcapes. The firft principles of the art he received from his father, Frederick 
 Meycringj but in order to improve himfelf, he travelled firft to Paris, and 
 from thence to Rome ; where meeting with Glauber, they purfued their 
 ftudies together. He returned to Holland ten years after, having acquired 
 a confiderable fliare of fime. We have feveral etchings of landfcapes by 
 him, which are executed in a very flight, hafty ftyle. We fee by tiiem, 
 that he took up the point merely for his amufement. 
 
 JOHN MEYSSENS. 
 
 Born, 1612. Died, 
 
 He was born at Bruflels, and learned the firft principles of painting from 
 Anthony van Opftal. Afterwards he became the difciple of Nicholas Vander 
 Horft. He attempted both hiftorical fubjefts and portraits, but was moft 
 fuccefsful in the latter. He fettled at Amfterdam, where he publiflied 
 feveral colleftions of engraved portraits, not only from his own paintings, 
 but from thofe of Van Dyck, and a variety of other mafters, many of which 
 he alfo etched himfelf. Thefe, however, are not executed in a manner to 
 add m.uch to his fame. They are, in general, greatly inferior to what 
 might have been expedted from his point. We have alfo engraved by him, 
 Melcager prefenting the head of the boar to Atalanta, a fmall upright plate, 
 from Rubens. 
 
 CORNELIUS MEYSSENS, 
 Flourilhed, 1650. 
 
 This engraver was the fon of John MeylTcns, mentioned in the preceding 
 article. He feems to have been chiefly employed by his father in the 
 engraving of portraits; and we have a confiderable number of them executed 
 by his hand. He worked with the graver only, in a very fliff, taftelefs ftyle. 
 Ilis bcft works have no great merit to recommend them. The reft are 
 flovenly perform.ances, evidently executed in a hurry. I fhall mention only 
 a fct of portraits of the emperors of the hou/e of yPiJiria, \n folio, entitled. 
 Effigies hnperatorian domus Auflriaca : to which is added, Deli/ieat.e per 
 foannem Meyjfens, et art infculpta per filium fuam Cornelium Aleyfj'ens ; which 
 proves beyond contradiftion, that Cornelius was the/ow, and not the nephe'va 
 of John MeyfTens. 
 
 The portraits oUhe fcvereign princes and dukes of Brabant, in folio, entitled, 
 
 Lis 
 
M E Y i 151 ] MIC 
 
 Les Effigies des Souverains Prinees el Dues de Br ah ant. In thefe he was 
 afllfted by Peter de Jode, Waumans, Van Schupen, and other artifts. 
 
 Sevtr&l frontifpieceSy and other book ornaments, with a variety of other fub- 
 je&. 
 
 JUSTO AURELE MEYSSONIER. 
 Born, 1695. Died, 1750. 
 This extraordinary artift was born at Turin. Bafan fpeaks of him as a 
 painter, a fculptor, an architedt, and a goldfmith. He diftinguifhed him- 
 felf in all thefe branches of the arts. He obtained the royal patent, as 
 goldfmith to the king, and the place of the firft defigncr in his cabinet. 
 He died at Paris, a. d. 1750, aged 55 ; and left behind him a large num- 
 ber of architeftal drawings, and ornamental defigns for goldfmiths, the- 
 greater part of which were afterwards engraved and publiflied by Huquier- 
 Meyfibnier etched feveral plates himfelf of ornaments^ Sec 
 
 M. M E Z I O S. 
 
 Flourilhed, 1626. 
 
 An engraver of great merir, though but little known. I have leen fome 
 few portraits executed by him, v/ith the graver only, in a very neat, clear 
 llyle ; among others, tliat of Joannis Petrus LothicuSy Medicus et Poeta ; a 
 half length, affixed to an edition of his works, publiflied 1626, without the 
 name of the painter. 
 
 DOMINICO MICARINO DA SIENA, called BECCAFUMI. 
 Born, 1484. Died, 1549. 
 
 The true name of this artift appears to have been Micarino ; that of Becca- 
 fumi he affumed in honour of his patron. He was born of mean parentage, at a 
 village near Sienna ; and his firft employment was the keeping of fheep. 
 Beccafumi, a citizen of Sienna, feeing him one day bufied in defignino- with 
 his ftick upon the fand, conceived a favourable opinion of his abilities, and 
 took him from obfcurity. He was firft placed with a painter, called Cavan- 
 na ; and afterwards, as fome writers affirm, he became the difciple of Pietro 
 Perugino. It is certain at leaft, that he copied fome of the pictures of that 
 artift. But it was at Rome that he completed his ftudies, from the works 
 of Raphael and Michael Angelo ; after which he returned to Sienna, where 
 he was employed in feveral great works, in frefco and in oil, which acquired 
 him great applaufe. But nothing contributed moi-e to the eftablifhment of 
 his reputation, than the pavement of the great church at Sienna, which 
 was performed with ftones of different colours, joined together in fuch 
 manner, as the light and ftiadov/ of the object required. 
 
 Micarino was alfo an admirable engraver on wood. We have fome very 
 fpirited chiaro-fcuros by him, executed fometimes on two, and fometimes 
 on three blocks ; one of them for the outline and deep Ihadows, the other 
 for the lighter tints. Thefe he engraved not only from his own defigns, but 
 
 from 
 
MIC [ 152 ] MIC 
 
 fj-om thole of Titian and other maftei-s. He alfo etched feveral plates in a 
 very ipirited ftyle, and we have fonie few prints, executed by him with the 
 o-raver only. In thefe the hand of the mailer is very evident. The figures 
 are drawn in a fpirited ftyle j and the extremities are finely marked ; but, 
 from want of fkill in the management of the point and the graver, the me- / 
 chanical part of the work has a harfli and unpleafing appearance to the eye 
 accuftomed to neatnefs and precifion. His ufual mark is a B. divided in 
 the middle by a horizontal line, in the manner exprelTed upon the plate at 
 the end of the volume. 
 
 Profeflbr Chrifl: and others have attributed to him alfo the mark of Tu- 
 tianus ; but without any Iblid foundation. Evelyn fpeaks of two apojlles, 
 engraved on wood by this artift, as excellently performed; and an etching 
 of the alchemijl. I ihall notice only a large upright print on wood, without 
 the tinted blocks, reprefenting a nativity, from Titian, cut in a very fpirited 
 manner, to which his monogram is affixed ; and a middling-fized upright 
 print, executed with tlie graver on copper, reprefenting ^« oldman,Jfanding 
 with his arms elevated -, and a fore-portened figure of a young man, lying down, 
 towards the right hand fide of the print. It is marked Micarino, fee. 
 
 MICHAEL ANGELO DE BATTAGLI. See Cerquozzi. 
 
 J. W. M I C H A E L I S. 
 
 Flourifliedj 1700. 
 
 A very indifferent engraver of portraits, who refided at Francfort. Several 
 of the heads in a work in folio, entitled, Notitia Univerfttatis Francofertante, 
 publilhed 1707, are by him. 
 
 J. /d. MICHEL. 
 
 Flouriflied, 1760. -».'' 
 A modern engraver. He was a native of France, and refided at Paris at 
 the time Bafan publifhed his Diftionary of Engravers. We have feveral 
 plates by his hand ; among others, Venus and Cupid, a middling-fized upright 
 plate from Boucher ; its com^znion, the fame /ubje5f, from the fame painter; 
 and fome few portraits, particularly that of Voltaire. Michel was a man 
 cf ability. Thefe engravings, though flight, are by no means devoid of merit. 
 
 M I C O C A R D. 
 
 Flourifhed, 
 
 " I have feen," fays Papillon, " z ^nni o( Diogenes, from Parmigiano, 
 " engraved on wood by Micocard, an artift not mentioned by any of the 
 " authors on the fubjeft of engraving ; it is eighteen inches high by thirteen 
 " wide." This pryit, I fuppofe, is copied from thedefign of Parmigiano, 
 which Ugo de Carpi, and Mark de Ravenna alfo engraved. 
 
 JAN 
 
M I E . L 153 ] M I G 
 
 JAN M I E L. 
 Born, 1599. Died, 1664. 
 
 This great artifl was a native if Flanders, and the dilciple of Gerard 
 Segers. He ftudiedalfo in Italy a confiderable time, and was admitted into 
 the fchool of Andrea Sacchi, which, however, he foon left; and quitting the 
 grand ftyle of hiftorical painting, applied his talents to more familiar fubie(5ts, 
 luch as huntings, carnivals, paftoral fcenes, and converfations, in which he 
 greatly excelled. He died at Turin, a. d. 1664, aged 65 years. We have 
 feveral flight etchings by this mafler, executed in a moft maflerly manner, 
 foas to produce a very agreeable effeft. The figures and animals, which 
 he introduced into thefe compofitions, are drawn with great fpirit, and free- 
 dom of the point. They are as follows, all from his own defigns. 
 
 'The ajjumftion of the Virgin, a middling-fized upright plate. 
 
 Fourfmall plates length-ways, reprefcnting/^d^^^rii/j- with cattle. In one 
 of them appears a fine figure, feated on a bank, picking a thorn out of his 
 foot. 
 
 Several middling-fized plates, length-ways, reprefcnting7?i?3-i?.f and battles^ 
 for the Hijlory of the Wars of Flanders by Strada, 
 
 JOHN HENRY MIEL. 
 
 Flourifhed, 1760. 
 This artifl:, and John William Miel, who was probably his brother, 
 are mentioned by M. Heineken, as natives of Germany, and engravers j but 
 he gives us a very unfavourable account of their abilities. 
 
 S. C. M I G E R. 
 
 Flourifhed, 1760. 
 He was a native of France, and refidcd at Paris. We have feveral en- 
 gravings by his hand; but none of them of any great account; alfo fome 
 portraits ; among others, that of David Hume, the Engli/b hijiorian, from 
 Cochin, and John Stanley the organiji, &c. 
 
 NICHOLAS MIGNARD. 
 Born, 1608. Died, 1668. 
 He was born at Troyes, and in that city he acquired the firfl rudiments of 
 painting, which he improved at Fontainbleau ; but completed his ftudies 
 at Rome. He painted hiftorical fubjefts and portraits ; but his inclination 
 led him to prefer the former, in which he principally excelled. On his 
 return to Paris, he was employed by the king ; and at the time of his death, 
 v/as reftor of the Royal Academy of Arts in that city. He etched Ibme 
 few plates from the pifturesof Agoftino and Annibale Carracci,ln one of the 
 apartments of the Farnafcan Palace at Rome. They are middling-fized 
 prints, length ways. 
 
 VOL. 11. X PETER 
 
M I G [ 154 ] MIL 
 
 PETER MIGNARD, called the Roman. 
 Born, 1610. Died, 1695. 
 
 This artift was the younger brother of Nicholas Mignard, and born at 
 Troyes. He received his firfl inftruftions in the art of painting from Simon 
 Vouet. He afterwards went to Rome, where he refided two and twenty 
 years, Ihidying the works of the great mafters, efpecially thofe of Raphael, 
 Michael Angelo, and Annibale Carracci. From his long abode in that 
 city, he was diftingviifi:>ed bv the appellation o^ the Roman. 
 
 rie painted both hiflory and portraits with great liiccefs ; but the latter 
 formed the moft confiderable part of his employment. On his return to 
 France, he was patronized by Louis XIV. who honoured him with knight- 
 hood ; and, after the death of Le Brun, appointed him principal jiainter, and 
 diredor of the manufadlories. And that prince fat to him ten times for his 
 portrait. We have by this artift only one etching, reprefenting St. ScholaJ- 
 fiqiie adoring the Virgin, a fmall upright plate, from his own defign. 
 
 J. M I G N O N. 
 
 Flourifhed, 
 
 Thenameof an obfcure artift, by whom we iiave a coarfe, incorrcft etch- 
 ing, reprefenting Abraham pir chafing the cave of Macpelah from the children 
 of Heih ; probably from his own defign, as he has not affixed the name of the 
 painter. It is inicribed Jo. Mignonf. 
 
 DANIEL MIGNOT. 
 Flourifhed, 
 This engraver is mentioned by Florent le Comte and other authors; and 
 to him are attributed the prints marked with a monogram, compofed of a 
 D. and an M. joined together, in the manner exprelTed upon the plate at the 
 end of the volume. His works confift chiefly, I believe, of architeftal 
 ornaments. 
 
 FELICE MILANESE. 
 
 Flourifhed, 
 By this artift, who was apparently a painter, we have a fmall upright print, 
 reprefenting the Virgin Jeated upon a fedejlal, holding the infant Chriji. A 
 bifbop with feveral children, appears before her. It is infcribed Felice 
 Milaneje fee. 
 
 ANDREW MILLER. 
 
 Flourifhed, 1740. 
 
 An Irifh artift. He refided at Dublin, and engraved feveral portraits in 
 mezzotinto ; feme of which are by no means deftitute of merit. I fhall men- 
 tion the following only : Bean Swift, a whole length, from F. Bindon, dated 
 1743. John Harper, in the chara^er of Job/on. Mr. Leieck, a half length, 
 4 from 
 
MIL [ 155 ] MIS 
 
 from Kneller. Lord Newport, lord chancellor of Ireland, a half fheet print, 
 from StevenSj dated 1747. 
 
 MILLER. See Muller. 
 
 ROBERT M I L N. 
 
 Flourilhed, 1710. 
 
 By this engraver we have fome very indifferent prints of antiquities, 
 belonging to Scotland, for a book publifhed at Edinburgh, a. d. 17 10, en- 
 titled, Mijcellanea quadam Eruditx Antiquitatts, qua ad Borealem Britanntie 
 major is partem pertinent, &c. 
 
 M I L O T. 
 
 Flouriihed, 1620. 
 
 An engraver, who refided at Antwerp, and apparently worked for the 
 bookfellers only. We have itvtrz\ frontijpieces znd portraits executed by 
 him, with the graver only, in a neat, but ilifF and taftelefs ftyle. 
 
 M I L V I U S. See Kyte. 
 
 MICHAEL JAN SEN MIREVELT. 
 Born, 1563. Died, 1641. 
 
 This artift was the fon of a goldfmith, and born at Delft. His father, 
 perceiving his early inclination for the arts, placed him, at firft, v/ith one of 
 the Wierixes, of whom he learned to draw in crayons, and to engrave. At 
 the age of twelve, he executed a print of the Samaritan z^cman; and not long 
 after, a figure of Judith holding the head of Ho lof ernes. Thefe juvenile per- 
 formances attrafted the notice of Anthony Blockland, an hiflorical painter 
 of great note; and under his inftruftions Mirevelttook up the pencil. He 
 was very fuccefsful in his attempts at painting hiftory; but finding portraits 
 to be more profitable, he quitted the former by degrees, and applied him- 
 fclfto portrait painting only. His reputation, according to De Piles, was fo 
 great, that he exafted what price for his pidlures he plcafcd, never taking 
 lefs than one hundred and fifty florins a piece. The portraits, drawn and 
 painted by this artift, are exceedingly numerous ; and many of them were 
 excellently engraved by William James Delft, his near relation, a very fkilful 
 artift. I do not find, that Mirevelt did much with the graver, after he 
 applied himfelf to painting. 
 
 D. M I S E R O T T I. 
 
 Flouriftied, 1760. 
 
 A modern Italian engraver, who executed feveral of the plates for the col- 
 leftionof prints, from the paintings in the gallery of the great duke of Tuf- 
 cany. 
 
 X 2 A G O S- 
 
MIT [^56] MIT 
 
 AGOSTINO MITELLI. 
 
 Born, 1609. Died, 1660. 
 This artift was a native of Bologna. He learned the firft principles of 
 painting from Gabbriello Ferrantini, and afterwards became the fcholar of 
 Dentone. He excelled principally in painting of architefture and orna- 
 ments, which he executed in frefco, as well as in oil. He was much em- 
 ployed at Madrid, by Philip IV. king of Spain ; and died in that city, a. d. 
 1660, aged 51 years. We have feveral fpirited etchings by him, confirting 
 chiefly of arehiteSial ornaments^ and a let of forty-eight /r/Vzw, from his 
 own defigns. 
 
 'O' 
 
 GIOSEFFO MARIA MITELLI. 
 Born, 1634. Died, 1718. 
 
 This artifl:, the fon and fcholar of Agoftino Mitelli, mentioned in the 
 foregoing article, was born at Bologna. From his father he received the firft 
 rudiments of defign and painting. But, I believe, he is much better known 
 by his engravings, than by his piflures or drawings. He etched in a very 
 flight, feeble ftyle, without eifeft. The naked parts of the human figure 
 he did not fufEciently attend to ; neither did he mark the extremities cor- 
 reftly. Yet his works prove him to have been a man of genius ; and they 
 feem only to have required more time and attention, to have ftamped a 
 higher value upon them. From their being, in many inftances, the only en- 
 gravings from the pitlures of feveral great mafters, they are, however, 
 worthy of the attention of the curious. He died at Bologna, a. d. 1718, 
 aged 74 years. We have a very confiderable number of etchings by him ; 
 and fome few of them from his own compofitions. I ftiall mention the 
 following only : 
 
 A fet of twelve large upright plates, from the moft eftimable piftures in 
 the churches at Bologna. 
 
 The hijiory of yEneas, contained on feventeen large plates, including the 
 title, from the pidtures painted by Annibale Carracci, in the Favian palace at 
 Bologna. 
 
 The cries of Bologna, on forty-one middling-fized upright plates, from the 
 fame mafter. 
 
 The four and twenty hours of human felicity, in fmall folio. There are 
 two additional prints ; fo that the fet confifts of twenty-fix. Thefe are 
 probably from his own defigns. They were publilhed at Bologna, 1675. 
 
 The adoration of the fhepherds, from Corrcggio, a large upright plate. 
 
 The invention of the crofs, a large plate length-ways, from Tintoretto. 
 
 The martyrdom of St. Erafmus, from Nicholas Poufin, a large upright 
 plate. 
 
 He alfo engraved many prints from Titian, Paolo Veronefe, and other 
 mafters. 
 
 His monogram, compofed of a G. and two M.'s joined together, is 
 copied on the plate at the end of the volume. He fometimes figned his 
 plates in this manner, G.'"*M.V, 
 
 C. F. 
 
M O F [^57] MOD 
 
 C. F. M O F F E I. 
 
 Flourifhed, 
 
 This name is affixed ro a coarfe, incorrefi: etching, reprefenting the death 
 of St. Francis. It is a fmall plate, length-ways, and probably from the 
 artift's own defign; for it is infcribed, C, F. Mcffei fecit. 
 
 HIERONYMUS MOCETUS. 
 Flourifhed, 1510. 
 
 The prints by this ancient mafter are by no means common. He worked 
 with the graver onlyj but did not excel in the management of that inflru- 
 ment. Hisftyle of engraving bears fome refemblance to that of Robetta. 
 Though it is confiderably neater and clearer, he did not draw the naked parts 
 of the human figure correftly. The extremities elpecially, are very defedlive. 
 The ftudy of the chiaro-fcuro was at this time very little attended to. We 
 muft not wonder, therefore, at finding the works of this artift totally deftitute 
 of effeft. However, they are not without merit ; though, it muft be confefled, 
 that their fcarcity ftamps the greateft value upon them. We have by him, 
 
 'The refurre6lion of Cbriji, with four foldiers at the foot of the tomb., appa- 
 rently from his own defign. 
 
 jifacrifice., with many figures, from an antique bas-relief j a middling- 
 fized plate, length-ways. 
 
 Alio feveral battles, with other fubjefts ; all of them marked with his 
 baptilrnal name, written in the manner exprefled upon the plate at the end of 
 the volume. 
 
 NICOLETO DA MODENA. 
 
 Flourifhed, 15 15. 
 
 He was a painter of Modena, and feems greatly to have ftudied architec- 
 ture and perfpeftive. He is ranked as one of the firft engravers of the 
 fchool of Lombardy ; and, when we examine his works, it feems as if the 
 name of engraving only had reached him^ and that he had been obliged to 
 work out his own fyftem. It is aftonifliing, at a time when fo many engravers 
 of confequence were living, and had produced fuch a variety of excellent 
 prints, efpecially Marc Antonio and his fcholars, that this man, who was 
 himfelf a painter, fhould have been fo much at a lofs, not only in the me- 
 chanical part of the execution of his plates, but with rcfpeft to the compo- 
 fitions and drawing of them alio. If thefe rude produ£tions have any merit 
 to recommend them, it muft confift in the buildings and architedal orna- 
 ments, which he introduced into his defigns, and with which he has frequently 
 crowded them in a very abfurd manner. He worked with the graver only ; 
 and his largeft plates feldom exceeded the common folio fize. He 
 ufually figned his name at length j but in fome few inftances, he ufed the two 
 monograms copied upon the plate at the end of the volume. 
 
 We have by him, 
 
 The adoration of the Jhepherds, a middling-fized upright plate, marked 
 with his name at length. 
 
 Sf. 
 
M O G [ 158 ] M O I 
 
 St. Sebnftian, a middling-fized upright plate, marked with his baptifmal 
 name, Nicoleto, on a tablet. 
 
 St. Sehaftian, a middling-fized upright plate, infcribed, ora pro nobis, 
 SANCTE SEBASTIANE, and marked with a monogram, compofed of an N. 
 and an I. 
 
 6"/. Jerom, feated, and reading with fpeSfacles, a very fmall upright 
 plate, marked with a monogram, compofed of all the letters of his baptifmal 
 name. 
 
 St. George, a fmall upright plate, marked with his name at length. 
 
 St. MarJiti, infcribed Divo Marti, and marked with his name on a 
 tablet. With a variety of other fubjefts. 
 
 COSMO MOG«LLI. 
 
 Flourifhed, 1730. J/^ 
 
 He was a native of Italy, the difciple of Giovanni Batifta Foggini, a 
 fculptor of Florence. What progrefs he made, as a fculptor, I know not ; 
 but he feems to have applied much of his time to engraving ; and if he 
 fucceeded no better in the former than he did in the latter, his works have 
 very little merit to recommend them. We have by him, many of the plates 
 for a book of Etrufcan antiquities, publiihed by Thomas Dempller, at Flo- 
 rence, 17 24; and part of the plates for t\\t Mufeo Fiorenti-rio -, with other 
 works of the like kind. He frequently marked his plates with the initials 
 C. M. only. 
 
 FRANCOIS LE M O I N E, or M O Y N E. 
 
 F'lourilhed, 1660. 
 This artift was a native of France. He worked chiefly with the graver, 
 in a neat, bu: ftiff" ftyle ; and was concerned with Bcrain and Cliauveau, in 
 drawing and engraving the ornaments of painting andfculplure, which are in 
 the gallery of Apollo at the Louvre. 
 
 PETER STEPHEN MOITTE. 
 
 Flourifhed, 1760. ^ 
 
 A modern French engraver, by whom we have a confiderable number of 
 engravings ; and, among others, the following : 
 
 'The zvatering place, a middling-fized plate, length-ways, from Wouver- 
 mans ; and the repoje of the travellers, its companion, from the fame 
 painter. 
 
 'Thefijhtnonger, from Gerard Dow, a middling-fized upright plate. Thefe 
 prints belong to the colleftion of the comtc de Bruhl. 
 
 The triumph of Venus, from Boucher, a large plate, length-ways. 
 
 He engraved alfo from Greuze, Cocliin, and other matters. 
 
 P I E T R O 
 
M O L [ 159 ] M O L 
 
 PIETRO FRANCESCO MOLA. 
 Born, 1609. Died, 1665. 
 
 He was born, according to mod authors, at Lugano, a city belonging to 
 the Switzcrs. Others affirm, that the place of his birth was Coldra, in the 
 diftrift ofComo. He v/as at firft the difciple of Giuleppe D'Arpino, and 
 afterwards of Albano. When he quitted the fchool of the latter, he went to 
 Venice, and ftudied aiTiduoufly the pictures of Titian, Tintoretto, Bafan, and 
 Paolo Veronefe. He painted hiftorical fubjedls and landfcapes with great 
 fuccefs ; but his genius feemed more particularly adapted to the latter. His 
 piftures, in both fty'es, are fpokcn of with the warmeft commendations. 
 He fometimes amufed himfelf with the point ; and his etchings, though 
 flight, are uncommonly fine. He added to a mafterly flyle conednefs of 
 drawing; and the heads of his figures are exceeding beautiful. 
 
 The following are by him : 
 
 The Virgin giving the breaji to the infant Jejus, a very fmall upright plate, 
 from his own defiain. 
 
 j1 holy family with angels, a large upright plate, the fiime. This plate was 
 begun by him, and finifhed afterwards with the graver, by fome unikilfui 
 hand, in a very I'lifF and taftelefs manner. 
 
 Jofeph difccvering hirafelf to his brethren ; a middling fized plate, length- 
 ways, from his own compofition. This plate has been attributed to Carlo 
 Maratti, 
 
 A holy family., with two angels kneeling, and frefenting flowers to Chrift \. a 
 middl/ng-fized upright plate, from Albano. 
 
 GIOVANNI BATISTA MOLA. 
 Born, 1620. Died, 
 
 This artift was brother to Francefco Mola, mentioned in the precedino- 
 article, and was alfo the difciple of Albano. He painted both hiftorical 
 fubjects and landfcapes ; but his works will not bear a comparifon with thofe 
 of his brother. He imitated the ftyle of Albano, hismafter; and there are 
 four piflurcs, faid to have been painted by him at Rome, which have been 
 ufually taken for the works of Albano. We have fome few etchings by 
 him, and, among others, 
 
 Two little Cupids drawing a third Cupid Je ate d in a chariot, a fmall 
 plate, length-ways, from Albano. 
 
 J. MOLENAER. 
 
 Flourifhed, 
 By this artift, who was probably a painter, we have a flight etching, repre- 
 fenting two peafants playing upon nmfical inflriiments, and a third flinging, 
 whilft a woman behind him is picking his pocket ; a fmall plate, length-ways, 
 apparently from his own defign. 
 
 MO LET 
 
M O L [ 160 ] M O L 
 
 M O L E T. 
 
 Flourifhed, 
 
 We have fome plates of gardening by this artiH, according to Florer.t le 
 Comte; but they are not Ipecified by that author. 
 
 M O L I G N Y. 
 Flourifhed, 1760. 
 A French artift, who refided at Paris, where he engraved feveral portraits} 
 anrione others, that oi Joannis Brute Cure de St. Benoit, from Cochin. 
 
 ANDRE MOLLES. 
 ^ Flourifhed, 
 
 Florent le Comte fpeaks of this artift, and tells us, that he excelled in 
 engraving fountains ; but he has not fpecified any of his works. 
 
 PETER MOLYN, called TEMPESTA, and PIETRO MULIER. 
 
 Born, 1637. Died, 17 10. 
 He was a native of Haerlem, and, according to fome authors, the dif- 
 ciple of Snyders, whofe manner of painting he at firft imitated. But his ge- 
 nius led him to the ftudy of difmal fubjedts ; and he fo far excelled 
 in painting tempefts, ftorms at fea, and fhipwrecks, that he was called by 
 way of diftin6tion, Tempejla. His pidtures are very rare, and held in the 
 greatefl eflimarion. The name of Pietro Mulier, or de Mulieribus, was 
 given him, on account of having caufed his wife to be alTaflinated, in order 
 to m.arr}' a young lady of Genoa, with whom he was in love. But this vil- 
 lainous tranfaftion being difcovered, he was feized, imprifoned, and capi- 
 tally condemned. However, the greatnefs of his merit, as an artifl, occafioned 
 a mitigation of the fentence j but he was ftill detained in prifon, where he 
 diligently followed his profeffion, and would have continued there, in all pro- 
 balit)', for life, had he not met with an opportunity of efcaping to Placent'a, 
 at the time Louis XIV. bombarded the city of Genoa, after he had been 
 in confinement fixteen years. 
 
 To this anift are attributed feveral very neat print";, executed with die 
 graver only, in a flyle greatly refembling that of John Vander Velde. They 
 confift chiefly of candle-light pieces, and dark fubjeds, and are marked, P. 
 Molyn, fee. or fecit, the F. and M. being joined together in the manner ex- 
 prefled on the plate at the end of the volume. I ihall fpecify one only, 
 which reprefents /o;;;f figures by candle light, Jlanding by the dcor in majque- 
 rade : at a diftanee is Jeen a mock prccejfion. M. Heineken mentions Pcrer 
 Molyn the elder, who was a native of Holland, and a pointer j but not fo 
 eminent as Tcmpefta. I own, I fho'jld rather be inclined to fuppofe the 
 prints above mentioned ought to be afcribed to the latter, if the time in 
 which he lived agrees with that, in which we may fuppofe thofe prints to 
 have been executed, which was apparently towards the conclufion of the 
 
 laft 
 
M O M [ i6i ] M O N 
 
 laft century. Though very neatly executed, they are laboured, heavy per- 
 formances, and not equal in any degree to what one might expeft from tl:e 
 hand of an artift of fo much repute as Tempefta. If they were by him., thev 
 v/ere probably his juvenile produftions : but the decifion of this point I muft 
 leave to my readers. 
 
 JOST, or JODICUS MOMPERT. 
 Born, 1580. Died, 
 
 A very excellent painter of landfcapes, fald to have been a native of 
 Flanders, His pidlures, thofe efpeclally which are carefully finiihcd, have 
 many admirers. Velvet Brughel and David Teniers often alTifted him, by 
 painting the figures for his landfcapes, which, in this cafe, acquire no fmall 
 additional value. We have feveral fm.ali landscapes etched by him, from 
 his own compofitions. 
 
 PETER MONACO. 
 
 Flouriflied, 1760. 
 
 A modern Venetian artift, by whom we have feveral engravings, from 
 the paintings of the moft celebrated mafters, preferved at Venice in the 
 cabinets of the curious. 
 
 BALTHAZAR MONCORNET. 
 
 Flourifhed, 1650. 
 
 Moncornet was one of thofe laborious artifts, whofe only merit feems to 
 have confifted in his patience and adiduity. What he wanted in tafte and 
 corrednefs of defign, he endeavoured to fupply by neatnefs. Bafan hardly 
 does him juftice, when he calls him one of the moft indifferent French 
 engravers. France certainly produced many worfe j and indeed fome few 
 of the portraits of Moncornet are not altogether defpicable. I fhall only 
 mention that of John George Godelman, a fmall upright oval plate, as a 
 proof of this affertion. He was a native of Paris, and eftabliftied in that 
 city as a printfeller. He often worked with the graver only ; but Ibmetimes 
 he called in the affiftance of the point. 
 
 The number of portraits which he engraved is almoft incredible. 
 According to Le Comte, they amount to one thoufand three hundred and 
 ninety one. I ftiall fpecify the following engravings only by this artift : 
 
 The battle of Confiantine againji Maxentius; a middling-fized plate, length- 
 ways, from Rubens. 
 
 The triumph of Conjlantine, the fame, from the fame. Both thefe pidtures 
 were afterwards engraved by Nicholas Tardieu. 
 
 A fet o^ ornaments for goldfmiths and jewellers. 
 
 A fmall etching, reprefenting feveral rahbitSt in imitation of the ftyle of 
 Hollar. 
 
 VOL. II. y M. D E 
 
M O N [ 162 J M O N 
 
 M. DE MONGEROUX. 
 
 Flouriflied, 1760. 
 
 A modern connoifleiir, who for his amufement etched feveral plates j among 
 others, a finall upright land/cape, with figures and animals, from Cafanove. 
 
 J. M O N I. 
 
 Flourifhed, i 570. 
 
 This artift was a native of Lyons, and a very fkilful engraver on wood. 
 Papillon informs us, that he was alfo a painter and defigner, and that he 
 engraved, from his own compofitions, a fet of prints for the Bible Hijiory^ 
 publifhed at Lyons by William Rouille, about the year i 570. He alfo 
 copied the engravings on wood from the Bible, executed by Solomon Ber- 
 nard, called the Petit or Little Bernard, which copies v/ere publifhed 158a, 
 at Lyons. That author mentions feveral other prints of merit by this artift, 
 and adds, that his monogram was compofed of an M. furmounted by a 
 (jouble crofs, with a figure refembling a 4 at the top, and fometimes he 
 figned his prints with the initials I. M. only. 
 
 JOHN BAPTIST MONNOYER. 
 
 Born, 1635. Died, 1699. 
 
 This celebrated artift was born at Lifle in Flanders ; but was educated 
 at Antwerp; and in the early part of his life was inftrufted in painting hif- 
 torical fubjefts. But, on his return to Lifle, he applied himfelf to the 
 painting of flowers ; and fucceeded fo well, that Le Brun employed him to 
 afTifl: him in the ornamental part of his pi6tures at Verfailles. Whilft he 
 was at Paris, the duke of Montague was ftruck with the beauty of his per- 
 formances, and brought him into England ; and he, in conjunction with 
 RoufTeau and Le Force, embelliflied the houfe of that nobleman in Bioomf- 
 bury, now the Britifti Mufeum, with very capital paintings, all the flowers, 
 fruit, and other decorations of that kind, being by his hand. He was after- 
 wards employed by lord Carlifle, lord Burlington, and feveral others of the 
 nobility. But his moft curious work is laid to be a looking glafs at Ken- 
 fmgtou palace, which he adorned with flowers for queen Mary, who held him 
 in fuch high elleem, that flie honoured him with her prefencc, nearly the 
 whole time he was bufied in the performance. 
 
 He died at London, a. d. 1699, aged 64. 
 
 He begun to publifli a large collection of prints, from flowers and fruits, 
 after his own defigns ; and many of the plates for that colleftiou he etched 
 himfelf in a bold, free ftyle. 
 
 BENEDETTO MONTAGNA. 
 • Flouriihed, 150c. x.^-^ 
 He was a native of Venice, and is fpoken of as a painter; but, I believe, 
 kt is more generally, if not better, known by his works as an engraver. It 
 
 is 
 
M O N [ 163 ] M O O 
 
 ispoffible, that the prints of Albert Durer, which were brought to Venice, 
 and thofe of Marc Antonio, who worked foine time in that city, might induce 
 him to take up the graver. The invention of engraving was ftill confidered 
 as a novelty, and had not, when he firll: attempted to purfue the art, been car- 
 ried to any very great perfedlion in Italy ; for Marc Antonio had not then 
 produced any of his capital works. The efforts of Montagna, as an en- 
 graver, are very feeble. Indeed his drawing is exceedingly defedive ; and 
 the mechanical part of the execution of his plates is very harfh and rude, 
 though, in fome few inftances, he has attempted to harmonize the lights with 
 fmall dots. 
 
 The prints by Benedetto Montagna bear, however, fome refemblance 
 to thefirft and rudeft engravings by M. Antonio ; and they are all from his 
 own deligns. I fliall notice the following only, all marlced with his name at 
 length. 
 
 The Virgin feated, holding the infant Chriji. St. John is /landing by her fide 
 naked, and Jo/eph appears below ; a town is reprefented in the back-ground, 
 with a river, and a bridge over it ; a fmall plate, length-ways. 
 The judgment of Midas, a fmall upright plate. 
 A naked figure ft an ding by a tree, a middling-fized upright plate. 
 Two figures, an elderly man and a youth; the former is playing upon the 
 bagpipes, and the latter, upon the violin ; a fmall upriglit plate. 
 
 A landfcape, with a cottage, and an old vian feated upon a bank, a fmall 
 upright plate. 
 
 M O N T A G N E. See Plattenbero. 
 
 MONTENAT. 
 
 Flouriflied, 
 An engraver on wood, by whom, according to Papillon, we have feveral 
 prints, from the defigns of Simon Vouet. 
 
 The MAR Q^U IS of MONTMIRAL. 
 
 Flourifhed, 1733. 
 A French nobleman and lover of the arts, who, for his own amufement, 
 engraved feveral land/capes, from his own defigns ; and others, from Albert. 
 
 NICHOLAS MOOJAERT. 
 
 Flouriflied, 
 He was a native of Amfterdam, and flourifhed during the laft century. 
 He was a painter, and imitated the ftyle of Rembrant. Vfe have feveral 
 engravings by him, from his own compofitions. 
 
 C. D. M O O R, 
 
 Born, 1656. Died, 1738. 
 
 This artift was a native of Leyden, and refided at the Hague, where he 
 
 Y 2 died. 
 
MOO [ 164 ] M O R 
 
 died, A. D. 1738, aged 82. He was a portrait paii>ter ; and we have fome few 
 heads etched by him, from his own defigns, in a very flight and hafty manner, 
 I fliall mention the three following only : Gerard Douw, John Van Goycn, 
 and Francis Fan Mieris, 
 
 Moor, the name of a modern Englilh artift, affixed to a portrait o^ the 
 Rev. George Whitfeld, after Jenkins. 
 
 SAMUEL MOORE. 
 Flourifhed, 17 15. 
 
 This gentleman refided in London, and belonged to fome office at the 
 Cuftom Houfe. He feems to have dedicated much time to the arts, efpe- 
 cially drawing and engraving; though it does not appear that he ever 
 arrived at any great degree of perfeftion in either. His prints are very 
 coarfe and heavy, being firft roughly etched, and afterwards retouched 
 with the graver. I fhall mention only the coronation procejjion of king William 
 III. and queen Mary by this artift ; which, as he has not given the name of 
 the defigner, we may conclude, was compofed by himfelfj and the indif- 
 ferent ftyle, in which it is executed, may perhaps juftify the fuppofition. 
 
 Vertue tells us, that he made a medley of feveral things, drawn, written, 
 and painted, which h; prefented to Sir Robert Harley, fpeaker of the houfe 
 of commons, afterwards earl of Oxford : It refembled thofe, I prefume, 
 which we fee in the prefent day, confiding of letters, cards, prims, ballads, 
 .-ind the like, all crowded into one compofition, and reprefcnted as lying 
 carelefsly one upon another. 
 
 GIOVANNI BATISTA MORANDI. 
 
 Flouriflied, 
 
 An Italian artift, mentioned by Florent le Comte, who tells us, that he 
 enoraved feveral portraits of the popes and cardinals. I rather fufpeft, that 
 he means Giovanni Maria Morandi, an eminent painter of hiftorical fubje(51:s, 
 and of portraits : if lb, we may fuppofe, that he was the painter, and not the 
 cnoraver, of the portraits mentioned by Le Comte. 
 
 EDME MOREAU. ' 
 
 Flourifhed, 
 
 This artift was a native of Rheims. He engraved, fliys Le Comte, from 
 his own compofttions, and after the defigns of St. Igny and other matters, 
 whofe names he has not affixed to his prints. He flourifhed in the laft century. 
 
 LOUIS MOREAU. 
 
 Flourifhed, 
 
 This artift was a native of France ; and probably of the fame family with 
 
 the above-mentioned engraver. He flourifhed during the prefent centuryj 
 
 'but we have very few prims, according to Bafan, to which he has affixed his 
 
 name. 
 
M O R C 165 ] M O R 
 
 name, having been almoft continually ennployed in ornamental fubjeds. _ He 
 worked with the graver only ; and the following is cited as a fine fpecimen 
 of his abilities as an artirt, Chrijl raifingthe daughter of Jairusfram the dead; 
 a large upright plate, after La Foffe. 
 
 J. M. M O R E A U. 
 
 Flouriflied, 1750. 
 
 It is probable, that this artift, who was a native of France, was related to 
 the two preceding engravers. Bafan fpeaks of him as a defigner, and tells 
 us, that he etched a diverfity of prints ; among others, Bathfieba, a large 
 plate, from Rembrant. 
 
 I have feen the name J. Moreau, affixed to a large plate, length-ways, 
 reprefenting the bringing of the little children to Chrijl ^ executed entirely with 
 the graver, in a cold, taftelefs ftyle. 
 
 PAUL MOREELSE. 
 Born, 157 1. Died, 1638. 
 
 He was born at Utrecht, and ftudied painting under Michael Mirevek, 
 He was very fuccefsful, not only in portraits, but hiftorical fubjedls and 
 architecture; particularly after he had improved his tafte by his ftudies in 
 Italy. We have fome excellent wood cuts in chiaro-fcuro by this artift, 
 executed on three blocks ; the firft for the oudine, which is cut in a very 
 fpirited ftyle, and the hatchings or crofs ftrokes are delicately exprefTed ; the 
 I'econd is for the dark lliadows ; and the laft: for the demi tints. Thefe 
 prints have a light, airy appearance. They are drawn in a flight, but 
 mafterly manner ; and tlie union of the feveral tints produces an agreeable 
 ef?edt. He ufually figned the name Moreelfe at length, P. the initial of the 
 baptifmal name being joined to the M. in a fort of cypher ; and in fome 
 few inftances, he has affixed the cypher only. See the plate of monograms 
 at the end of the volume. We have, among other prints by Moreelfe, the 
 following : 
 
 'The death of Lucretia, a micldling-fized print, length-ways,, dated 1612. 
 
 Several dancing figures, the fame, bearing the fame date. 
 
 MORGAN. 
 
 Flourifhed, 1660. 
 
 The name of an cbfcure engraver, whofe only noted performance was 
 eplan of London, for Ogilby. 
 
 JOHN ELI AS MORGEN, or MORGHEN. 
 
 Flourifhed, 1750. 
 This artift was a native of Germany ; but he refided fome time in Italy, 
 particularly at Florence, where he made many of the drawings for a col- 
 Icftion of prints, engraved after the capital pidures of the Florentine artifts, 
 
 which 
 
M O R [ i66 ] M O \i 
 
 which are in the palace of the great duke of Tufcany ; part of which, 
 according to Bafan, were alfo engraved hy him. 
 
 John Morgen, is mentioned by M. Heineken, as a diflinft artift from 
 the preceding engraver, though probably of the fame family ; who, together 
 with Philip Morgen, was concerned in the engravings from the antiquities 
 of rierculaneum, publilhed at Naples, 1757. 
 
 M O R I L L O N. See Cave. 
 
 JOHN M O R I N, 
 
 Flourifhed, 1660. 
 
 He was a native of France, and a man of great ability. He was the dif- 
 ciple of Philip Champagne, a celebrated French Artift; and under his in- 
 ftruftion he learned the principles of painting. It does not appear, indeed, 
 that he ever arrived at any very great perfection in that art ; for he is better 
 known by his works as an engraver, than as a painter. His plates are exe- 
 cuted in a fingular ftyle, being a mixture of ftrokes and dots ; and they are 
 harmonized with each other, fo as to produce a very agreeable effeft. They 
 are chiefly etchings : for he does not appear to have underftood the manage- 
 ment of the graver, by any means equal to that of the point. His portraits, 
 which form the larger part of his works, are many of them executed in a 
 very mafterly manner ; and, though not finifhed with all the precifion and de- 
 licacy, which the graver is capable of producing, manifeft, at leaft, the good 
 tafte, freedom of hand, and knowledge of the artift. The following arc 
 among his moft ettimable works. 
 
 ^ crucifixion, a large print on three plates, from Champagne. 
 
 The Virgin with the infant Jefus, who is holding a nofegay of flowers j a 
 middling-fized upright plate, from Raphael. 
 
 The Virgin adoring the infant Chrifi ; the fame, from Titian. This is a 
 fine fpecimen of the artift's ability. 
 
 Several landfcapes of various fizes, from Foquier. He has attempted in 
 thefe to finifh the diftances with dots ; but not with his ufual fuccefs. 
 
 Four fmall landfcapes, length-ways, from Poelemberg. 
 
 Twenty-four portraits of //6^ illuftrious perfonages cf his time, after Philip 
 Champagne. Some of thefe are very finely executed. 
 
 A variety of ox.\itv/ubje£fs, portraits, &c. from Gorgione, A. Carra'cci, 
 and other mafters. 
 
 BATISTA DE ANGELO DEL MORO. 
 
 Flourifhed, 1560. 
 This artift was a native of Verona. According to moft authors, he ftudied 
 painting under Francefco Tobido, called II Moro; but Florent le Comte, 
 fpeaking of him, fays he was the fcholar of Titian, and promifed to be one 
 of the moft famous artifts of the agej but that he died young, being then 
 under thirty years of age. "We have feveral flight, but fpirited ctchings^ by 
 
 him : 
 
M O R [ ^(.^ J M O S 
 
 him : the extremities of the figures are drawn in a very mafterly ftyle. I 
 Ihall mention the followino- : ■' ^ ■> * 
 
 A holy family, zvith Jo/eph at a window, from Raphael, a fmall plate length- 
 
 ways. 
 
 Another holy family, from the fame painter, the fame 
 Crfmon?'^'' '-^ ^^'''■^' ^ ^"■"' "^"°''' P^""' ^'°''' Bernadiiio Campi of 
 Ths martyrdom of St Catherine, the fame, from the fame painter 
 beveral land/caps, fifty according to Le Comte, from Titian, * 
 
 JOHN MORTIMER. 
 
 Born, 1743. Died, 1779. -- 
 This excellent artift was born with every requifite to make a great painter. 
 His genius was fertile, and his imagination lively. There is an originality in 
 hs works which add greatly to their value. No mail perhaps touched in^he 
 heads and other extremities of his figures with more fpirit- and few could 
 draw them more correftly. When he failed, it was from his hafte to exprefs 
 his thoughts J fo that, at times, he did not attend with that precifion, which 
 
 times he v^v'^'tI"^."/'^' '° 'I' P"P°'^'°" °^^'^ ^^ures, and they ar^ fome- 
 times heavy. This defeft is, however, well repaid by the lightnefs of his 
 pencil and the freedo.^. which appears in his works. He died'at his houfe in 
 , Norfolk-ftreet in the Strand, aged 2^- 
 
 King John granting the IVIagna Charta to the barons, and the battle of 
 Agincourt, two of his capital piftures, have been engraved. The firft wa 
 nearly fimlhed by Mr. Ryland, and completed by Mr. Bartolozzi. ki 
 a moft admirable print The plate was purchafed from the affi^nees of 
 he late Mr Ryland, for the benefit of liis widow and family" The 
 ^It intended as a companion to the former, was publilhed by Mrs. 
 Mortimer We have feveral excellent etchings, in a bold, free ftyle, bJ 
 a f;t o/'rweT' T ' °"",'^^^-V^g^' '" P^" ^nd ink , and, among tli'em 
 cJT. ^'^^ ''''"^'' P^"'"'' reprefenring charaSfers from Shak- 
 
 o ^^^t'''!i"g^^^^"^^f.^^^^^^i"S'y^3l"able; moft of which have beeaea- 
 graved by M. Haynes his pupil, Robert Blythe, and other artifts.. 
 
 M O S I N. See Mozrw. 
 
 C. M O S L E Y. 
 
 Flouriflied, 1760. ^ 
 He refided at London, and worked chiefly for the bookfellers We have 
 many engravings by him, but much cannot be faid in their praife. Amon ' 
 his beft prints, I think, we may place fome few of his portraits I Ihall 
 mention only CW../,^. Firft on horfeback, ^ron. ±. celC pidu-o 
 \ an Dyck at Kenfington ; and Marfhal Bellifle, on horjehack. ^ 
 
 ISAAC 
 
INI O U f i68 ] MO Y 
 
 : ISAAC MOUCHERON. 
 
 Born, 1670. Died, 1744. 
 A celebrated landfcape painter. He was the fon of Frederic Moucheron, 
 and born at Annfterdam, where he learned the firft principles of this art -, but 
 he completed his ftudies in Italy. Hispidures are held in high eftimation. 
 He amufed himfelf with the point j and we have a fet of plates engraved by" 
 him, confiiling of nineteen viezvs of Heemjiede, in the province of Utrecht, 
 from his own defigns. Alfo feveral land/capes from Gafpar PoufTin, &-c. 
 
 M O U N I E R. See Mun-ier. 
 
 GERARD MOUNTAIN, or MOUNTIN. 
 
 Flouriflied, 
 This artift was probably a Dutchman, or a German ; but it appears alfo, 
 that he refided in England. He engraved portraits in a neat, iliff ftyle, with 
 the graver alone. They do not, however, poflefs any great fhare of merit. 
 I fhall mention the following only : The frogenie of the renowned prince 
 fames, king of Great Britain, France and Ireland, with Latin and Englilli 
 verfes under it compofed by John Webfter. The excellent princefs Mary of 
 ylujlria. His name is affixed, " Gerrit Mounthi fculp." and the por- 
 trait oi Francis White. Sold by Peter Stent. 
 
 CHRISTIAN LOUIS MOYAERT. 
 
 Flouriflied, 
 
 An artiflr, mentioned by profeflbr Chrift, who attributes to him the en- 
 gravings marked with a C. and an L. joined together, followed by an M, 
 See the monograms at the end of the volume. 
 
 JOHN MOYREAU. 
 Born, Died, 1762. 
 
 This artift was a native of France, and refided at Paris. He painted, 
 defigned and engraved. His moft excellent works are from the piiftures of 
 Wouvermans, and form a fet of eighty-feven prints. They are etched and 
 retouched with the graver, fo as to preferve much of the effeft of the pic- 
 tures ; but if they had been more neatly finifhed, it would doubtlefs have 
 added confiderably to their value. He did not draw the human figure 
 correftly ; whenever, therefore, he attempted fuch plates, as required truth 
 of outline, he has not been equally fuccefsful ; as appears in a middling- 
 fized plate, length-ways, reprefenting the reJurreSlion of Lazarus, which he 
 has infcribcd in this manner : Feint et grave par J. Moyreau, d'apres le 
 tableau original de Bon Boulonge I'aine. We have alfo by him two lubjedls 
 of hunting, middling-fized plates lengthways, from Van Falens; and the 
 
 hunting 
 
 ft 
 
M O S [ ih ] ^I U L 
 
 hunting of lions and tygers, a middling-fized plate, length-ways, from 
 Rubens : Suyderhoef engraved a print from the fame pidture. 
 
 LITTLE MOSES. See Uvtembroeck. 
 
 MICHAEL M O Z I N, or M O S I N. 
 
 Flourlfhed, 
 This artift, if not a native of Holland, refided at Amfterdam. He 
 united the point and the graver in the execution of his plates ; but he was 
 not fuccefsful. His ftyle is heavy and laboured, and his drawing exceedingly 
 incorrect. We have by Yimi fever al children at play, a fmall plate, length- 
 ways, from Cornelius Holftien. IVomen returning from the bath^ the faaie, 
 from Poelemberg. A fet oi ornaments, middling- frzed plates, length-ways, 
 from Lutma. He alfo engraved from Caftiglione, Charles Errard, Tefte- 
 lin, and other mailers. 
 
 J. MULDER. 
 Flourilhed, 17 lo. 
 
 This artift refided at Amfterdam, He worked chiefly with the graver, 
 in a neat, ftiff ftyle, without tafte or powerfulnefs of effect. Views of pa- 
 laces, churches, and public buildings, conftitute his beft performances ; and 
 thefe he frequently engraved from liis own drawings. He did not under- 
 ftand the human figure ; and of courfe he has failed grievoully in every 
 inftance, when he attempted to execute hiftorical fubjects, as maybe feen 
 by the plates, which he engraved for a fet of prints from the Bible, in folio, 
 publiftied at Amfterdam, \'] 10, ^nm\t^. Figures de la ^/T-Zi?, defigned by 
 Picart and other mafters. I ftiall mention befides, a fet of fmall plates, 
 length-ways, entitled, Veiies de Gunterflein, They are infcribed, " J. 
 " Mulder ad vivum del. et fecit." 
 
 M U L I E R I B U S. See Molvn. 
 
 HERMAN MULLER. 
 
 Flouriflied, 1585. 
 
 This artift Is faid to have been a native of Holland. He flourilhed 
 towards the conclufion of the fixteenth century. He was the dii'ciple of 
 Henry Goltzius; but apparently entered the fchool of that great artift, 
 before he travelled into Italy. The plates of Herman Mullcr, which were 
 performed with the graver only, have all that laboured exaftnels, not to fay 
 formality and ftiffnefs, which charafterized the Flemifli and Dutch fchool at 
 this period, and which Goltzius himfelf purfued in the early part of his life. 
 Mullcr was a man of ability. He drew with tolerable precifion j and his 
 beft prints are not devoid of expreffion. He feems to have made more 
 attempts than one to alter his ftyle of engraving, and imitate the bold, 
 free manner introduced by his matter ; but he was not fuccefiful. His 
 
 VOL. II. Z prints 
 
M U L [ 170 J M U L 
 
 prints are fufficiently numerous, and by no means uncommon. I fliall fpe- 
 cify the following only : 
 
 The cardinal virtues, four middling-fized plates, length-ways, from 
 Martin Heemfkerck. 
 
 Part of feveral fets of 5/^/<? cuts, conjointly with the Galles, the Sadelers, 
 &c. from Stradan, and other mafters. 
 
 Luoetia, a middling-fized upright plate, from C. Ketel. 
 
 St. Cecilia, the fame. In this plate he has attempted to alter his ftyle of 
 engraving; no painter's name. 
 
 yf man holding a cock, a fmall circular plate, the fame. 
 
 He engraved alfofrom Spranger, Martin de Vos, and other painters. 
 
 JOHN MULLER. 
 
 . Flounflied, 1600. 
 
 This artifl was of the fame family with Herman Muller, mentioned in the 
 preceding article; but how nearly related to him does not appear. He was 
 alfo a difciple of Henry Goltzius; and probably did not enter his fchool, 
 till the return of that artift from Italy. He imitated the ftyle of his mafter, 
 and purfued it to a degree of extravagance, which borders upon what may 
 be called enthufiafm in engraving. Bafan exprefles himfelf happily enough 
 in thefe words, II gravoit vigourenfement au Burin. The facility with which 
 he handled the graver, for he worked with that inftrument only, cannot be 
 fufficiently exprefil'd ; his works muft be feen, to convey a proper idea of it 
 to the mind. If in freedom of execution he equalled his mafter; in every 
 other requifite to form the complete artift, he fell ftiort of him. His draw- 
 ing is mannered and heavy ; and the extremities of his figures are not cor- 
 recftly marked. Alfo in point of harmony his prints are fometimes very defec- 
 tive. When compared with Goltzius, Muller muft certainly yield the palm. 
 He is not, however, much diflionoured by being ranked as inferior to fo 
 great an artiil, Muller's engravings are valuable, as produftions of a very 
 extraordinary nature ; exclufive of which they have a prodigious fhare of 
 merit. Some of them are from compofitions of his own, which do him no 
 fmall credit. I fhall mention the following prints by this artift, which are 
 placed among his moft eftimable performances. 
 
 "The works of the creation, feven middling-fized circular plates, from 
 Goltzius. 
 
 Lot and his t'juo daughters, a middling-fized plate, length-ways, from 
 Spranger. 
 
 The hand writing on the wall, 3. middling-fized plate, length-ways, from 
 his own compofition. 
 
 The adoration of the wife men, the fame, from the fame. Fine irnpref- 
 fions of both thefe prints are very rare. 
 
 The refurreElion of Lazarus, a large plate, length-ways, from Abraham 
 Bloemart. 
 
 The martyrdom of St. Sebajlian, a middling-fized upright plate, from J. 
 van Aken. 
 
 Bacchus and Ceres, a large upright plate, from Spranger. 
 
 Venus and the Graces, a fmall upright plate^from the fame. 
 
 Afatyr 
 
M U L [ 171 ] M U L 
 
 AJatyr taking a thorn from the foot of a fawn, comY>'\nion to the precedino-, 
 from the fame. 
 
 Perfeus armed by Minerva and Mercury, a large upright plate, from the 
 fame. 
 
 The apoiheofis of the arts, a large upright print oa two plates, from the 
 fame. 
 
 Fortune diftributing her gifts, a large print, length- ways, on two plates, 
 from the fame. 
 
 Several mucW-t^temtd portraits, and among them the following-: 
 
 Maurice prince ofNaffau, a middling-fized upright plate, from Mirevelc. 
 
 Ambrofe Spinola, the fame, from the fame. 
 
 Albert, archduke of Aujlria, the fame, from Rubens. 
 
 The infanta Ifabella, the fame, from the fame. 
 
 The king of Denmark, the fame, from the fam-o. 
 
 He alfo engraved from Adrian van Vries and other mafters. 
 
 SOLOMON MULLER. 
 
 Flourifhed, 
 
 He was probably of the fame family with the above-mentioned artift, and 
 flouriflied apparently at the commencement of the laft century. From the 
 ftyle of his engraving, I fhould fuppofe he was taught that art in the fchool 
 of the Wierixes, whofe neat manner he imitated. His drawing, however, is 
 incorreft, and the heads of his figures are not well charadlerized. We have 
 by him a kt of fmall upright prints from the Sacred Hiftory ; and as he has 
 not affixed the name of the painter, it is not improbable, but they may be 
 from his own defigns. He fometimes wrote his name Miller. 
 
 JACOB MULLER. 
 
 Flourifhed, 
 
 The name of this artift is affixed to the frontifpiece and plans, from the 
 
 defigns of George Hatzel, fol" a book of Gardening, publifhed at Augfburo- 
 
 by Jeremiah Wolft. They are neatly executed, with the graver only ; but 
 
 in a diy, taftelefs ftyle. 
 
 G. A. MULLER. 
 
 Flouriftied, 1760. 
 This artift refided at Venice, where he engraved a confiderable number 
 of prints 5 among others, part of the fet of prints from the pidures of Ru- 
 bens, reprefenting the Hiftory of Decius : the reft were executed by Andre 
 and Joleph Schmutzer. The two children of Rubens, a middling-fized 
 upright plate, from a pifture painted by that mafter, which was alfo en- 
 graved by DauUe and Danzel. 
 
 Z 2 JOHN 
 
M U L [ 172 ] M U R 
 
 JOHN SEBASTIAN MULLER. 
 
 Flourifhed, 1760. ^ 
 
 An artift of great abilities, who refided in London, where he engraved 
 many eftin able plates : namely, feveral laridfcapes, after Vander Neer ; a large 
 landJcapCy length -ways, from Claude Lorraine j and a fet of ruins, large 
 plates, length-ways, from Giovanni Paolo Pannini. 
 
 J. MUNICHUYSEN. 
 
 Flourifhed, 
 
 AFlemifli artift, who flourifhed in the laft century. He executed feveral 
 meritorious works with the graver ; and among others, tijoo hoys reprejenting 
 Autumn and Whiter, a middling-iized upright plate, from Gerard Lairefl'e. 
 The companion, two hoys, refrejenting Spring and Summer, was engraved by 
 H. Bary after Van Dyck. We have by him alfo a confiderable number of 
 portraits ; among others, the hurgomafler Joji Spiegel, after IVI. Limbourg ; 
 alfo Henry Vander Graft -, and Cornelius Tromp. 
 
 JOHN MUNIER. 
 Flourifhed, 1553. 
 He and John Perrin feem to have been bookfellers and partners. They 
 refided at Tholoufe, and were both of them indififerent engravers on wood. 
 They worked conjointly about the year 155 1. Perrin marked his prints 
 with the initials 1. P. feparate or joined together, as expreCTed upon the 
 plate at the end of the volume ; and Mounier conftantly ufed the initials L 
 M. among otliers, we have by thefe engravers, the wooden cuts for a fmall 
 oftavo volume of emblems, entitled. La Morojophie de Guillaume de la Per- 
 riere 'Tolfain, contenant cent Emhlemes, publifhed at Lyons, by Mace Bon- 
 homme, 1553. 
 
 GERARD MUNTINCK. 
 
 Flourifhed, 
 This artift appears to have been a native of Groningen, and flouriflied 
 during the laft century. We have by him feveral portraits executed with the 
 praver only, in a very neat but taftelefs ftyle. 
 
 ANDREA MURANO. 
 
 Flourifhed, 
 
 Palmer, at the end of his Hiftory of Printing, fpeaks of a print, which, he 
 tells us, was marked with the initials, A.M. and dated 1412. He adds, 
 that it was executed upon that mixed metal, on which goldfmiths ufed to en- 
 grave their firft proofs ; and he fuppofes the artift, to whom we owe this fin- 
 gular curiofuy, was Andrea de Murano. M. Heineken, with great appear- 
 ance of juftice, fuppofes, that Palmer, who certainly was not one of the moft 
 
 accurate 
 
M U R [ n3 ] M U S 
 
 accurate writers, had miftaken the date, and that it was 15 12, inftead of 
 1412. 
 
 If it be thought extraordinary, that only Pahner fliould have feen fuch a 
 print, it will not appear to be kfs fo, that he fhould pofitively tell us the 
 very fpecies of metal, of which the plate itfelf was made. It is much to be 
 wifhed, that he had delcribed the fubjeft of the print ; and then, without 
 doubt, the miftake might have been difcovered. For if fuch a print really 
 did exill, it was probably the work of IVlarc Antonio, Agoftino de Mufis, 
 or fome other contemporary artift. 
 
 DOMENICO MARIA MURATORI. 
 Born, 1661. Died, 
 
 This artift was a native of Bologna, and followed, in the early part of his 
 life, the profeffion of a goldfmith; but his genius inclining towards the arts, 
 he applied himfelf to drawing, and became the difciple of Lorenzo Pafinelli. 
 He painted hiftorical fubjcdts and portraits with fuccefs. We have by him 
 fome few etchings, which are executed in a flight, but mafterly ftyle. I 
 Ihall mention only, fbe Virgin and Child^ with St. Francis, a fmall upright 
 plate, from Simon Canterini, dated 1685. The figures in this little etching 
 are very finely drawn. 
 
 A COSTING DE MUSIS. 
 Flourifhed, 1509 to 1536. 
 
 This great artift is better known by the name of Agoftino Veneziano, 
 or in England by that of Aguftin the Venetian, but Mufis was his 
 proper family name, as we fliall fee below. He was a native of Venice, and 
 fcholar of Marc Antonio Raimondi. It is not certain at what period he 
 begun his ftudies under that celebrated maftcr; but the firft dated print by 
 Agoftino appeared, a. d. 1509, at which time, it is probable, his tutor ft:ilJ 
 refided at Venice. After the death of Raphael, which happened 1520, 
 Agoftino de Mufis, and Marc de Ravenna his fellow difciple, who had 
 conjointly afiifted each other, feparated, and worked entirely upon their own 
 account. 
 
 The troubles, which happened upon the taking of Rome by the Spaniards, 
 occafioned a difperfion of the artifts, who refided in that city. Accordingly 
 Agoftino went to Florence, and applied himfelf to Andrea del Sarto for 
 employment ; but that mafter, difl^itisfied with an engraving which Ao-of- 
 tinohad made, a. d. 15 16, from a dead Chrift fupported by angels, painted 
 by him, would not permit any more of his pifVures to be engraved during his 
 life-time. 
 
 It is uncertain at what time Agoftino died j but his prints are not dated 
 later than 1536, So that it may be reafonably fuppofed, that he did not 
 long furvive that period. 
 
 Agoftino de Mufis imitated the ftyle of his mafter with great attention, and 
 
 was, upon the whole, the moft fuccefsful of all hisfcholars. In neatnefs, and 
 
 mechanical execution with the graver, he has often equalled, if not fome- 
 
 times exceeded him ; but in point of tafte, and in the purity and correctnefs 
 
 4 of 
 
\ 
 
 M U S [ 174 ] M U S 
 
 of outline, he certainly fell greatly fliort of him. Agoftino's drawing had 
 more of manner and ftifFnefs ; the heads of his figures are not fo accurately 
 marked ; nor the other extremities exprifled with equal truth. 
 
 I have already fpoken of the merit of this artift in the Eflay, at the begin- 
 ning of the prefent volume, to which I refer the reader; adding only, in 
 this place, that he may apparently be confidcred as the firft inventor of that 
 fpecies of engraving, which is performed by dots only. 
 
 His common mark was compofed of the initials. A, V. with or without a 
 tablet, to which he ufually added the date. 
 
 I fliall fpecify the following engravings by this artift, moft of which are 
 very fcarce. Indeed the works of Agoftino Veneziano are rarely to be 
 met with complete, and fine imprefTions. 
 
 Noah's Jacrifice, a middling-fized plate, length-ways, from Raphael. 
 
 ^he benediSfion of Jfaac, diMcd 1522, the fame, from the fame painter. 
 This plate was re-engraved, a. d. 1524; but the firft is by far the fcarceft. 
 
 Tl'he I/raelites gathering the manna, the fame, from the fame. It is faid, 
 that Marc Antonio began this plate. Some have attributed the invention of 
 this print to Polidoro Caravaggio. 
 
 Sam/on bound by the Philiftines, a middling-fized circular plate, fuppofed 
 to be one of his moft early engravings, and from a defign of his own. 
 
 y/ nativity., a large upright plate, from Julio Romano, dated 1531. 
 
 A nativity, a fmall upright plate, copied from a wood cut by Albert 
 Durer. 
 
 Cbriji bound to a pillar, with the emblems of his pafTion ; the fame, from 
 the fame. Both thefe prints are very rare. 
 
 The laji /upper, a large upright plate, the fame, from the fame. 
 
 'The majjacre of the innocents, copied in fmall, from the engraving after 
 Raphael, by Marc Antonio : very fcarce. 
 
 Lucretia flabbing her/elf, a fmall upright plate, copied from an engraving 
 by Marc Antonio^ from Raphael. It has an infcription underneath it, begin- 
 ing with thefe words, Proh dolor, Jaevo, &c. 
 
 The burying place, or ajfemblage of emaciated figures, with Jkeletons, and a 
 figure of Death holding a book. ' To this print he figns his name at length, in 
 this manner: avgvstinvs venetvs de mvsis faciebat, 1518, and adds 
 the ufual initials A. V. after Baccio Bandinelli. 
 
 The fchool of Baccio Bandinelli, in which that artifi is reprejented among his 
 Jcholars ; a large plate, length-ways, the fame, dared 1531. 
 
 The battle of the fabre,'^o z'!\\^A,\itZ2M.{^ a fword or fabre lies upon the 
 fore-ground, fallen from the hand of a warrior, who is reprefented as dead, 
 towards the right hand fiJe of the print. The compofition of this print is by 
 Ibme attributed to Julio Romano j and by others ro Luca Pennis. 
 
 A large print, length-ways, called the climbers, from the cartoon at Pif'., 
 by Michael Angelo Buonarota, dated 1523, very different from that, by 
 Marc Antonio, known by the fame name, and confifting of many more 
 figures. This is diftinguilhed by an old man putting on his ftockings, and 
 a young foldier^ reprefented as a back-figure, tying up his breeches. 
 
 Au emperor on hcrjeback, tvith many attendants, called by fome the triumph 
 
 "f 
 
M U S [ 175 ] M Y N 
 
 of Marcus Aurelius, a large upright plate. This print has the tablet alfo of 
 M. Antonio, who was probably concerned in the engraving of it. 
 
 A Bacchanalia)!, ivherein Silenus is reprejented/upforted by two fawns, with 
 women dancing before him. 
 
 An old philofopher or magician, feated upon the ground, meajuring with his 
 compaffes a circle, in which are included the Jun and moon, with a dragon and 
 fcullin the foreground, dated 1509. The fame print was re-engraved, a. d. 
 1 5 1 4, the contrary way. 
 
 An old man Jeated upon a bank, with a cottage in the hack-ground, a very 
 fmall plate, length-ways. The face of this figure is executed entirely with 
 dots, made with the point of the graver. 
 
 Alfo feveral ■portraits of various fizes. 
 
 LORENZO DE MUSIS. 
 
 Flourilhed, 1535. 
 
 This artift is fuppofed to have been the fon, or fome near relation, of 
 Agoftino de Mufis; as is alfo, 
 
 GivLio DE Musis. They were both of them engravers, and imitated 
 the ftyle of Agoftino ; but with no great fuccefs. The two following prints 
 are executed by them : 
 
 The portrait of Barbarojfa in profile, a middling-fized upright plate, 
 marked above, mdxxxv. lorenzo oe mvsi faciebat. l. m. and at the 
 
 bottom, RE de ALGERI ditto BARBA ROSA. SOLTAN CHARADIN. 
 
 A large print, length- ways, with this title : Antiqua Species JJrbium, Par- 
 tus, par Pyrrhum Ligorium faSla, &c. Julius de Mufis in aes incidit, m.dliiii. 
 
 M U T E L. 
 
 Flourifhed, 
 A name affixed to the portrait of Thomas Fantel de Lagny. 
 
 M U Y S. 
 
 Flourifhed, 
 
 An obfcure artift, whofe name is affixed to the portrait of William prince 
 of Orange, 
 
 VANDER MYN. 
 
 Flouriflied, 
 
 This artift, a native probably of Holland, refided fome time in London 
 where he engraved the portrait of Richard Leveridge. 
 
 J. M Y N D E. 
 
 Flouriftied, 1760. 
 This engraver refided chiefly at London, and worked confiderably for the 
 bookfellers. His prints have very little merit to recommend them ; but 
 
M Y R C 176 ] M Y R 
 
 among his beft may be reckoned fome anatomical figures, and feveral por- 
 traits, of which laft I fhall mention the two following only : Roger, earl of 
 Orrery ; and IVilliam Harris, D. D. 
 
 PETER MYRIGINUS, or MYRICINUS. 
 
 Flourifhed, 
 He is mentioned as an engraver by profefibr Chrift; but that author 
 has not fpecified any of his works, and fpeaks very obfcurely concerning a 
 cypher compofed of an A. an M. and an E. furmounted with a P. which, in 
 fome cafes, he fuppofes may be atttibuted to this engraver. 
 
N A C [ 177 ] NAG 
 
 N. 
 
 NACHTGLAS, 
 
 Flourifhed, 
 
 THE name of a very indifferent engraver of portraits. He worked 
 with the graver only, in a ftiff, taftelefs ftyle, and probably from his 
 own defigns ; for he ufually adds the v/ord fecif to his name. 
 
 N A D A T. 
 
 Flourifhedj 1530. 
 
 An ancient German engraver, by whom we have a confiderable num- 
 ber of prints, marked with a moufe-trap ; near which he ufually placed 
 a fmall fcroll with this infcription, na dat. which the generality of 
 authors take to be the name of the artift, and notwithftandinor the fmall dif- 
 tance, which frequently appears between the two firft letters and the three 
 laft, read it as one word, Nadat. Papillon and fome few others indeed 
 divide the letters, fuppofing the firft two to be the initials of the baptifmal 
 name, Natalis -, and the three laft of TJatus. The matter is, however, very 
 uncertain, and the reader muft be left to prefer that interpretation, which 
 feems to him to be the neareft to the truth. The works of this mafter are 
 executed entirely with the graver. They confift chiefly of fmall prints, re- 
 prefenting proceffions and armies on the march. The manner of engraving, 
 which was adopted by Theodore de Brye, refembles fo much that of this 
 artift, one may, I think, with no fmall appearance of probability, fuppofe 
 that De Brye was his fciiolar. See the mark of this engraver, copied on the 
 plate at the end of the volume. I fliall fpecify only the following prints by 
 him: 
 
 An army on the march, a fmall plate, length-ways, with the mark, 
 dated 1530. 
 
 An army exerciftng, the fame, no date. 
 
 The Virgin and Child, with Elizabeth Jeated, in an arch to the right is 
 reprejented the angel appearing to Jo/eph, holding a tablet, injcribed, fili 
 DAVIT NE TiMEA, &c. and to ths left, an angel appearing to Joachim, &c, 
 a middling-fized upright plate. 
 
 PETER NAGEL. 
 
 Flourifhed, 1500. 
 
 This artift was probably a native of Flanders, and inftrufted in the art of 
 engraving by Philip Galle, whofe ftyle at leaft he imitated, but not very 
 fuccefsfully. His prints are by no means well finiftied, neither did he draw 
 the human figure with any tolerable degree of corre£tnefs. He v/orked 
 much from Martin Heemfkerck, and the contemporary painters of his 
 country ; and his engravings confift principally of facred fubjecbs. He 
 
 VOL. II. A a fometimcs 
 
NAG [ i;8 ] NAN 
 
 fometimes figned his name at length ; but more frequently ufed a fort of 
 cypher, compofed of a P. and an N. joined together. See the plate at the 
 end of the volume. At other times feparate, thus, P. N. fee. or P. Na. or 
 P. Na. fecit. I fhall mention the following prints only by this artift. 
 Thejeven a£is of mercy , fmall plates, length-ways, from Heemlkerck. 
 
 ARNOLD NAGTEGEL. 
 
 Flourifhed, 
 ^' An obfcure and indifferent engraver in mezzotinto. We have by him, 
 the portrait oi IJhach Aboab Rabin, a half length, apparently from a defign 
 of his own ; for he adds to his name the words, Delin. et fecit, without the 
 name of any painter. 
 
 HENRY NAIWYNCX. 
 
 Flourifhed, 
 
 This artift was a native of Holland, and a painter of landfcapes. I am 
 not acquainted with his pictures ; but his etchings are greatly in the ftyle of 
 Anthony Waterloo ; but he has improved upon the mechanical part of the 
 workmanfhip. They polTefs great merit, and appear to be very faithful 
 reprefentations of nature. We have by him. 
 
 Six fmall upright landfcapes. The firit impreflions of thefe plates are 
 before the name of Clement de Jonghe was affixed as the publifber. Le 
 Comte fpells his name Naiwikex -, but on what authority I know not. 
 
 ROBERT NANTEUIL. 
 
 Born, 1630. Died, 1678.1^ 
 
 This admirable artift was born at Rheims. His genius for the arts dif- 
 covered itfelf in the very early part of his life ; and, during his ftudies in 
 the claflics and other polite branches of literature, he found time to cultivate 
 it. He married whilil he was very young ; and going at length to Paris, he- 
 abandoned all other purfuits, and applied himfelf entirely to the engraving of 
 portraits, which he ufually drew himfelf, from nature, in crayons. Louis the 
 Fourteenth being made acquainted with his merit, caufed him to draw his 
 portrait in crayons ; and he was fo pleafed with the performance, that he 
 appointed purpofely for him the place of defigner and engraver of the cabi- 
 net, adding the yearly penfion of one thoufand livres, which was confirmed 
 by letters patent. Nanteuil died at Paris, a. d 1678, aged 48 years. It 
 feems aftonifhing, as Bafan remarks, that having lived fo fliort a time, he 
 fhould have been able to engrave no lefs than two hundred and fifty por- 
 traits, exclufive of the number of drawings which he made, and the time, 
 which the agreeablenefs of his converfation was the occafion of his lofing, 
 his company being much fought after by men of genius and of the fiirft 
 rank. 
 
 Nanteuil's firfl mode of engraving feems to have been in imitation of that 
 ufually adopted by Claude Mellan, executed with finglc ftrokes only, without 
 
 being 
 
N A F [ 179 ] NAT 
 
 being crofled by other ftrokes ; and we have feveral portraits by him in thij» 
 flyle ; but he quitted this manner, and applied himfelf to another infinitely 
 fuperior, crofTing the ftrokes as occafion required, and harmonizing the lio-hts 
 with dots, made with the point of the graver ; fo that in clearnefs and beauty 
 of efFeft, his beft engravings have never been excelled, and rarely, if ever, 
 equalled. He drew correftly ; and from the great difference we perceive 
 in the charadlers of his heads we may conclude, that they were faithful 
 copies of nature. His flighted prints poITefs great merit, and manifcft the 
 hand of the mafter. 
 
 The portraits by this excellent artift are well known ; and it will be im- 
 pofTible to particularize many of them in this work ; much lefs fo to fay, 
 with any degree of precifion, among fo many beautiful ones, which are the 
 befb. I {hall only mention, therefore, the few following, which are laid to be 
 ranked among the fcarceft of them. 
 
 Several portraits oi Louis XIV". at diff"erent ages, after his own pi£tures, 
 and in part from the paintings of P. Mignard. 
 
 Louis of Bourbon, prince of Conde, from his own defign, half-Qieet print. 
 
 Vijcomte de Turenne, the fame. 
 
 John Chapelain the poet, a fmall upriglit plate, the fame. 
 
 John Loret, the fame. 
 
 Cardinal Richelieu, the fame, after Philip Champagne. 
 
 John Baptift Colbert, the fame, from the fame. 
 
 Anne of Aujiria, queen of France, a middling-fized upright plate, from 
 Mignard. 
 
 Mr. John Evelyn, a fmall upright plate, from his own defign. 
 
 N A P O L I T A I N. See Angeli. 
 
 GIOSEFFO NICCOLO NASINL 
 Born, 1660. Died, 1736. 
 This artift was born at fome diftance from Sienna, and was inftnidled in 
 the firft principles of hiftorical painting by his father, Francefco Nafini ; but 
 at eighteen years of age he was fent to Rome, and entered the fchool of 
 Giro Ferri, with whom he ftudied two years j and acquired not only oreat 
 command of pencil, but a fine tafte for defign. He was recommended by 
 Giro Ferri to the grand duke Cofmo III. who employed him to copy the pic- 
 tures of Pietro da Cortona, in the Pilazzo Pitti -, and he fucceeded fo well, 
 that he was handfomely rewarded by the dulvc. He was alfo honoured with 
 knighthood by the emperor Leopold, and had feveral other great favours 
 conferred upon him. We have one fmall upright etching by this artift, re- 
 prefenting the Virgin with the infant Chriji and St. John, from a compofition 
 of his own. 
 
 MICHAEL NATALIS. 
 Flourifhed, 1650. 
 This artift was a native of Liege. At Antwerp he learned the firft 
 
 A a 2 principles 
 
N A V [ iSo ] N E A 
 
 principles of drawing and engraving. From thence he went to Rome, where 
 he joined Cornelius Bloemart, Theodore Matham, and Regnier Perfyn, all 
 artifts from the Low Countries, and affifted them in completing the fta- 
 tues and bulls, which they were engraving from the colleftion in the Juf- 
 tinian gallery, conlifting of one hundred and fifty prints. In Italy he 
 engraved many other plates, from the pidlures of the greatcft matters. 
 On his return to Flanders, he was invited to Paris, where he refided a con- 
 fiderable time. 
 
 He engraved in a bold, open ftyle j but not v/ith m.uch tafte. We fee 
 by his works, that he handled the graver with great facility ; the ftrokes are 
 clear and regular, but, at the fame time, cold and heavy ; and from want 
 of proper attention to the chiaro fcuro, all his works are faulty in the gene- 
 ral effeft, But his greateft failing appears to be the incorreftnefs of his 
 drawing, and the want of charafter in the heads of his figures. The other 
 extremities are alfo but indifferently exprefled. The following prints are 
 ranked among the moft eftimable by this mafter. 
 
 'The Virgin and Child., with Jofeph Jeated behind^ leaning his head upon his 
 hand, a middling fized upright plate, from Andrea del Sarto. 
 
 A holy family, fromN. PouOln, a large plate, length-ways ; the firft im- 
 preffions are before the nudity of the infant was covered with linen. 
 
 The Virgin holding the infant Chrijl, who isfleeping; and St. John is repre- 
 Jented by her fide-, a middling-fized upright plate, from Sebaftian Bourdon. 
 The firil impreffions are before the bread: of the Virgin was covered with 
 linen. 
 
 The marriage of St . Catherine, 2. large plate, length- ways, from the fame 
 painter. 
 
 Mary wafhing the feet of Chriji, a large plate, length-ways, from Rubens. 
 
 The lajlfupper, a middling-fized, upright plate, from Diepenbeck. 
 
 The njfembly of illuftrious ecclefiafiics, a large print, length-ways, onfour 
 plates, from Bertholet Flemael. 
 
 Alfo feveral much-efteemed portraits; and, among them, 
 
 The tnarquis del Guafl, with his miflrejs, repreiented as Venus ; a mid- 
 dling-fized upright plate, from Titian, &c. 
 
 He alfo engraved from Raphael, Romanelli, Andrea Sacchi, Sandrarf, and 
 other marters. 
 
 JUAN NAVARO. 
 
 Flouriflied, 1598. 
 
 Thisartift was apparently a native of Spain, and refided at Seville, where 
 he engraved fevtral frontifpieces for books, which were publifhed in that 
 city. They are executed entirely with the graver, in a very indifferent 
 ftyle. 
 
 THOMAS NEALE. 
 
 Flouriflied, 
 This engraver was probably a native of England, and refided at London, 
 where he etched the portrait of Bindo Jltoviti, in quarto, from Titian. It 
 
 is 
 
NEE L i8t ] NEE 
 
 is executed in a ftyle greatly refembling that of Gaywood ; and the face is 
 finifiied with much care, and not without fome merit, when we confider the 
 print as an etching only. From the ftyle in which the drapery of this figure 
 is etched, I think we may fairly conclude, that he had a great Iliare in the 
 execution of the plates for the odtavo edition of Ogilby's Fables, publiftied 
 at London. They are, however, by no means^ favourable fpecimens of hh 
 abilities. 
 
 NEE. 
 
 Flourilhed, 1760. 
 
 A modern French engraver, who refided at Paris. He was the fcholar of 
 Le Bas, and imitated the ftyle of his mafter not unfuccefsfully. We have 
 by him a confiderable number of /^K^t-^^^j, after Adrian Vander Veldt, and 
 other mafters ; alfo feveral vignettes for Ovid's Metamorphofes, printed ac 
 Paris in oftavo. 
 
 JAMES NEEFF, or NEEFFS. 
 Flourifhed, 1635. 
 
 This artift was a native of Flanders, and refided at Antwerp. He was pro- 
 bably of the fame family with Peter Neeffs, a celebrated painter of architec- 
 ture. He worked with the graver only, and handled that inftrument with great 
 facility. He drew the human figure with fome degree of correflnefs ; but 
 in a mannered ftyle. The charadters he has given to the heads of the 
 figures, which required great expreffion, are fometimes too much outre ; 
 but his beft works have much merit. The following, among many other 
 engravings, are by him. 
 
 'The falling angels, a middling-fized upright plate, from Rubens. 
 
 J he meeting of Abraham and Melchifedech, a very large plate, length-ways, 
 from the fame painter. 
 
 A crucifixion, a large upright plate, from the fame. 
 
 Cbrifi brought before Pilate, a middling-fized upright plate, from Jaques 
 Jordeans. 
 
 The martyrdom of St. Thomas, a large upright plate, from Rubens. 
 
 The judgment of Paris, and the triumph of Galatea, commonly called the 
 Ewer of Charles the Firft, king of England, a large plate length-ways, from 
 the fame. 
 
 Thejatyr with the man who Mowed hot and cold, a middling-fized plate, 
 length-ways, from Jordaens. The firft imprelTions have not the addrefs of 
 Bloeteling. 
 
 Alfo feveral portraits ; and, among them, the following : 
 
 Themarquis de Barlemont, from VanDyck. 
 
 The countejs of Egmont, from the fame painter. 
 
 Francis Snyders, the painter, from the fame. 
 
 And a variety of other fubjefls from Seghers, Annibale Carracci^Erafmus 
 Quillinus, and other mafters. 
 
 N I C- 
 
N E L [ 182 ] NEW 
 
 NICCOI^O NELL I. 
 
 Flourifhed, 1568. 
 
 This artift appears to have been a native of Venice, and from the ftyle of 
 his engraving, a fcholar of Marc de Ravenna. I have feen by him an archi- 
 te5fal frontlf piece-, ornamented with figures, for a book of Plans and Views of 
 the moft illuftrious Cities in the World. The title runs thus : De Difegni 
 delle fill illuftri Citta et Fortezze del Mondo, Parte I. with the date, 1568. 
 The Hgures are by no means badly drawn ; and the print pofiefles great 
 merit. This infcription is affixed, Nicolo Nelle Venetiano F, the F. (landing 
 (or fecit. As there is no painter's name added to the infcription, it is highly 
 probable that the print was engraved from a compofition of his own. 
 
 I fufpedt, that many of the engravings, without marks, of the foregoing 
 date, may with juftice be attributed to this mafter; particularly thofe which 
 bear refemblance to the works of Marc de Ravenna. Florcnt le Comte 
 mentions this artift as an engraver of German portraits : I am not acquainted 
 with them. 
 
 FRANCIS DE NEVE. 
 
 Flourifhed, 
 This artift was a native of Flanders ; but he refidcd a confiderable time 
 in Italy. He excelled in painting landfcapes, into which he introduced 
 fmall figures very fuccefsfully. He alfo amufed himfelf with the point. 
 We have many very fpirited and mafterly etchings by him, of land/capes 
 •with figures, from his own compofitions, which prove the excellency of his 
 tafte, and the fertility of his genius. And though they are executed in a 
 flight ftyle, the general effeft is exceedingly agreeable. 
 
 A. NEURAUTTER. 
 
 Flourifhed, 17 15. 
 He was apparently a native of Prague, at leaft, he refided there, and en- 
 graved a fet of figures, entitled Statua Pontis Pragenfis, publiftied 17 15. 
 They are fmall upright plates, executed entirely with the graver, but in a 
 cold, ftifFflyle, which indicates his patience, rather than his genius or good 
 tafte. 
 
 EDWARD NEWTON. 
 
 Flouriflied, 
 
 This name is affixed to the portrait onVilliam Tanjur,themitficiati, which, 
 it appears, tiie artift engraved after a drawing of his own from the life. 
 
 James Newton, a relation probably of Edward Newton. He engraved 
 the portrait oi Sidney Parkin/on, 
 
 S U T- 
 
NIC [ 183 ] NIL 
 
 SUTTON NICHOLLS. 
 
 Flouriflied, 17 10. 
 
 This very indiflFerent engraver was, I prefume, a native of England. He 
 refided at London, and executed a confiderable number of plates for the 
 bookfellers. His beft prints are flight etchings of /'^//j, and other trifling 
 fubjefts ; but when he worked with the graver onlv, his performances are 
 below all criticifm, efpecially when he attempted the reprefentation of the 
 human figure. 
 
 'O" 
 
 G. D. C. N I C O L A I. 
 
 Flourifhed, 1760, 
 
 A modern artift, concerned with A. I. Prenner, in the execution of the 
 plates from the piftures in the grand gallery at Vienna, 
 
 D. N I C O L E^ 
 
 Flourilhed, 
 
 A name affixed to a fet of flight views, etched in the ftyle of a painter. 
 To thefe prints there is added the monogram, compofed of a W. and an R. 
 joined together, which, I fhould fuppofe, belongs to the inventor. See the 
 plate at the end of the volume. 
 
 NICOLETTO DU MODENA. See Modena. 
 
 WILLIAM VAN NIEULANT.- 
 Born, 1584. Died, 1635. 
 A celebrated painter of landfcapes and architedlure. He was born at 
 Antwerp, and became the difciple of Rowland Savery, After he quitted his 
 mafter, he went to Rome, and refided in that city with his countryman, Paul 
 Bril, three years. His paintings are held in high eftimation. Nieulant died 
 at Amfterdam, a. d. 1635, aged 51 years. For his amufement he etched 
 feveral plates of landfcapes, partly from his own defigns, and partly from 
 thofe of Paul Bril. They are executed in a flight, free ftyle, and often re- 
 touched with the graver, to harmonize the lights, and ftrengthen the mafl'es 
 of fhadow. I fliall fpecify only a fet of ruins in and about Rome, middling- 
 fized plates, length-ways, with this infcription, G, van Nieuwlantj, fecit et. 
 e:<cud. Antuerpite. 
 
 JOHN ELIAS NILSON. 
 
 Flouriflied, 1770. 
 A modern German artift, who refided at Augftjurg, He is mentioned as 
 an engraver by M, Heineken ; but I am not acquainted with his works. 
 
 BAL- 
 
N I M [ 184 J N O C 
 
 BALTHASAR MENEIUS NIMECIUS. 
 
 Flourifhed, 
 
 A very indifferent engraver on wood. He was a native of Saxony, and, 
 according to profeffor Clirift, ufed a fingular monogram, compofed of a B. 
 an M. and an N. See the plate of monograms at the end of the volume. 
 But thefe initials are fometimes feparatc upon his engravings, in this manner, 
 B. M. N. 
 
 NIXON. 
 
 Flourifhed, 1750. 
 
 This fingular engraver was, I believe, a native of England. Small por- 
 traits conftitute the greater part of his works, which he executed in a ftyle 
 prodigioufly neat ; and finifhed the faces with dots only. The following 
 portraits are by him. "The duke of Cumherland, a fmall circular plate. 'J'he 
 duke of Cumberland, a fmall upright oval plate. Frederic, prince of fi'^ales, 
 the fame. Earl Granville, the fame, &c. 
 
 NOBLESSE. 
 Born, . Died, 1730. 
 
 This artift appears to have been a native of France. He ftudied the 
 works of Jaques Callot with great affiduity, and formed his tafte upon them. 
 He excelled principally in drawing with the pen, which art he alfo profefled 
 to teach. We have fome few fmall land/capes etched by him, in the ftyle of 
 Callot. He died 1730, at a very advanced age. 
 
 N O B L E T. 
 
 Flourifhed, 
 The name of a very indifferent artift, who worked with the graver only. 
 His labours were confined to vignettes, and other book-plates^ , 
 
 H. N O B L I N. 
 
 Flouriflied, 1680. 
 He engraved feveral large portraits ; but in a ftyle, which does him no 
 kind of honour. We have by him the head of Cardinal Howard, a half- 
 fheet print. 
 
 J. E. N O C H E R. 
 
 Flourifhed, 1760. 
 A modern French engraver, who ftudied under Stephen Feffard. Wc 
 have feveral vignettes by this artift, and alfo fome few portraits ; among 
 which may be reckoned, that of Jean Jaques Roujfeau. 
 
 a CARLO 
 
N O L [ 185 J N O L 
 
 CARLO NOLL I. 
 
 Flouriflied, 1760. 
 A modern Italian artift, who was concerned in the engravings, made at 
 the command of the king of the Two Sicilies, oi the Antiquities difcovereJ 
 at the Hercitlaneiun. 
 
 J. B. N O L L I N, or N O L I N. 
 
 Flourifhed, 1687. 
 
 This artift engraved feveral of the large folio plates for a fct of prints, 
 entitled, Les veues, plans, coupes £5* elevations du chateau de Verjailles, \. e. 
 " The views, plans, fcftions, and elevations of the palaces of Verfailles." 
 While he was purfuing his ftudies in Italy, he engraved. feveral plates from 
 A. Carracci, Pouffin, and other mafters. 
 
 PETER NOLPE. 
 
 Flouriflied, 1640. 
 
 This artift was a native of Flanders. He is fpoken of as a painter; but 
 apparently his engravii-igs are far more numerous than his piftures. As an 
 engraver only I ftiall confidered him this place. He worked with the 
 point and the graver, and ufually united them ; but fome of his plates are 
 executed with the graver only, which inftrument he handled with much more 
 facility than tafte. The difpofition of the light and fhadovv is not 
 happily managed in his hiftorical prints ; and they are defective in 
 harmony ; neither did he draw the extremities of the human figure corredtly. 
 But his views and landfcapes are executed in a very fpirited, bold ftyle, 
 which manifeft the hand of the mafter. The following engravings may 
 be reckoned among his moft eftimable works. 
 
 Judith andThamar, reprefented in a large ]andfcape, length-ways, from a 
 compofition of his own. The fame figures were afterwards introduced into 
 another landfcape, upon a much fmaller fcale. 
 
 An overflow of water, occafioned by the burfiing of a water bank ; a large 
 plate, length-ways, the fame. This is a very fcarce print, and executed 
 with great fpirit. 
 
 Eight months of the year, great plates, length-ways, the fame. I am not 
 acquainted with thefe prints, and Bafan tells us, that he never faw the other 
 four. 
 
 St. Paul the hermit, fed by an eagle in the defart, a large plate, length-ways, 
 from Pieter Potter. 
 
 St. Peter delivered hy the angel from prijon, a middling-fized plate, length- 
 ways, from J. V. Vucht. 
 ^' A fet of beggars; in the ftyle of Qiiaft, fmiall upright plates, with other 
 grotefque fubjefts. 
 
 'The grand cavalcade, made by the citizens of Amfterdam, at the entry 
 of the queen Mary of Medicis into that city, a. d. 1638, a large plate, 
 length-ways, from C. Molyn the younger. 
 
 VOL. II. B b He 
 
K O N [ i86 ] N O U 
 
 He ufually figned his name at length upon his plates, joining the initials 
 P. and M. together, in the manner as exprelTcd upon the plate at the end of 
 the volume ; and in fome few inftances he ufed that cypher only. 
 
 RICHARD ABBE D E St. N O N. 
 Flourifhed, 1760. > 
 He was a native of France, and a lover of the arts. For his amufement he 
 etched feveral plates in a very peculiar ftyle, relembling wafhed drawings, in 
 Indian ink. This fpecies of engraving has lately been carried to perfedion 
 in England by P. Sandby, and other capital artifts. The works of St. Non 
 confift of fniall fubjeds, reprefenting land/capes -zvilh ruins, from the antique ; 
 and from Boucher, L'; Prince, and other French painters. 
 
 J. V. N O O R D T. 
 
 Flourifhed, 1645, 
 
 An artift of great merit, by whom I have feen a flight, fpirited etching 
 of a land/cape with ruins, in a broad mafterly ftyle. It appears to be a view in 
 Italy. The figures, which are introduced into this etching, are executed in 
 a very fuperior ftyle. 
 
 CoEN V. NooRDT, or NooRDE, who was probably a relation to the above- 
 mentioned artiftj engraved his own portrait. 
 
 JOHN NORDEN. 
 
 Flourifhed, 1600. 
 
 Norden was a man of ability in the topographical line. He is thought to 
 have been born in Wiltfhire. It appears, that he was a commoner of Hart 
 Hall, Oxford, in the year 1 564, and took the degree of mafter of arts, a. d. 
 1 573, and that he afterwards refided at Hendon in Middlefex. He was pa- 
 tronized by lord Burleigh, and alfo by Robert earl of Salifbury, the fon 
 of that nobleman. In the year 16 14 he enjoyed the office of one of the fur- 
 veyors of the king's lands. 
 
 Norden's great viorkvjZiKxs Speculum Britanniie, or Hijiorical and Choro- 
 graphical Defer iption of Middlefex and Hertfordfhire, with maps. 
 
 Vertue makes mention of « view of London, with a reprefentation of the lord 
 mayor's fhew, as in the colleftion of Mr. Bagford, and alfo a plan of London. 
 I have carefully examined all the papers, collefted by Bagford, now at the 
 Britifli Mufeum^ but have not been lucky enough to meet with thefe cu- 
 rious engravings. 
 
 N O R I S I N O. See Parasole. 
 
 N O U A L. 
 
 Flourifhed, 
 A name affixed to a portrait of Thomas Wilfon, bifhop of Sodor and Man. 
 
 SIMON 
 
NOV [ 187 ] N U V 
 
 SIMON NOyELLANO. 
 
 Flourilhed, 159c. 
 This artlftj conjointly with Francis Hogenbergh, etched in a coarfe, poor 
 .ftyle, the pompous funeral of Frederick the Second, king of Denmark, on twenty- 
 one plates, length-ways, in folio, publiflied 1592. A fecond impreffion of 
 thefe plates was re-publifhed, a. d. 1689, with no material variation. He 
 alfo etched feveral plates for Braun's Civitates Orbis 'Terrarum, printed at 
 Cologne, 1572. 
 
 JOSEPH NUTTING. 
 
 Flourifhed, 1700. 
 
 This artift was a native of England, and refided at London. He Worked 
 principally for the t>ooklellers, and his engravings have very little merit to 
 recommend them. The bell part of his works confift of portraits ; and 
 fome of them, from their fcarcity, have acquired a value, which they 
 do not otherwife in the leall deferve. I IhaJl mention the following por- 
 traits only : Mary, dutchefs of Beaufort, from Walker. Matthew Mead, 
 father of Dr. Mead, the phyfician. Sir John Cheke, from an old painting. 
 G. Parker the almanack maker. Johannes Jacobus Scheuchzerus, from Mel- 
 chior Fufsknus. And fVilliam Elder the engraver, from a drawing by the 
 elder Faithorne. 
 
 JOHN GEORGE NUVOLSTELLA, or NIVOLSTELLA. 
 Born, 1594. Died, 1624. 
 
 This artift was a native of Mentz. He worked principally on wood, and 
 executed a fet of prints for Virgil's ^neis, and other poetical fubjefts. He 
 alio engraved a fet of the Holy Fathers, from the defigns of Tempefta. 
 
 B b 2 LEON 
 
O [188] O E S 
 
 O. 
 
 LEON HENRY VANDER O. 
 
 Flouriflied, 1660. 
 
 AN engraver of no great eminence, who worked chiefly for the bookfel- 
 lers. We have, among others, the following portraits by him, in Pri- 
 orata's Hiftory of the Emperor Leopold : James, duke of York. J.C.di 
 Konigfmarch. Gualter Lejlie, Eq. Aur. Pietro Strozzi, Sec. 
 
 MAUROODDL 
 
 Born, 1639. Died, 1702. 
 
 This artift was a native of Parma. He is fpoken of as a painter, and as 
 an engraver i and the etchings, marked with an M. and an O. in the manner 
 exprefled upon the plate at the end of the volume, are attributed to him. 
 
 MICHAEL ODIEUVRE. 
 
 Flourifhed, 1735. 
 
 He was a printfeller, eftablifh;d at Paris; but it appears, that he fome- 
 times amufed himfelfwich the graver, as we find particularly in a fet of por- 
 traits of /7/wy?noz/j />fr/l3»rt|^fi, publifhed by him, a. d. 1738, with this title. 
 Portraits des Perjonages illujl. de I'un ^ de V autre Sexe, recueillis et graves 
 ■par les Joins de Michel Odieuvre, merchand d'EJiampes a Paris. 
 
 MATTHEW OESTEREICH. 
 
 Flourilhed, 1750. 
 This fingular artift was a defigner and engraver. His plates are chiefly 
 etchings, in a flight, fpiritcd ftyle. Among his mott eftimable perfor- 
 mances are reckoned, a fet of twenty-four caricaturas from Ghezzi, in 
 folio, publiflied at Drefden, 1750; with this title, Raccolta de XXIV. Cari- 
 cature, dije^nate colla penna dal celebre Cavalier Ghezzi, conjervati nel Cabi- 
 netto di fua Maefta il Re de Polonia. Math. Oejlereich. Thefe plates were re- 
 publiflied at Potfdam. a. d. 1766, with the addition of eighteen others, from 
 the defigns of John Baptift Internari, and other maftcrs. To thefe may be 
 added a fet of forty plates, in folio, from the drawings of the great mafters, in 
 the collcdion of the Count de Bruhl, publifhed at Dreiden, a. d. 1752. 
 Oefterich aflilled alfo in engraving the pidtures in the grand gallery at Dref- 
 den. See his mark compoled of an M. and an O. joined together, on the 
 plate at the end of the volume. 
 ^4 G I- 
 
I 
 
 O L G f 189 ] O O R 
 
 GIROLAMO OLGIATUS. 
 
 Flourifhed, 1572. 
 
 To a large arched print, length- ways, reprefenting the Trinity, with a mul- 
 titude of angels, faints and prophets, ^rom a pifture of Frederic Zucchero, 
 his name and date are afRxed in this manner, " Hieronymus Olgiatus F. 
 1572." I know little of this artift ; except that he copied with great 
 accuracy the ftyle of engraving adopted by Cornelius Cort and Agoflino 
 Carracci ; but his drawing is not correft ; neither are the heads or other 
 extremities of his figures marked withprecifion. 
 
 PETER OLIVER. 
 Born, 1600. Died, 1660. 
 
 He was the fon of Ifaac Oliver, the celebrated miniature painter. Peter 
 was inftrufled by his father in the art of painting in miniature, and furpafTed 
 him in excellency of finifhing, efpecially of portraits. He refided at Lon- 
 don, where he died about the year 1660, aged threefcore, and was buried 
 near his father at White Friars. 
 
 Vertue informs us, that he etched fome fmall hiftorical fubjefls j but he 
 has not fpecificd any of them. 
 
 JOHN OLIVER, 
 
 Born, 1616. Died, 
 
 It appears that his baptifmal name was John, and not Ifaac, as it is gene- 
 rally reported. He was a relation to Peter Oliver, mentioned in the pre- 
 ceding article. The honourable Mr. Walpole fuppofes him to have been 
 his nephew. He was a painter on glafs, and certainly poffelTcd great merit. 
 There is a window executed by him in Chrift Church, Oxford, reprefenting 
 the delivery of Peter from the prifon by the angel, which is a fufficient tefti- 
 mony of his abilities. It is thus infcribed: /. Oliver aet at. JuaeZ/i^, anna 
 1700, pinxit deditque. Lt is to be obferved, that the initials I. and O. are 
 joined together, the former pafTing through the centre of the latter. To 
 this artift are attributed fome few portraits, particularly thofe of James the 
 Second of England, in mezzotinto, and of lord chancellor Jefferies, and of 
 John IVoremberg, the Dutch divarf, &c. A mezzotinto print reprefent- 
 ing a boy ajleep with afcullhy him, infcribed Mortis Imago, from Artemifia 
 Gentilefia, a middling-fized plate length-ways. To a flight etching of views 
 at Tangiers he figns his name /. Oliver fecit ; alfo to a view of the Hot IVells 
 at Bath, I. Oliver fecit aqua forti, adding the date 1676. We have 
 feveral other etchings by him, views, &c. 
 
 MELCHISEDECK VAN OOREN. 
 
 Flourifhed, 
 
 This artift, according to Florent le Comte, engraved a view of a town 
 upon a circular plate. 
 
 N I C OLO 
 
O R A [ 190 ] OSS 
 
 NICOLO ORAZI. 
 
 Flourifhed, 1760. 
 
 A modern Italian engraver, who executed feveral plates of the antiquities 
 of Uerculaueum, in folio, for the large volumes, publifhed by the authority 
 of the king of the Two Sicilies. 
 
 Oraz,/. I have feen this name affixed to a coarfe etching o( archite£fal 
 trvameiits : It is probably the baptifmal name of the engraver only. 
 
 O R I Z O N T E. See Bloemew. 
 
 RICHARD VAN ORLEY. 
 Flouriflied, < 
 
 He was a native of Flanders, and flourilhed in the laft century. He is 
 fpoken of as a painter ; but to what degree of excellency he arrived in the 
 art of painting, I do not know. His prints, however, poffefs no great 
 merit ; they are (lightly and coarfely etched, and very defeftive in point of 
 drawing. The following may be reckoned among his beft works : 
 
 The marriage of Jofeph and the Virgin, a middling-fized plate, length- 
 ways, from Luca Giordano. 
 
 The fall of the rebel angels, a large upright plate, from Ruben;, containing 
 a prodigious multitude of figures. 
 
 A fet of twelve prints, from Guarini's Paflor Fido. 
 
 The greater part of a fet of twenty-eight middling-fized plates, length- 
 ways, taken from the New Tefiament, after John van Orley, who etched 
 fome few of them himfelf. 
 
 JoHM Van Orlev was probably the brother of Richard. It appears, 
 that he frequently made drawings from pidures for the latter to engrave 
 after. He etched, as we have feen above, fome few of the hiftorical plates, 
 taken from the New Tefiament, after his own defigns. 
 
 CARLO ORSOLINI. 
 
 Flourifhed, 1760. 
 A modern Italian engraver, who was eftablifhed at Venice, where he 
 carried on a confiderable commerce in prints. We have by him feveral of 
 the plates in the Mufeo Fiorentino, publifhed at Florence, &c. 
 
 O P E L L I. See Avibus. 
 
 W A L T H A R VAN O S S E N. See Assen. 
 
 J. VAN OSSENBECK. 
 
 Born, 1627. Died, 1678. 
 
 He was born at Amfterdam, where he learned the firfl: principles of land- 
 
 Icapc 
 
P S T [ 191 ] O S T 
 
 fcape painting; but he finiflied his ftudies at Rome, He excelled in the 
 execution of markets, fairs, converfations, landfcapes, and cattle; and his 
 pidures are fpoken of with great commenaation. 
 
 We have feveral etchings of various fues by this mafter, performed in a 
 flight, free rtyle j but they appear to have been the amufements oniy of his 
 leifurc hours, and have no fuperior merit to recommend them. Thofe, whicli 
 he executed from the pictures of Bafan, appear to me to be his beft. He 
 worked alfo from feveral other painters ; and his plates form part of the col- 
 leclion, commonly known by the name o'l the Gallery of •Tenters. To thefe 
 may be added two landfcapes, from Salvator Rofa, which are rather uncom- 
 mon. 
 
 ADRIAN VAN OSTADE. 
 Born, 1 6 10. Died, 1635. -- 
 
 This artifl; was born at Lubeck, and placed in the fchool of Francis Hals. 
 He excelled in painting converfations, dancings, and humoroui fubjefts, 
 taken chiefly from low life, which, however, he executed with admirable tafte, 
 and beauty of colouring. But the merits of this great mailer are too gene- 
 rally known, to need any repetition in this place. He amufed himfelf with 
 the point; and we have a confiderable number of fpirited etchings by him, 
 which are very juftly held in high eftimation. They are not all of them 
 executed in the fame ftyle ; fome of them are dark and coarfe, and feem 
 to have been printed, as the aqua fortis left them, with little or no affiftance 
 from the graver. Others again are much more neatly executed, and finifhed 
 in the manner of Rembrant. 
 
 See the marks ufed by this mafter, when he did not fign his name at length, 
 copied upon the plate at the end of the volume. 
 
 His etchings confiftof fifty-two plates of various fizcs, and all of them from 
 his own defigns, of which I fhall mention the few following only : 
 
 Several feafants at the door of a cottage, with a fair reprefented in the lack- 
 ground ; a middling-fized upright plate, 
 
 A Dutch wake, the fame. 
 
 Several feafants fighting with knives, a fmall plate, length-ways, dated 
 
 The cottage dinner, the fame, dated 1653. All thefe are in his bold ftyle 
 of etching. 
 
 Thole which follow are fuch as he finidied with more care. 
 
 The painter, with an infcription beginning in this manner : PiElor Apella, 
 pingas, and the firft imprelTions of this plate are with the cap confiderably 
 above the eyes of the figure ; in the fecond impreffions the cap nearly touches 
 the eyes. 
 
 A mountebank, a fmall upright plate, arched at the top. 
 
 The fpe5facle feller, a fmall upright plate. 
 
 A man, woman, and child, at the door of a cottage, a middling- fized plate, 
 length-ways, dated 1652. 
 
 Several feafants, half figures, at a window : one of them is fmging a ballad, 
 and another holds the candle -, a fmall upright plate. 
 
 A man 
 
O T T [ 192 1 O U V 
 
 J man leaning over a hatch, blowing a horn, the fame. 
 A cottage entertainment with figures dancing; a middling -fized plate, 
 length-ways. 
 
 GIOVANNI OTTAVIANI. 
 
 Flouriflied, 1760. 
 
 A modern Italian engraver, by whoiTi we have feveral etchings, after 
 Guercino, and other matters. 
 
 FRANCIS OTTENS. 
 
 Flouriflied, 1760. 
 
 A modern Dutch engraver, by whom, among other things, we have the 
 portrait of F. Halma. 
 
 H. F. O T T O. 
 
 Flouriflied, 1707. 
 
 This indifferent artifl: appears to have been a native of Berlin. His work* 
 confift chiefly of portraits for books, which are executed in a ftyle, that does 
 him very little credit. Part of the heads in a folio volume, publiflied at 
 Franckfort, 1707, with this title, Notitia Univerfitates Francofertana, are 
 by him. 
 
 JOHN BAPTIST OUDRY. 
 
 Born, 1686. Died, 1755- 
 This artifl was a native of Paris, and excelled in the painting of chafes 
 and huntings of animals. We have feveral etchings by him, from his own 
 compofitions ; and among others, a fet of prints entitled, the comical romance, 
 confilting of twenty-fix ; a fubjeft, into which are introduced iomtfijhermen 
 icpon the fea Jhore ; and feveral other prints of ««//«rf/i, &c. 
 
 BONAVENTURA VAN OVERBEKE. 
 
 Flouriflied, 1700. 
 
 This artifl: was a native of Holland. By him we have a fet of plates, re- 
 prefenting the ruins of ancient Rome, which he engraved from drawings, 
 made by himfelf upon the fpot. This ^tt of prints was publiflied at Rome, 
 A. D. 1707, in three folio volumes. 
 
 J. O U V R I E R. 
 
 Flouriflied, 1760. 
 A modern French engraver, by whom we have feveral prints ; among 
 others, two views of the Alps, horn Ycrntx.. The genius of defign, an emble- 
 matical print, from the younger Cochin. He alfo engraved from Sch^-nau, 
 Eifen the elder, and other mafters. 
 
 N. O Z A N- 
 
 I 
 
O Z A [ 183 ] O Z A 
 
 N. O Z A N N E. 
 
 Flourifhed, 1760. 
 
 A modern French artift, who defigned, as well as engraved. We have a 
 confiderable number of prints by him, chiefly views of Jea forts zx\d Jloippitig, 
 from his own drawings. 
 
 The fillers of this mafter were alfo artifts j and we have, among other 
 things engraved by them, two paJloral/ubje£is^ after Philip Wouvermans. 
 
 VOL. n. C c H. L, 
 
PAD [ 184 ] PAL 
 
 P. 
 
 H. L. PADTBRUGGE. 
 
 Flouriftied, 1700- 
 
 HE was apparently a native of Stockholm, and engraved a confiderablc 
 number of plates for a work, entitled, Suecia Antiqua et Hodien:a, 
 publifhed about the year 17 1 2, in three folio volumes. The prints confift of 
 maps and perfpeSlive views, chiefly of the bird's eye kind. Thofe executed 
 by Padtbrugge, are in a bold, free ftyle, which prove him to have been a 
 man of no mean abilities. 
 
 When he omitted to fign his name at length, he fubftituted a monogram, 
 compofed of an H. an L. and a P. joined together, in the manner expreffed at 
 the end of the volume. 
 
 MATHIO PAGAN. 
 Flourifhed, 1555. 
 This artiftj according to Papillon, was a native of Venice. He engraved 
 on wood feveral charts and maps, from the defigns of Jacomo Gaftaldo. The 
 above-mentioned author particularly fpeaks of the plan of Piedmont, engraved 
 upon two blocks, and dated 1555. 
 
 PAIGEOLINE. 
 
 Flourifhed, 
 
 This name is affixed to a middling-fized plate, length-ways, very flightly 
 etched, from a picture of Paolo Veronefe, reprefenting the mother of Mofes 
 brought to Pharoah's daughter as a nurfe for her ownfon. 
 
 GIOVANNI BATISTA PAG I. 
 
 Born, 1545. Died, 1628. 
 This artift was a native of Genoa^ where, according to Le Comte, he 
 died A. D. 1628, aged 73. He engraved feveral plates, which he publifhed 
 at Genoa, 1707, with this title, Defnizione &? Divifione della Pittura, 
 
 LEO PALLAVICINI. 
 
 Flourifhed, 1604. 
 
 He is mentioned as an engraver by profeflbr Chrift, who informs us, that 
 
 he 
 
PAL [ 185 ] PAN 
 
 he refided at Milan, where he publilhed feveral prints marked with thefc 
 initials, L. P. f. 
 
 GIACOPO PALM A. 
 
 Born, 1544. Died, 1628. 
 
 This artift, who was an admirable hiftorical painter, is ufually called the 
 younger Palma, to diftinguifli him from Giacomo, or Giacopo Palma, his 
 uncle, who was alfo an hiftorical painter of great eminence. The younger 
 Palma was born at Venice, and became the difciple of Tintoretto, whofe 
 manner he followed in the early part of his life. But he afterwards ftudied, 
 with great attention, the works of Titian and other great matters, in order 
 to complete his tafte j and his labours were attended with all the fuccefs 
 that he could pofTibly have expeded. We have feveral fpirited and mafterly 
 etchings by this artift, executed in a very flight ftyle. He frequently fio-ned 
 his name at length ; and fometimes he ufed a monogram, compofed of a P. 
 interfefted by a palm-branch. See the plate at the end of the volume. 
 
 The following prints are by him. 
 
 An ecclejiajlic and a naked figure, with two boys at the bottom, reprefented 
 upon a fmall upright plate, and marked with the above-mentioned mono- 
 
 gram. 
 
 Samjon and Dalillah, a middling-fized plate, length-ways. 
 
 Judith putting the head of Holof ernes into a bag, which is holden hv the 
 maid, a middling-fized plate, length-ways, marked with his name. 
 
 J holy family, with St. Francis and St. Jerom, half figures ; a fmall 
 plate, length-ways. 
 
 The woman taken in adultery, the fame. 
 
 The tribute money, the fame. 
 
 Chrifl anfwering the Pharifees, when they difputedhis authority, the fame. 
 
 The incredulity of Thomas, a fmall upright plate. 
 
 A drawing book, &c. 
 
 EGBERT VAN PANDEREN. 
 
 Flouriflied, 1625. 
 
 He appears to have been a native of Haerlem ; for he often added the 
 word Haerlemenfis to his name. He refided at Antwerp, according to Bafan, 
 where he engraved a confiderable number of plates. He worked entirely 
 with the graver ; but in a ftiff, formal ftyle ; and his prints have neither 
 harmony of effedt, nor correftnefs of drawing to recommend them. The 
 following engravings, among others, are by him : 
 
 The Virgin Mary interceding with Chrijl for the Jalvation of mankind; a 
 middling-fized upright plate, from Rubens. 
 
 The four Evangelifis, half figures j middling-fized upright plates, from 
 Peter de Jode, the elder. 
 
 Part of the plates for a large folio volume, publilhed at Antwerp, 1628, 
 entitled. Academic de L'efpee, by Girard Thibault. 
 
 C c 2 W I L- 
 
PAN [ i86 ] P A I 
 
 WILLIAM PANNEELS. 
 
 Flourifhed, 1635. 
 
 This artift was a native of Antv/erp, and, as he hinnfelf informs us by the 
 infcription upon his prints, a difciple of Rubens. I am not acquainted 
 with his merit as a painter; and, I believe, indeed- he is more generally 
 known by his etchings, than by any of his other performances ; feveral of 
 which are from compoiitions of his own ; but the greater part after the 
 piflures painted by his maftcr. He handled the point with much freedom, 
 and fometimes produced a bold mafterly efFeft j but the merit of his works 
 is greatly obfcured by the flovenly incorredtnefs of his outline. The naked 
 parts of the human figure are very badly drawn, particularly the extremities, 
 which are often below criticifm. I fliall mention the following prints only 
 by him : 
 
 St. Sebcjlian, a fmall upright plate, from his own invention. 
 . Jupiter and Juiiope, the fame, infcribcd, Guliel. Panmels, Di/cip. Rubeni, 
 ihv. et fee. 
 
 EJiher before Ahajuerus, a fmall plate, length-ways, from Rubens. 
 
 Sampfon killing the lien, ^vith its companion, David killing the lion and 
 bsar; two fmall plates nearly fquare, from the fame painter. 
 
 A nativity, a fmall upright plate, from the fame. 
 
 Several holy families of various fizes, from the fame. 
 
 The adoration of the wife men, a fmall upright plate, from the fame. This 
 defign was alfo engraved by S. Bolfwert. 
 
 St. John baptifing Chrijl, the fame, from the fame, dated 1636. 
 
 Mary wajhing the feet of Chrijl, a fmall plate, length-ways, from the fame. 
 M. Natalis alfo engraved from this pifture. 
 
 The ajfumption of the Virgin, a fmall upright plate, arched at the top. 
 
 Jupiter and Juno, in a fmall upright oval. 
 
 Meleager prejenting the head of the boar to Atalanta, a fmall plate, length- 
 ways, &c. 
 
 The portrait of Rubens, in an octagon border, with a variety of other fub- 
 jefts, from the fame mafter, &c. 
 
 ONULPH PANVINUS. 
 Flourifhed, 1568. 
 This artift was a native of Antwerp. He publifhed a fet of twenty-fevcn 
 portraits, entitled, Elogia & Imagines Pcntifc. Max. ad viv. delin 1568. 
 
 We have alfo many other portraits by him, and, among them, that of 
 Rubens. 
 
 P A I O T. 
 
 Flourifhed, 
 
 A very indifFerent artift, who appears to have been a native of France, 
 
 and to have worked for the bookfellers only ; at leaft, all the engravings I 
 
 have feen by him, feem to have been frontifpicces, and other ornamental 
 
 book plates. 1 hey have no merit of any kind to recommend them to the 
 
 public 
 
P A O [ 187 ] PAP 
 
 public notice. I (hall therefore only mention the following : David, a half 
 figure, from Vignon, a fmall upright plate. 
 
 FRANCESCO DE PAOLI. 
 
 Flourifhed, 1640. • 
 
 This artift is ranked by Florent Ic Comte among feveral other engravers 
 Jif views, particularly of the city of Rome. I am not acquainted with his 
 works. 
 
 JOHN P A P I L L O N. 
 
 FlouriHied, 1670. 
 
 This artift was born at Roen in Normandy, and according to the account 
 of his grandfon, engraved on wood, but never arrived at any fuperior degree 
 of excellence. He was taught by Du Bellay, who was alio a native of 
 France, and an engraver on wood. 
 
 JoHM Papillon, the younger, fon of the artift above-mentioned, was 
 born at St. Quentin, a. d. 1661. He received the tirft principles of 
 drawing and engraving on wood from his father ; after which he was fent 
 to Paris, and placed under the diredion of Noel, or Nicholas Cochin, with 
 whom he perfeiSbed himfelf in drawing with the pen, which he performed with 
 great facility of fpirit. ' He met with much encouragement, and turned his 
 mind to engraving on wood ; and his works in this branch of the art, pof- 
 fefs a very confiderable fhare of merit. Papillon the fon informs us, that 
 he invented that fpecies of paper for covering of rooms, which relembles 
 tapeftry: this invention he made public about the year 1688, and carried it 
 to a great degree of perfeftion. He was twice married, and left behind 
 him two fons and a daughter. He died February 3, 1723, aged 62. 
 
 John Nicolas Papillon, brother to John Papillon the younger, was 
 alfo an engraver on woodj but his works are of no great value. 
 
 JOHN BAPTIST MICHEL PAPILLON. 
 
 Born, 1698. 
 
 This ingenious artift was the eldeft fon of John Papillon, the younger, 
 mentioned in the preceding article. He was inftrufted by his father in the 
 art of defign ; and engraved on wood with great fuccefs. Such of his per- 
 formances as have fallen under my examination, do him great credit j efpe- 
 cially thofe engravings, which reprefent ornamental foliage and flowers. 
 Many beautiful fpecimens of thefe are inferred in his publication upon the 
 art of engraving on wood, of which we ftiall fpeak more particularly below. 
 Thofe which ftrike me as the beft, are executed with fingle ftrokes, with- 
 out crofs hatching, which produces a clear and pleafing efleft. There are ' 
 tviojhells in the fecond volume, page 288 and 299, which are in my opinion 
 admirable fpecimens of the artift's fuperior abilities. The difficulty of 
 cutting fuch long ftrokes on wood, and at the fame time, with fuch regu- 
 larity 
 
PAP [ i88 ] PAR 
 
 larity and clearnefs, mull ffrike the eye of the curious obferver at firft 
 fight. In the above-mentioned work he has alio given us two fpecimensof 
 figures in chiaro-fcuro, executed with four feveral blocks each ; one of which, 
 between the pages 154 and 155 of the fecond volume, he gives proofs of, 
 from the feparate blocks, followed by the figure complete. Thefe figures, 
 and the various fpecimens he has produced in that work, may ferve to con- 
 vince us, that he was a very fkilful matter in every branch of the art he 
 profcffed. The human figure he feems to have been the leaft acquainted 
 with ; he has confequently failed moft in thofe prints, into which it is intro- 
 duced. 
 
 We may hereafter, perhaps, confider ourfelves as more obliged to this 
 ingenious author, than we care at prefent to acknowledge. He has given 
 us a curious hiftory of the art of engraving on wood, which was pub- 
 lifhed at Paris in two oftavo volumes, with this title, jTr^z/V^ Hijiorique et 
 Pratique de la Gravure en Bois. And he has aifo employed nearly the whole 
 of the fecond volume in explaining the manner in which it is performed in 
 all its branches, giving accurate reprefentations of the different utenfiis 
 neceflary for the performance, and proper direftions for the printing of the 
 engravings, when they are finifhed. This may certainly be of great ufe 
 to a variety of artifts, as many defigns, particularly in the ornamental branch 
 of engraving, may be executed with much more exaftnefs, fpirit, and truth, 
 on wood, than in any other way. And with refped to the fketches, and 
 tinteddrawingsof the great painters, there is no mode, in which, I conceive, 
 they can bereprefented with equal fuccefs. 
 
 It is urged, and with no fmall degree of truth, that Papillon, in his hif- 
 torical account of the engravers on wood, is guilty of many miftakes j but 
 it fhould be remembered, that he had very little light to aflift him in his re- 
 fearches ; at the fame time that thofe refearches were very extenfive. The 
 multitude of names, which he collefled together, many of which are con- 
 founded with each other by difi^erent authors, may in fome meafure plead 
 his excufe. It is to be wifhed, he had not given fo many upon report, or 
 trufted with fo much confidence to the catalogues of the Abbe Marolles. 
 
 Papillon had a younger brother, by his father's fecond wife, who alfo 
 engraved fome few things on wood ; but with no great fuccefs. 
 
 '&' 
 
 GIUSEPPE PAPINI. 
 
 Flourilhed, 1750. 
 
 A modern Italian artift, by whom we have feveral engravings of ceilings, 
 and other decorations from the Tufcan gallery, publiflied by Ignazio Orfini. 
 
 DOMINICO PARASACHI. 
 
 Flourifhed, 1630. 
 
 He was a native of Italy, and refided at Rome. It appears from his etch- 
 ings, that he was a painter, or, at leaft, a defigner; for feveral of his plates 
 are engraved from drawings of his own. He executed, conjointly with 
 Giovanni Maggi, a fet of engravings from the Fountains at Rome, which 
 2 were 
 
PAR [^89] PAR 
 
 were publifhed 16 18. This coUedlon, with additions, was afterwards 
 republifhed with this title, Raccolte delle principali Fontane dell Citta de 
 Roma, dejfegnati et intagliate da Domenico Parafacchi, In Roma, I'anno 
 
 MDCXXXVI. 
 
 LEONARDO PARASOLE NORSINO. 
 
 Flourilhed, 1600. 
 
 This artift was a native of Italy. He was an engraver on wood of fome 
 eminence, and much employed by Antonio Tempefta. At the command 
 of Pope Sixtus V. he engraved on wood the plants, &c. for the Herbal of 
 Caftor Durante, the phyfician to that pontiff. He died at the a»e of 60. 
 
 Isabella Parasole, the wife of the foregoing artift, was a woman of 
 great ingenuity. Among other things Ihe executed on wood feveral defigns 
 for lace, and a confiderable number o{ -plants for Prince Cefi. 
 
 Bernidino Parasole, the fon of Leonardo Parafole mentioned above, 
 was a painter ; but alfo executed fome few engravings on wood. 
 
 Ieronime Parasole, a lady of the fame family with the preceding artifts. 
 She alfo engraved on wood, and among other fubjedb, the battle of the Cen- 
 taurs ; a large print, length-ways, from A. Tempefta. It is coarfely exe- 
 cuted, and with much fpirit; but the drawing is very incorreft. 
 
 P A R I A. See Perrier. 
 
 P A R I S E T. 
 
 Flourifhed, 1770. 
 This artift was a native of France, and probably worked with Des Mar- 
 teau. He came into England about the year 1769, and was employed by 
 Mr. Ryland, to etch feveral plates for him in the chalk ftyle; fome few of 
 which are in the colleftion of engravings from the (ketches of the o-reat 
 painters, publifhed by the late Mr. Rogers. He was, however, upon the 
 whole, a very indifferent artift. We have by him, the portraits of feveral of 
 the nobility, and of the Englijh artifts ; from drawings by Falconet, oftavo 
 plates. If I miftake not, he worked afterwards for Mr. Bartolozzi, and 
 died in England. 
 
 D 
 
 AUGUSTINUS PARISINUS. 
 
 Flourifhed, 1640. 
 He was apparently a native of France. He worked entirely with the 
 graver ; but in a ftyle, which does him no great credit as an artift. His 
 engravings do not pofTefs either good tafte, correctnefs of drawing, or neat- 
 nefsof finilhing. They are, however, chiefly confined to book ornaments. 
 Florent le Comte mentions five prints by this artift, from Florius Macchius", 
 which he has not fpecified. He alfo engraved feveral of the plates for a 
 bookof emblems, by Paul Maccius, after the defigns of Florius Macchius • 
 
 the 
 
PAR [190] PAR 
 
 the remainder of which were executed by 'an artift, fuperior to him, who 
 figns his name in this manner, Cori fee. vfh'ich is probably the abbreviation 
 of the name of Giovanni Bacifta Coriolano. 
 
 Parifinus frequently ufed a monogram, compofed of an A. with a fmall p. 
 underneath it J or elfe with an A. and an F. joined together ; and the p. in 
 like manner beneath the crofs bar of the A. See botli monograms copied on 
 the plate at the end of the volume. 
 
 PHILIP PARIZEAU. 
 
 Flourifhed, 1760. 
 A modern French painter, who, for his amufement, etched two middling- 
 fized plates> length-ways, from Salvator Rofa, reprefenting foldiers, &c. 
 
 BAPTISTAPARMENSIS. 
 
 Flourilhed, 1588. 
 
 This artift was a native of Parma, and apparently a painter. He refided 
 at Rome, where he engraved, a. d. 1588, a middling fized upright print, 
 reprefenting the Virgin and Child appearing to St. John the Divine, from 
 Frederico Baroccio. It is executed v/ith the graver only, in a ftyle bearing 
 great refemblance to that of Cornelius Cort. The prints marked with the 
 initials B. P. and B. P. F. cannot, I believe, with any degree of propriety, be 
 attributed to this artift ; for they are generally flight etchings, affifted but 
 very little with the graver. To the print above-mentioned, he figns his 
 name, Baptifta Parmenfis, and adds die following words with the date, /<?<■, 
 Roma, 1588. 
 
 Jacobus Parmensis, another artift probably of the fame family. Wc 
 have by him, among other prints, the martyrdom of St. Peter and St. Paul, a 
 middling-fized plate, length-ways, from Parmigiano. It is executed entirely 
 with the graver, in a flight ftyle, bearing fome refemblance to that of Ca- 
 raglio, to whom-it has been frequently attributed j but Caraglio was a native 
 of Verona, and not of Parma. Befides, the heads and extremities of the 
 figures are not fo well drawn as we find them in the engravings of Caraglio. 
 
 Franciscus Parmensis, or more properly, Francefco Mazzuoli, com- 
 monly called Parmigiano, is mentioned by profeflTor Chrift, who tells us, that 
 he often affixed the initials F. P. to his etchings. But, with all due de- 
 ference to that author, I think it will, on examination, appear, that thefe 
 initials are not to be found upon the original plates j at leaft, not upon the 
 firft impreflions of thefe plates. The account of this artift is given un- 
 der the article Mazzuoli. 
 
 L. PARMENTIER. 
 
 Flourifhed, 
 This name is affixed to the title o{ the Works of Philip Wouvermans, with 
 the /)or/r«// of that artift at the bottom, from a defign by J. de la Jove, in 
 folio. 
 
 PAR- 
 
PAR [ 201 ] PAR 
 
 P A R M I G I A N O. See Mazzuoli. 
 
 R. PARR. 
 
 Flour! fhed, 1740. - 
 This artlft was a native of England, but of no fuperior eminence. His 
 works confift chiefly of portraits and book-plates. I fhall fpecify the fol- 
 lowing only : the portrait o{ Mary Loui/a, daughter of Charles the Second of 
 England, whole length; that of John Fifloer, bifhop of Rochejier ; and that of 
 M^. Becket, &c. 
 
 JOSEPH PARROCEL. 
 
 Born, 1648. Died, 1704. 
 
 This artift was a native of France, born at Brignol in Provence. He 
 learned the firft principles of painting in his own country ; but going after- 
 wards to Italy, he became the difciple of Giacomo Corteri, called Bour- 
 guignon. He excelled in painting battles, fkirmifhes, and fubjefts of that 
 kind, following the ftyle of his mafter. He returned to his native country, 
 and died there, a. d. 1704, aged 56. We have feveral very fpirited etch- 
 ings by this artift, from his own defigns. They are as follows : 
 
 The life of Chriji, a fet of forty-eight fmall plates, length-ways. 
 
 Four battles, the fame. 
 
 The four times of the day, the fame. 
 
 CHARLES PARROCEL. 
 
 Born, 1688. Died, 1752. 
 
 This artift was the fon of Jofeph Parrocel, mentioned in the preceding 
 article. He was born at Paris, a. d. 1688. His firft inftruiStions in the art of 
 painting he received from his father, who died whilft he was only fixteen 
 years of age ; and, of courfe, before he had nearly completed his ftudies. 
 He was then placed with Charles le Foffe ; and at length went to Italy, where 
 he continued feveral years. He excelled in painting battles ; but his works 
 are much lefs eftimable, than thofe of his father, whofe ftyle he imitated. 
 He not only amufed himfelf with the point, but handled the graver with 
 much facility. We have by him a fet of prints, reprefenting ^er/i? and foot 
 foldiers, executed with great fpirir. 
 
 STEPHEN PA R,R O C E L. 
 
 Flourifhed, 1750. 
 
 This artift -was a relation to thofe mentioned in the two preceding articles. 
 He was a painter, and refided at Paris, when Bafan publifhed his Diftionary 
 of Engravers. By him we have feveral flight etchings executed in a bold, 
 free ftyle. I fhall mention the following only: A Bacchanalian JubjeEl ; a 
 fmall plate, length-ways, from a compofition of his own. The triumph of 
 
 VOL. J I, D d Mordecai, 
 
PAS [ 202 ] PAS 
 
 Mordecai, a large plate, length-ways, from J. F. de Troy. The triumph of 
 Bacchus and Ariadne, the fame, from Subleyras. 
 
 GIOVANNI BATISTA PASQUALINO, or PASCALINI. 
 
 Flourifhed, 1620. 
 
 This artift was a native of Cento, a village near Bologna, where Guercino 
 was born; from whofe defigns the far larger part of the engravings by 
 Pafqualino were taken. He attempted to imitate with the graver the bold 
 fpirited ft)'le, in which Guercino drew with the pen; but he did not poffefs 
 fufficient command of that inftrument to produce an agreeable efFeft ; and, 
 from the incorreftnefs of his drawing, the chief beauty of the originals is 
 loft in the engraving. A modern artift has lately done great juftice to 
 feveral of the admirable drawings of Guercino, which are in the royal col- 
 leflion ; and when we caft our eyes from them to thofe of Pafqualino, we 
 cannot help lamenting, that fo many beautiful compofitions fhould have 
 fallen into the hands of fo indifferent an engraver. As the works of 
 Pafqualino are by no means uncommon, I Ihall not fpecify any more than 
 the few following : 
 
 The Aurora, a large print, length-ways, on two plates, from the celebrated 
 pidture of Guido. This has been finely engraved by Frey, and alfo by 
 Audenarde. 
 
 Chrijl giving the keys to Peter, a middling-fized upright plate, from Guer- 
 cino. 
 
 Chrijl taken in the Garden of Olives, a middling-fized plate, length-ways, 
 from the fime. 
 
 The underftanding, the memory, and the will, three allegorical fubjeds, mid- 
 dling-fized plates, length-ways, from the fame. 
 
 He alfo engraved from Lodovico Carracci and other mafters. 
 
 JOHN JAMES PAS Q^U I E R. 
 Flourifiied, 1760. 
 
 A modern French engraver, who was pupil to Laurence Cars, and refided 
 at Paris, at the time Bafan publiflied his Diftionary of Engravers. We 
 have by him, among other things, Arion upon the dolphin, a middling-fized 
 plate, length-ways, from Boucher, and a variety o( vignettes and other ^ec^- 
 ornaments ; feveral of which are from his own compofitions. 
 
 P A S S A R O. See Passeri. 
 
 BARTOLOMEO PASSAROTTI. 
 
 Flourifiied, 1560. 
 
 This artift was a native of Bologna. He is fpoken of with great 
 commendation, as excelling in painting portraits and hiftorical fubjects. 
 He was alfo the founder of that famous academy at Bologna, in which the 
 
 Carracii 
 
PAS [ 203 ] PAS 
 
 Carraccii made fuch confiderable figures. We have by his hand leveral 
 very flight etchings; Ibme of them from his own compofitions, and 
 others from F. Salviati, &c. 
 
 CRISPIN DE PASSE the Elder. 
 Flouriflied, 16 10. 
 
 This ingenious mafter was a native of Utrecht ; and, accordino' to liis 
 own account of himfelf, in the preface to a drawing book, publifhed by him 
 at Amfterdam, he applied himfelf very early in life to the ftudy of the 
 arts, and particularly delighted in drawing and defigning from the works of 
 the moft famous artifts of the time in which he lived. He mentions 
 M. Freminent, P. P. Rubens, Abraham Bloemart, Paul Morelfon, and P, 
 Vander Berg, as his friends and encouragers ; particularly the laft, to whofe 
 affiftance, it appears, he was greatly indebted, being introduced by him 
 into the academy, and to the acquaintance of the moll celebrated mafters 
 who vifited it. 
 
 He was fent to Paris by Prince Maurice, to teach drawino- at the 
 academy of Monfieur Pluvinel, riding mafter to Louis XIII. of France j 
 and for that gentleman he engraved a fet of folio prints for a book, written 
 by him, entitled, InJlruSiion dii Roy Louis XIII. en I'Exercife de mounter a 
 Cheval, par Mejfire Ant. de Pluvinel: The plates reprefent the different 
 exercifes of the horfe5, and the manner of tilting at the barriers, &c. The 
 portraits of all the great perfonages of the court of France are occafionally 
 introduced. This is efteemed the greateft and beft work by Paffe. 
 
 The time in which he came into England is very uncertain, and that of 
 his departure is not much better known. However, as Vertue informs us 
 that the plates, which he engraved in this kingdom, do not bear date beyond 
 the year 1635, we may reafonably conclude, that he did not refide here 
 long after that period. 
 
 He publiftied his drawing book at Amfterdam, 1643, ^^ which time lie 
 muft have been very far advanced in years ; for we have engravings by him 
 dated as early as 1589; thefe, from the ftyle in which they are executed, 
 prove, that they were by no means the firft exertions of his graver. 
 
 Paffe worked entirely with the graver,^ in a neat, clear ftyle, which has 
 much originality in it; and, excepting fome little ftiffnefs which frequently 
 appears, and the want of harmony, with refped to the diftribution of the light 
 and ftiadow, a fault which prevailed at the time in which he lived, his beft 
 works poffefs a very confiderable fhare of merit, efpecially his portraits, 
 many of which he drew from the life ; and the far greater part of his hiftorical 
 and emblematical fubjefts are engraved from his own compofitions. He 
 drew the human figure very correftly, and marked the extremities with a 
 degree of exaftnefs, not ufually found in the works of thofe mafters who 
 employed themfelves upon fmall fubjefts. When Paffe attempted latere 
 fubjefts he was not equally fuccefsful. His works are exceedingly multi- 
 farious, and by no means uncommon : I ffiall only fpecify tJiem in o-e- 
 neral terms. 
 
 The Seven Liberal Arts and Sciences, fmall upright plates. 
 
 D d 2 The 
 
PAS I 204. ] PAS 
 
 The Nine Mufes, fmall circular plates, from l;is own dcfigns. 
 
 The Twelve Months, the fame, from M. de Vos. 
 
 The plates for a book of Emblems by George Wither, confifting of 200. 
 
 One hundred plates for the Emblems of Gabriale RoUenhagus. 
 
 Ihe Hijioryofi'obit, middling-fized plates, length-ways, from Martin de Vos. 
 
 Several fets of prints from facred and prophane hilWy, chiefly after his 
 own defigns. 
 
 The life of man from ten to an hundred. 
 
 Variety oli holy families., Madonas, . emblematical fuhje^s, ornaments, i^c. ^c. 
 from Bafan, Rottenhamer, A. Bloemart, Brughel, Stradan, and other mailers. 
 To thefe I fhall add the few following Englifh portraits, which are reckoned 
 among his fcarcefl: and beil. 
 
 ^een Elizabeth fumptuoufly habited, a fmall half-fheet print, from Ifaac 
 Oliver. 
 
 James the Firft, with ajceptre in his hand, a half-flieet print.. 
 
 James the Firfi and his ^een, two fmall oval plates. 
 
 Henry Prince of IVales, and Charles his brother, afterwards king of Eng- 
 land, the fame. 
 
 The Count Palatine, afterwards King of Bohemia, and Elizabeth his wife, 
 fmall folio oval plates. 
 
 Thomas Percy the confpirator, a fmall oval plate. 
 
 He alfo engraved a prodigious number of foreign portraits. See his mark, 
 compofed of a C, a V, and a P, joined together, on the plate at the end of 
 the volume. 
 
 The works of Crifpin de PaflTe and his family are preferved in the Royal 
 l,ibrary at Paris, and fill three large folio volumes. 
 
 CRISPIN DE PASSE the Younger. 
 Flouriflied, 1620. 
 
 He was the eldeft fon of Crifpin de Pafle, mentioned in the preceding 
 article, and learned from his father the principles of drawing and engraving. 
 But whether he died young-, or quitted the profefTion for any other employ- 
 ment does not appear. His name however is alRxed to very few engrav- 
 ings ; among wluch are the following : the portrait of Frederic, EleBor 
 Palatine, when young ; a large odtavo oval plate, with this infcription ; 
 Crifpin Paffeus jun.figu. et/culps. Three prints for the flory of Dives and 
 Lazarus. The fourth, which completed the fet, was engraved by his. 
 father. 
 
 WILLIAM DE PASSE. 
 
 Flourifhed 1620. 
 
 He was the fon of' Crifpin de PaflTe the elder, mentioned above, by 
 whom he was inftruifted in the principles of defign and engraving. He 
 imitated the ftyle of his father, with all polTible fuccefs; and his befl: en- 
 gravings, which confill of portraits, are juftly held in very high 
 
 efteem. 
 
PAS [ 205 ] PAS 
 
 efteem. How long William refided in England does not certainly appear; 
 but probably the greater part of his life; at lead we findj that his beft 
 works were executed in this kingdom. 
 
 The engravings by this artift are very numerous. I fhall fpecify the few 
 following only, which may rank, at leaft, among his fcarceft : 
 
 James the Firji and his family, with this title^ 'Trium;pbns Jacohi Regis 
 Augiifta que ipftus pro/is, a half-fheet print. 
 
 James the FirJi, with Henry Prince of Wales Jlanding hy him., a half-fheet 
 print. After the death of Prince Henry, his face was erafed, and that of 
 Charles his brother fubftituted in its place. It is dated 1621. 
 
 A family piece, unknown ; but fuppofed to be the Palatine family, in 
 which the youngeft child is reprefented playing with a rabbit ; a half-lheet 
 print. The name of the engraver is not affixed to this print. 
 
 The Bohemian family, a half-fiieet print, thus infcribed : Will: T of s fecit 
 ad vivum fgurator, dated 1621, with Englifh verfes at the bottom. 
 
 George Villars duke of Buckingham on horfeback, with {hipping in the back 
 ground, dated 1625. 
 
 Robert Dudley earl of Leicejier, an oval in quarto, with his monogram, 
 compofed of a W. and a P. joined together. See the plate of monograms 
 at the end of the volume. 
 
 Robert Devereaux earl of EJfex on horfeback, a fmall half-fheet print. 
 
 Frances duchefs of Richmond and Lenox, half-length in quarto, very neatly 
 finiflied, and infcribed. Anno 1625, infculptum Guliel. Pajfeo Londinmn. 
 
 Sir Henry Rich, a fmall folio oval plate, very finely finifhed. 
 
 Alfo feveral foreign portraits, and fome few hifiorical and devotional Jub- 
 jeHs, which, though by no means devoid of merit, are not fo fuccefsfully 
 executed as his portraits. 
 
 SIMON DE PASSE. 
 Flourifhed, 1620. 
 
 A third fon of Crifpin de Pafle the elder, mentioned above. He learned 
 the art of engraving from his father, and imitated his ftyle with great fuccefs. 
 He was employed by Nicholas Hilliard to engrave counters of the royal 
 family. His portraits conftitute the beft and larg.?ft part of his engravings ; 
 but we have alfo fome devotional fubjeifts, frontifpieces, and other book 
 plates by him, which are very neatly executed. 
 
 According to Vertue, he refided in England about ten years, and after- 
 wards went into the fervice of the king of Denmark, and probably died 
 abroad. His earlieft works executed in England are dated 1603. 
 
 The following are reckoned among his moft eftimable prints," chiefly 
 from his own drawings. 
 
 James the Firftjeatedin a chair, a whole length, a half-fheet print. 
 
 Anne, queen to James the Firft, on horfeback, witli a view of Windlbr in the 
 back ground ; a fmall half-fheet print. 
 
 Prince Henry with a lance, a whole length, a fmall half-fheet print. 
 
 Robert Carr, earlofSomerfet, in an oval, a fmall folio plate. 
 
 Francis 
 
PAS [ 206 ] PAS 
 
 Francis count ejs of Somerjet, the fame. 
 
 George Villars duke of Buckingha})!, the fame. 
 
 Count Gondaaier, the fame. 
 
 Sir Walter Raleigh, the fame. 
 
 Sir Thomas Smith, the fame. 
 
 Alfo a variety of other portraits relative to England, and feveral fine 
 foreign portraits, particularly that of Fred. Henry, prince of Orange, with 
 emblems ; a whole Iheet print, intitled, Liberum Belgium. 
 
 MAGDALEN DE PASSE. 
 Flouriflied, i6ia. 
 
 This ingenious lady was the daughter of Crifpin de Pafle the elder, men- 
 tioned above. She learned the art of engraving from her father, and prac- 
 tifed it with much fuccefs, though her works are not equal to thofe of her 
 brothers. She worked with the graver only, in a neat, but laboured ftyle. 
 In two or three fmall fubjefts, which fhe has engraved from EIlTieimer, fhe 
 has attempted to imitate the ftyle of Count Goudt ; but fhe has not produced 
 the fame neatnefs of colour, and forcible effeft ; they however poflefs 
 great merit. I fliall fpecify the following engravings by this lady, which, 
 I believe, conltitute the principal part of her works : 
 
 Catharine dutchefs of Buckingham, ivith a feather in her hand, a fmall 
 quarto print. 
 
 The four Seafons, fmall upright plates, from defigns by her father. 
 
 Cephalus and Procris, Salmacis and Hermaphroditus, dated 1623, znd La- 
 tona changing the Lycian peafants into frogs ; with fome other fubjects, 
 from Ovid's metamorphofes -, fmall plates, length-ways, from Elflieimer, 
 Pinas, and other mafters. 
 
 A let of land/capes, middling-fized plates, lengthways, from Rowland 
 Savery, and A. Willeres, among which is a Jlorm with a pipwreck. 
 
 BERARDINO PASSER O, or PASS A R I. 
 
 Flouriflied, 1580, 
 
 This artift was a native of Italy, and refided at Rome. He is fpoken of as 
 a painter, by authors in general, and in the Abecedario he is called a univerfal 
 engraver ; but I know not for whatreafon this appellation is applied particu- 
 larly to him. It is certain that we have a confiderable number of prints by 
 him, which he ufually tirft etched, and afterwards retouched with the a;raver, 
 in a bold, butloofe ftyle. The fubjedts are almoft entirely devotional, and 
 chiefiy from his own defigns. His works prove him to have been a man of 
 genius ; but his drawing is not perfectly corredl:, nor are the characters 
 of his heads always beautiful, or well chofcn. He often figned his name 
 at length -, when he omitted to do that, he fubftituted a cypher, compofed 
 of aB revcrffd, and joined with a P, in the manner expreffed on the plate at 
 the end of the volume. 
 
 The following are all I fliall fele6t from his works, which are by no 
 jjieans uncommon : 
 
 AUoly 
 
PAS [ 307 ] PAT 
 
 A Holy Family, in which the Virgin is reprefented with a Bohemian 
 bonnet, a middling-fized upright plate, dated 1583. 
 
 'The Life of St. Bruno, reprefented on feveral middling-fized upright plates. 
 Alfo feveral Madonnas, and other fubjedls. 
 
 MATTEO FASTI, or DE FASTIS. 
 
 Flouriflied, 1470. 
 
 This artift was probably a native of Italy. He is faid to have been a 
 painter, and an engraver on wood. By him we have the prints for a folio 
 volume entitled. Be Re Militari, written by Rob. Valturius, publifhed at 
 Verona, 1472. 
 
 J. DE PASTIL L. 
 
 Flouriflied, 
 A native probably of France. His employment feems to have been that 
 of copying prints only, in which however he never arrived at any tolerable 
 perfeftion. I fliall mention only the murder of the Innocents, after the 
 engraving by Louis Audran, from Le Brun, 
 
 T. PATCH. 
 
 Flouriflied, 1770. 
 
 This artifl: engraved from the piftures of Tomafo Mafaccio, whicli 
 are dated 1770, a fet of twenty-fix folio plates. 
 
 LAURENCE PATAROL. 
 
 Flouriflied, 1700. 
 This artift was apparently an Italian. I have feen by him feveral book 
 plates, and among them, a frontijpiece for a book of coins^ in quarto, 
 publilhed at Venice, 1702. 
 
 P A T A S. 
 Flouriflied, 1760, 
 
 A modern French artift, by whom we have feveral fmall eno-ravino-s. 
 I fliall mention only the Judgment of Paris, in an oval, from Queverdo.^ 
 
 P A T A V I N U S. See Avibus. 
 P A T I C I N A. See Adler. 
 
 JOHN PATIGNY. 
 
 Flouriflied, 1750. 
 This artift was apparently a native of Italy. I have feen very fev/ 
 engravings by him ; and thofe are but indifferent. I fliall fpecify the 
 following only : ^e Virgin and Child with St. John, from Annibale 
 Carracci ; a middling-fized upright plate. He appears to have copied the 
 ftyle of engraving adopted by Agoftino Carracci, but with no areat 
 fuccefs. The heads, and other extremities of the figures, are^not 
 correftly drawn : neither is he more happy, in the management of the 
 
 general efFetl. 
 
 Q 
 
 PATOUR. 
 
PAT [ 208 ] P A U 
 
 P A T O U R. 
 
 Flcurillicd, 1760. 
 A modern French engraver, by whom, according to Bafan, wc have 
 the Little Lyar, a fmall plate from Albert Durcr. 
 
 P A T T E. 
 
 Flouriflied, 1760. 
 A modern architeft. lie was a native of France. Bafan informs us 
 tliat he engraved feveral plates of ArchiteSltire^ &c. 
 
 ANDREW PAUL, or DE PAUL I. 
 
 Flourifhed, 
 
 This artift was a native of Flanders. He flourifhed in the laft century, 
 and engraved feveral plates ; among which are the following : Peter denying 
 Chrift, a fmall upright plate. — 'Titian and his mifirejs, from the etching by 
 Vandyck, the fame^ The Toath Drawer, from Theodore Roelanto, a fmall 
 plate, length-ways. 
 
 S. PAUL. 
 
 Flourifhed, 1760. i.-^ 
 By this artift wc have fome few mezzotintos, and among them, the 
 portrait oiMrs. Barry, from Kettle. 
 
 ROBERT PAUL. 
 
 Flouriflied, 1762. 
 
 ,He fludied in the academy of Glafgow, and we4iave feveral flight etch- 
 ings of various fizes, reprefcnting views of that city, by him, particular- 
 ly a large one lengthways ; alfo a north view of the cathedral church, &c. 
 dated 1762. 
 
 GIACOMO PAULINL 
 
 Flourifhed, 
 
 An artift of no great note. We have feveral plates by him. I ihall men- 
 tion the two following only : A figure of .S"^. Peter, A midJling-fized upright 
 plate, probably from a defign of his own, for he has added the word fecit to 
 his name. And the Ponte de Rialto, a miiddling-fized plate, length-ways. 
 
 JOHN LE PAUTRE. 
 
 Born, 1617. Died, 1682. 
 
 This ingenious artift was born at Paris; and in the very early part of 
 his life, he was placed with a worlcing goldfmith, from whom he learned 
 the principles of Drawing ; and lb far improved by his inftruclions, that 
 in the end he acquired prodigious facility in dcfigning and drawing with a 
 pen. He afterwards turned his mind to engraving, and worked with the 
 point, and with the graver ; but the ftyle in which he executed his plates, 
 is by no means commendable. It is ufually dark, coarfc, and heavy, 
 
 without 
 
P A U [ 209 ] PAY 
 
 without any pleafing effe<fl, or harmony of light and (hadow. He drew 
 haftily, and his engravings partake of the fame expedition, and therefore 
 are rarely very highly finiflieu. His works are exceedingly nume- 
 rous, and in general confiftof architeilal decorations, vajes, ceilings, and orna- 
 ments of every kind, which are executed from his own defigns, and 
 abundantly prove the fecundity of his genius. We have however fome 
 hiflorical plates, feveral holy families, and other devotional fubjedls by him ; 
 but thefe are certainly to be confidered as inferior to thofe before mentioned. 
 Florent le Comte fays juftly of L.e Pautre, " That it is hardly polTible to 
 " find an engraver, v/ho has produced more inventions than he, or whofe 
 "genius was more adapted to every fpecies of fubjcct :" he added, " that 
 " every profefTor of the liberal arts or mechanics may find fomething in his 
 " worl<s v/orth the trouble of examining tiiem." 
 
 He became a member of the Royal Academy of Painting and Sculp- 
 ture at Paris, A. D. 1677, and died in that city, A. D. 1682 j aged G^. 
 
 The engravings by this artift being fo very numerous, and fo well 
 knov/n, they do not need any further fpecifications than what is given 
 above. I fhall only add, that he fometimes figned his plates with the 
 initials of his name only, thus, I, P. or I. le P. but his works are eafily 
 diltinguifhed. 
 
 o 
 
 PETER LE PAUTRE. 
 Born, 1659. Died, 1744. 
 He was the fon of John le Pautre, mentioned in the preceding article. 
 He learned the principles of defign from his father; and he is fpoken of as 
 a fculptor with no fmall commendation. We have feveral friezes by him, 
 and a figure of Poetry, engraved for Perault's Cabinet des beaux Arts, pub- 
 lifhed at Paris, 1690. Thefe are very neatly executed, and principally 
 with the graver. He alfo etched feveral plates, as well from his own com- 
 pofition, as from thofe of other maflers. 
 
 JOHNPAYNE. 
 
 Flourifhed, 1635. 
 
 This artift was a native of England, and a difciple of Simon Pafle. 
 He was a man of genius ; and tliough his works are not very numerous, 
 they neverthelefs manifeft his fuperior abilities. At the fame time it 
 muft be added that the realbn he made no greater figure in the arts, when 
 fo much was expefted from him, was owing to his own indolence and 
 diflipation. He was recommended to Charles the Firft of England, and had 
 a fair profped of making his fortune; but carelefs of that, as he was of 
 his fame, he neglcfted his bufinefs, and died in indigence, A. D. 1647 or 
 1648, before he had reached his fortieth year. His chief engravincrs 
 confift oi frontijpieces and other book-plates, znd portraits. But he alfo 
 engraved a variety of other fubjecls, fuch as land/capes, flowers, fruit, birds, 
 beafts, &c. His portraits however are, in my opinion, by far his beft 
 
 VOL. II. E e works.' 
 
PAZ f 2IO ] PEA 
 
 works. Thofe he executed entirely with the graver, in a free, open ftyle, 
 fo managed, as to produce a very pleafing effeft. Mr. Evelyn, fpeaking 
 of this artift, commends him not only for his portraits, but alfo for a fhip 
 v>hich he engraved. This fhip, Vertue informs us, was the Royal Sovereigtiy 
 built by Phineas Pett. The print was of a prodigious fize, and engraved on 
 two plates, being, when joined, three feei long, by two feet two inchea 
 high. The following portraits by him are very fine : 
 
 Dr. Alabafter^ in an oval quarto, from Cornelius Janfen. 
 
 Sir Benjamin Rudyard, the fame, from the feme. 
 
 Alderman Leate, the fame, from the fame. 
 
 Arthur Lake, Bifljop of Chichefter, in an oval, in folio- 
 
 George Withers the Poet, with a hat on, a quarto oval. 
 
 ANTONIO PAZZI. 
 
 Flouriflied, 1760. 
 
 A modern engraver, who refided at Florence at the time Bafan publifhed 
 his diftionary. He worked chiefly with the graver. We have by him 
 feveral portraits, and other fubjefts j among them, the Virgin with the 
 infant Chrijt Jleepng, a middling-fized upright plate, from Vandyck. 
 
 JAMES PEAK, 
 
 Flouriflied. , 
 
 r have feen feveral bold, fpirited etchings by this artift, in the ftyle of a 
 painter ; among others, one reprefenting a view of Waltham- Abbey in 
 Effl'x, from a defign of his own. He was a native of England, according 
 to Bafan. He alfo engraved feveral prints from the drawings of Pillament 
 and other matters. 
 
 HENRY PE AC EI AM. 
 
 Flourifhed, 1630. 
 
 «' He was," fays Mr. Walpole, " certainly a judge of the arts of paint- 
 " ins and ensravinp;: and havins; contributed to their illuftrarion, deferves a 
 " larger article than I am able to give hmn," for want, I fuppole, of proper 
 materials for that purpofe. He was author of a book, entitled the 
 Complete Gentleman. The only engraving fpecified by this artift is a 
 portrait of Sir Thomas Cromwell, Knight, afterwards Earl of- Effex, from 
 Holbein. 
 
 EDWARD PEACKE. 
 Flouriflied, 1640. 
 This artift, conjointly with Robert Peacke, who was probably his 
 brother, engraved feveral plates of /nVzif J and other architeSlal ornaments^ 
 which, according to Florent le Comte, are dated 1640. I believe they were 
 both natives of England. 
 
 2 WILLIAM 
 
PEA [ 211 ] PEL 
 
 WILLIAM PEACKE. 
 
 Flourifhed, 
 
 This artift, who was probably a relation to the two Peackes mentioned 
 in the foixgoing article, was a native of England ; and his engravino-s 
 coniift chiefly of portraits. I lliall mention the following only by him : 
 Henry Earl of Holland, in armour -, Robert Rich Earl of iVarwick, in 
 armour -vjith a Jcarf, 
 
 GEORGE P E H A M. 
 
 Flourifhed, 1594. 
 By this artift we have feveral flight, but bold etchings, in the flyle of 
 a painter. He feldom figned his name at length, but ufed the initials in 
 this manner, G. P. I fliall fpecify the two following prints only by him: 
 Neptune rifmg from the Sea, a fmall upright plate, with the name at length. 
 Hercules and Antaus, the fame, with initials only. 
 
 PIETRO PEIROLERI. 
 
 F'louriflied, 1760, 
 
 This artift was a native of Turin. We have feveral engravings by him ; 
 among others, Bacchus Jeated upon a cajk, a middling- fized upright plate, 
 from Rubens, &c. 
 
 P E L A I S. 
 Flourifhed, 
 The name of an obfcure engraver, affixed to a large upright print> 
 reprefenting St. John preaching in the Wildernejs, very badly executed in 
 every refpeft. There is no painter's name afExed to this wretched engrav- 
 ing, but it is infcribed Pelais fee. 
 
 P. P E L H A M. 
 
 Flourifhed, 1735. 
 
 This artift was probably a native of England. He engraved feveral 
 portraits in mezzotinto ; among others, Oliver Cromwell, from Walker, 
 and Thomas Holies, Duke of Newcaflle. 
 
 CORNELIUS PELKIN. 
 
 Flouriflied, 1663. 
 
 An obfcure artift, who worked chiefly with the graver, in a loofe, carelefs 
 {t)de, without any merit to recommend it. The frontifpiece to a book, 
 entitled, Spiegel der Spaenjche Tirannie, printed at Middelburgh, 1663, 
 is by him, and probably from a defign of his own. 
 
 E e 2 DOMENICO 
 
PEL [ 212 J PEN 
 
 DOMENICO PELLEGRINO TIBALDI. 
 
 Born, 1540. Died, 1582. 
 
 This artifl: was the Ton and fcholar of Pellegrino ; known alfo by the 
 name of Tibaldi da Bologna. He learned from his father the principles of 
 painting ; in which art he not only fucceeded, but alfo in that of architec- 
 ture. We have feveral fpirited etchings by this artift, from the defigns 
 of his father: alfo from Parmigiano, and other mafters. 
 
 DAVID PELLET. 
 
 Floiirifhed, 
 The name of a French artift affixed to a middling-fized upright plate, re- 
 prefenting Louis XIII. when young, on horfeback, with the portraits of 
 Henry the Fourth, and Mary of Medicis in fmall ovals at the top ; it is 
 neatly executed with the graver only, but in a ftiff and taftelefs ftile ; it was 
 probably from a defign of his own, as he has added the v/ord fecit to his name. 
 
 PELLETIER. 
 
 Flouriflicd, 1760. 
 
 A modern French artift, by whom, among other engravings, we have 
 T/pe Fi/h Market, and its companion. The Green Market, fmall upright 
 plates from Pierre. 
 
 HISBEL PEN, or PEUN. 
 
 Flouriflied, 1520. 
 
 This artift is alfo called Hifpean, and Hifpeun, and fometimes confounded 
 with Hans Sebald Beham, becaufe his cypher refembles that of Beham ; 
 but it is evident, when the works of the one are compared with thofe of 
 the other, that they muft have been executed by different mafters. If 
 it be objeded, that there is very little authority to be found, that either 
 of the above names certainly belonged to this mafter, the only anfwer I 
 fhall make is, that his works are too confiderable to be entirely omitted ; 
 and as thefe names have been adopted by the old monogramifts, it will be 
 more advifable to agree with them, than invent a new one, upon con- 
 iefture only : at leaft, it will be more convenient to thofe, who choofe to 
 refer to the former authors. 
 
 This engraver was certainly a German, and, according to the author 
 of the Abecedario, a native of Nuremberg. He was prior to Beham -, and 
 the difference between them confifts rather in the greater excellency of 
 Beham, than in their mode of engraving. According to the cuftom of 
 that time Pen defigned the fubjefts which he engraved, and worked both 
 on wood and on copper. Withrefpeft to the latter, they are, two or three 
 etchings excepted, executed entirely with the graver. Pen underftood 
 the human figure ; and his outlines are fometimes very correft. His prints, 
 though not equal upon the whole to thofe of Beham, are every way de- 
 ferving of notice. It is to be obferved, that Beham copied many of the 
 
 engravings 
 
PEN [ 213 1 PEN 
 
 engravings of Pen. The mark of this artift, connpofed of an H. an S. and 
 a P. is copied upon the plate at the end of the volume. His works are 
 very numerous. The following only can be mentioned, and in a general way. 
 
 Adam and Eve, two very fmall upright plates, dated 1523 and 1524. 
 Thefe were copied by Beham. 
 
 Adam feated, holding an apple, a fmall upright plate, dated 151Q. 
 
 A Jet of apojlles andjaints, fmall upright plates. 
 
 ^he virtues and vices, the fame. 
 
 The heathen gods, goddejfes, and heroines, the fame. 
 
 A "jooman carried away by ajea-god, a middling-fized upright plate, from 
 Albert Durer, the contrary way to the original ; fmall ornamental plates. 
 
 Soine fpirited figures of Soldiers, very fmall upright plates, etched in a 
 bold, mafterly ftyle, dated 1520. 
 
 Meeting of Elizabeth and Mary, the fame, an etching. 
 
 A holy family , a fmall upright print, very fpirited, cut on wood. 
 
 The life of Chriji, a fet of fmall upright prints, the fame alfo on wood. 
 
 J. PENCHARD. 
 
 Flouriflied, 1678. 
 An indifferent artift whofe labours were confined to bookfeller'^s fliops. 
 He worked with the graver in a ftiff, taftelefs ftyle. The frontifpiece 
 and engravings for the anatomical v.'orks of Reg. de Graaf, publifhed 
 at Leyden, 1678, are by him. He alfo added the portrait of De Graaf ; 
 but it is executed in a manner^ which does him no honour. 
 
 P E N N A. See Pesne. 
 
 F. P E N N E N S U S. 
 
 Flouriflied, 
 
 By this artift, who was probably a painter, we have fevcral flight, but 
 fpirittd etchings, in a neat, free ftyle. The heads of his figures are ex- 
 ecuted in a mafterly manner; but the other extremities are not always quite 
 correft. The following prints, among others, are by him: A holy family with 
 St. Catherine, and an aKgel flying in the air, with a crown of laurels ; 
 a fmall upright plate, from Parmigiano. the ejpoufals of St. Cathmne, 
 the fame, probably from a defign of his own. 
 
 LUCAPENNI. 
 
 Flouriflied, 1550. 
 
 This artift was a native of Italy, born at Florence, and brother to 
 Giovanni Francefco Penni, called II Fattore. He worked a confiderable 
 time under the obfervation of Pierino del Vaga. He painted hiftorical 
 fubjefts with great fuccefs ; and many of his compofitions have been 
 
 finely engraved by George Ghifll of Mantua. Penni came into England, 
 
 and 
 
PEN [ 214 ] PEN 
 
 and was employed by king Henry the Eighth, and afterwards was engaged 
 by fome of the merchants of London. On his return to Italy, he applied 
 himfelf to etching and engraving ; and we have feveral prints by his hand. 
 His mark was ufually compofed of an L. and an R. joined together or 
 feparate j for he chofe to add the word RoyaanuSy or the Roman, to his 
 name, or the initials of it ; and fometimes he affixed an L. and a P. only : 
 but it is necefTary to caution the yoxing colle£lor, with refpeft to thefe 
 marks (all of which are copied on the plate at the end of the volume), 
 becaufe they were ufed by other mafters greatly inferior in point of abilities 
 to Penni, that his engravings are not only executed in a very ipirited ftyle, 
 but alfo accurately drawn. He chiefly etched, but at times he worked with 
 the graver only. 
 
 N. PENNEY. 
 Flourifhed, 
 
 This artift was probably a native of France. We have feveral devo- 
 tional fubjefts by him, very neatly executed with the graver only, in a ftyle, 
 which does more credit, however, to his patience, than his tafte. I Ihall 
 notice only the Virgin and Child appearing to St. Bartholomew. As he has 
 added the word fecit to his own name, without mentioning that of any 
 painter, it is probable, that it was engraved from a defign of his own. 
 
 B. P E N O Z Z I. 
 
 Flouriflied, 
 
 An engraver on wood. Papillon informs us, that he had feen a 
 very fine print by him in chiaro fcuroj but he has not fpecified the 
 fubjeil. 
 
 GEORGE PENZ, or PENEZ. 
 Flouriflied, 1540. •^-^ 
 
 This great artift was a native of Nuremberg, and learned the firft 
 principles of defigning, painting, and engraving from Albert Durer. He 
 profited greatly by the inftrudtions of that m.after; but it was in Italy 
 that he improved his tafte, and acquired that correftnefs of drawing, which 
 we find in his beft works. How far he fucceeded in painting, I cannot 
 fay ; but his compofitions are many of them admirable. The heads of his 
 ficrures are finely charafterized, and the other extremities marked in a 
 mafterly manner. It is faid, that he worked conjointly with Marc Antonio, 
 from the defigns of I^aphael ; and it feems very likely, for his ftj'le of 
 enoravino- has much of Marc Antonio's beft manner in it. His plates are 
 executed entirely with the graver, and they manifeft, by their neatnefs, the 
 fkill with which he handled that inftrument. They are finifhed with 
 great care, and precifion, but without that formality and ftifFnefs, which 
 characterizes the works of the greater part of his contemporaries. 
 
 The far greater part of the engravings by Penz are of a fmall fize ; 
 and for that reafon he is ufually ranked among the little mafters : but we 
 
 have 
 
PER [ 215 ] PER 
 
 have fome few large prints by him, one efpecially, which the reader will find 
 noticed below. His mark is compofed of a G. and a P. joined together, 
 in the manner expreffed upon the plate of monograms at the end of the 
 volume. This great artift engraved chiefly from his own compofitions. 
 His works are very numerous ; I fhall rherefore fpecify the following only 
 in a general manner: 
 
 ne hijtory of Jojeph, fmall plates, length-ways, dated 1544. 
 
 "The hijtory of Tobit, the fame. 
 
 Several very fmall fets of hiftorical fubjeds from the O/^ ir(?/?^?«ra/, of 
 different fhapes. 
 
 Several fets of hiftorical fubjedls, from the New Tejiament, the fame. 
 
 A fet of very fmall prints, length-ways, from the Roman Hijlory. 
 
 A fet of fix middling-fized plates, length-ways, reprefenting the triumphs 
 of time, death, &c. 
 
 A great variety of fingle figures, reprefenting the heroes and heroines of 
 ancient times, the virtues, the vices, the ai-ts, the/ciences, S>cc. of diffe- 
 rent fizes. 
 
 Jn army faffing a ditch, and fcaling the walls of a town, a very laro-e 
 plate, length-ways, from Julio Romano : an admirable fpecimen of the 
 artifl's fuperior abilities. The following infcription is affixed upon a 
 tablet, GEORGivs pencz pictor nvrnberg faciebat anno mdxixxxix, 
 to which he has added his ufual cypher. 
 
 STEVEN DU PERAC- 
 
 Flouriflied, 1750. 
 
 This artift was a native of Paris. He is fpoken of as a painter, and as 
 an architeft. He ftudied a confiderable time in Italy, but efpecially at 
 Rome, where he made drawings of all the principal antiquities found in 
 that city, which he etched in a ftyle, bearing no fmall refemblance to that 
 of A. Tempefta. The figures, which he occafionally introduced into thofe 
 fubjetls, are not very commendable. On his return to Paris, he was 
 made architect to the king of France, and painted feveral pictures for the 
 hall, appertaining to the bath at Fontainebleau. 
 
 Befides the architeftal works mentioned above, we have by Perac feveral 
 landjcapes, from Titian, very flightly etched. He fometimes figned his plates 
 with the initials S. P. only, or S. P. F. the F. as ufual ftanding (ox fecit. 
 
 JOHN PERCELLES. 
 
 Flourifhed, 
 
 The Flemifh engravings, reprefenting all forts of fhipping, marked 
 with the initials I. P. were executed, fays profefTor Chrift, by John 
 Percelles, or by his fon Julius Percelles. I am not acquainted v/ith thofe 
 prints ; but care muft be taken not to confound thefe two engravers with 
 an old German mafter, who ufed the fame initials, and etched in a coarfe, 
 but fpirited ftyle. 
 
 GABRIEL, 
 
PER [ 216 ] PER 
 
 GABRIEL PERELLE. 
 
 Flourifhcd, 164c. ■•-'> 
 
 If this ingenious ariifl was not a native of Pahs, be certainly refided 
 there during the greater part of his life. He excelled in defigning and 
 engraving of landfcapes ; and we have a confiderable number of fets of 
 prints by him of various fizes. His works prove the fertility of his genius, 
 rather than his attention to nature. They are compofed in a very pleaf- 
 ing ftyle, and the diftances efpecially are executed with great tafte, and 
 enriched with ruins and other embellilhments, which are very happily 
 introduced to vary the objefts, and give a lightnefs and elegance to the 
 defign. His fiiult is the want of maflfes. The lights are too powerfully, and 
 too equally diffufed, and that in fpots ; fo that the eye is fatigued, and the 
 effecl totally deftroyed. The foliage of his trees is heavy, and fo very 
 unlike nature, that even the warmth of imagination, which v/e difcover in 
 them, will hardly be thought a fufficient excufe. The greater part of 
 Perelle's works are from compofitions of his own ; but he alfo engraved 
 from thofe of other mafters. He uied both the point and the graver in the 
 execution of his plates, and if he had done more with the firft, and lefs with 
 the latter, much of that ftifFnefs and formality which fometimes diftinguiflics 
 his beft engravings would have been avoided. His works are fovery numerous, 
 and fo common, that any farther defcription of the manner in which they 
 are performed, or of the prints themfelves, may be juftly thought needlefs. 
 
 Adam Perelle, and his brother Nicholas Perelle, were both of 
 them fons of Gabriel Perelle, mentioned above. They afTifted their 
 father, and, after his deceafe, engraved a confiderable number of plates 
 of architeSfal views, flans, landfcapes, &c. I Ihall fpecify by the former, 
 only one hundred and twenty-four middling-fized plates, lengthways, 
 reprefenting the palaces, fountains, gardens, &c. in France ; and by the 
 latter, part of a fet of large views of the cities, towns, &:c. of Europe. 
 
 PERERIETTE. 
 
 Flourifhed, 
 
 A name affixed to a coarfe, incorreft etching, from Paolo Veronefe, 
 reprefenting the Virgin and Child tuitb Jofeph, accojnpanied by two angels. 
 
 S. PERJECOUTER. 
 
 Flourifhed, 1535. 
 
 By this artift, who feems to have been inftrufted in Italy, we have 
 feveral plates, executed with the graver only, in a flyle bearing fome re- 
 femblance to that of Marc de Ravenna, but flill coarfcr. His drawing is 
 by no means correft. We have alfo fome few etchings by him. His 
 works confift of terms, capitals of pillars, cornices, and other archite£lal 
 ornaments. His mark is compofed of an S. and a P. joined together, in the 
 manner reprefented upon the plate at the end of the volume, to which he 
 frequently added the date, 1535. 
 
 ^ LOUIS 
 
PER [ 217- J PER 
 
 LOUIS DES PERINI. 
 
 Flouridied, 
 
 A very indifferent engraver, who was probably a native of France. He 
 worked with the graver only, in a coarfe, ftiff ftyle, and his prints have 
 neither tafte nor correftnefs of drawing to recommend them. I fhall notice 
 only a middling-fized plate, length-ways, reprcfenting two men playing at 
 cards, and a woman overlooking them, half figures. 
 
 PETER PERN A. 
 
 Flourifhed, 1580. 
 
 An engraver on wood, to whom the prints, marked in this manner, 
 P. P. are ufually attributed. 
 
 P E R N E T. 
 
 Flourifhed, 1620. 
 An obfcure engraver of no note. We have fome few indifferent por- 
 traits by him. 
 
 PEDRO PERRET. 
 
 Flourifhed, 1590. 
 
 This artift, according to Bafan, was a native of Flanders. He refided 
 however principally at Madrid, and was engraver to Philip the Third, king 
 of Spain. He worked with the graver only, in a neat, but ftiff ftyle, the 
 eftort of patience, rather than genius. We have feveral hiftorical plates 
 by him, and among them, the following : The woman taken in adultery, from 
 Brueghel, a middling-fized plate, length-ways, dated 1575 ; and the chaftity 
 of Jofeph, a middling-fized upright plate, from Hans Speckart. But his 
 chief work feems to have been the portraits of the kings of Portugal, 
 in folio, publifhed, A. D. i6oj, to which he affixes this infcription, 
 Pedro Ferret fculptor Regis fecit. 
 
 FRANCIS PERRIER. 
 
 Born, 1590. Died, 1660. 
 This artift was a native of Macon in Burgundy. He is fpoken of as 
 a painter, a defigner, and an engraver. To what degree of eminence he 
 arrived in the firft, I leave to others to determine ; but his works as a 
 defigner, and an engraver, prove him to have been a man of genius. It is 
 uncertain under what mafter he ftudied, whilft in his native country. We 
 only know that he went to Rome, where he paid clofe application to 
 drawing from the antique ftatues and baff-reliefs. — But all his labours were 
 fo flenderly repaid^ that he could fcarcely fupport himfelf, till fuch time 
 VOL. n. F f as 
 
PER [ 218 ] PER 
 
 as his merit recommended him to the notice of Giovanni Lanfranco ; and 
 under the direftion of that admirable artift, he purfued his ftudics more 
 fuccefsfiilly. On his return to France, he was employed at Lyons to paint 
 fome few pictures ; and going from thence to Paris, he engaged himfelf 
 with Simon Vonet ; and with that artift he acquired confiderable reputation. 
 He went a fecond time into Italy, where he ftaid but a fhort time, and 
 returning again to his native country, refided at Paris, where he died. 
 
 With refpeft to his etchings, of which he performed a great number, 
 they are coarfely executed, and have all the appearance of being very hafty 
 produftions : generally fpeaking, they are not correftiy executed ; the heads, 
 and other extremities of the figures, are too frequently neglefted. The 
 fame manner of drawing appears in them all ; and that manner is by no 
 means an agreeable one. 
 
 Whilft he v/as in Italy, he wrote his name Paria ; and we find fevf ral of 
 his etchings with that fignature. His marks, compofed of an F. and a P. 
 joined together, are copied on the plates at the end of the volume. To thcfe 
 he often added a B. for Burgundus, becaufe he was a native of Burgundy. 
 I fhall fpecify the following prints only by this artift, which are ufually 
 reckoned among his beft performances : 
 
 A Crucifixion, a middling-fized upright plate, with many figures, dated 
 1633, with this infcription, " Francilcus Perrier Burgundus pinx. et fculp." 
 
 St. Roch curing the people affiiHed zuitb the pejlilence ; the fame, alfo from 
 a compofition of his own, 
 
 A flight into Egypt, a middling-fized upright plate, from AgoftinoCarracci, 
 
 "The death of St. Jerom, from the fame, a middling-fized upright plate, 
 marked "Fr. Paria fculp." 
 
 The marriage of Cupid and PJyche, two middling-fized plates, length- 
 ways, from Raphael; and the ornamental angles for the fame. 
 
 A fet of fifty plates, taken from the ancient bajf-reliefs. 
 
 A fet of one hundred plates of antique flatues, publifhed at Rome. 
 
 He alio engraved fome few compofitions in chiaro icuro, particularly one 
 reprefenting Time clipping the wings of Love. 
 
 WILLIAM PERRIER, called the Younger. 
 
 Born, . Died, 1655. 
 
 This artift was born at Macon in Burgundy, and was either the younger 
 brodrer, or fome very near relation of Francis Perrier, mentioned above. 
 He executed feveral plates from the defign of F. Perrier, and imitated his 
 ftyle of etching, but with no great fuccefs. 
 
 JOHN PERRIN. 
 
 For an account of this obfcure engraver, fee the article John Munier, 
 page 172 of this volume. 
 
 J. P E R- 
 
 \i.M 
 
PER [ 219 ] P E R - 
 
 J. PERRISSIM, OR PER SIN US. 
 
 Flouriilied, 1570. 
 
 This artift, afiided by J. Tortorel, defigned and engraved partly on cop- 
 per, and partly on wood, a fet of twenty-four very large prints, length-ways, 
 including the title. They reprcfenc the -zvar, and other remarkable occur- 
 rences, relative to the Hijlory of France, from the death of Henry the Second, 
 A.D. 1559, to the dijperjion of the German troops, 1569. Thole on copper are 
 fiightly etched, in a coarle, incorreft (lyle ; thole on wood have not much to 
 recommend them, with regard to the compofitions ; but they are executed 
 with a tolerable degree of attention ; and the crofs ftrokes, or hatching, are 
 well imitated. His mark, enclofed in a fmall oval, is copied on the plate at 
 the end of the volume ; but he twice figns his name at lengtii, both tim.es dif- 
 ferently, thus, J. Perrissim Fecit ; and J. Persinus, Fecit. Thefe prins 
 are dated 15^7 and 1570. Profefibr Chrift reads this name, Perriffin^ 
 and perhaps Juftly. 
 
 JOHN BAPTIST PERRON E A U. 
 
 Flouriihed, 1720. 
 
 A French engraver, by wliom we have fome few prints, and, among them, 
 two middling-fized plates, lengthways, reprefenting air and earth. The 
 companions, fire and water, were engraved by P. Aveline, from the fame 
 m after. 
 
 PETER PERROT. 
 
 Flouriihed. 
 
 He is mentioned by Florent le Comte as an engraver. I am not, how- 
 ever, acquainted with his works, neither are any of them fpecified by that 
 author. 
 
 NICHOLAS PERSON. 
 
 Flouriflied, 1696. 
 
 By this artift, whofe labours were chiefly confined to the engraving of 
 
 portraits, we have a let of very indifferent plates, entitled, Wnr0affte ?Ay 
 
 liltJUtlgcn, containing twenty portraits of the Archbilhops of Germany, 
 
 dated 1696. 
 
 REGNIER DE PERSY N. 
 Flour i filed, 1650. 
 This artift was a native of Amfterdam, and probably learned the art of 
 engraving in his own country. He went however to Italy, in order to 
 complete his ftudies, where, it feems, he learned to paint. While he re- 
 fided at Rome, he aflifted Cornelius Bloemart, Theodore Matham, and Mi- 
 chael Natalis, in engraving the Statues, &c. in the Juftinian gallery, which 
 were publifhed in two large folio volumes. He worked with the graver 
 only, in a very neat, clear ftyle ; but not with any great tafte. The out- 
 lines of the figures, though not very incorreft, are neverchelefs ftiff and 
 
 F f 2 • heavy. 
 
PER [220] PER 
 
 heavy. He feems to have aimed at imitating the manner of Bloemart, but he 
 never equalled that great mafter. I fhall mention the following engravings 
 only by Perfyn : The portrait of Ariojio, a midling-fized upright plate, 
 fromTitian. That of Balthazar Count de CaftilUon, the fame, from Ra- 
 phael. 'The death of Leander, a large plate, length-ways, from Sandrart. 
 
 GEORGE PERUNDT. 
 Born, 1603. Died, 1663, 
 This artift was a native of Fianconia, and by him, according to Sandrart, 
 we have a confiderable number of architeftal and geographical engravings. 
 
 LUIGl P.ERUGINO. See SCARAMUCCIA. 
 
 BALDASSARE PERUZZI. 
 Born, 1 48 1. Died, 1536. 
 
 This extraordinary artift was born at Volterra ; but becaufe his father re- 
 fided chiefly at Siena, he affix'd his name in this manner to one of his en- 
 gravings, Bal. Sen. for BaldafTare Senefe ; and this has occafioned 
 many authors to fuppofe, that he was a native of Siena. But Vafari, a 
 very accurate writer, alTures us of the contrary. 
 
 His father was a citizen of note in Florence ; and, to avoid the troubles 
 occafioned by the civil wars, withdrew hmifelf to Volterra, where Bal- 
 daflare was born, and not long after he fettled at Siena. The genius of 
 young Peruzzi very foon difcovered itfelf j and he was placed with a very 
 eminent goldfmith at Siena, from whom he learned the principles of defign, 
 and was afterwards inftrufted in painting by the beft artifts in that city. He 
 principally excelled in painting perfpeftive architefture ; and he was affiftcd 
 in his ftudies by Bramante, the friend of Raphael. Peruzzi was much em- 
 ployed at Rome ; and his piflures are fpoken of with the wanneft com- 
 mendation. He did not, it feems, entirely confine himfelf to architefture 
 and perfpefbive, but executed fome hiftorical compofitions, which are alfo 
 very gready efteemed. 
 
 He wrote a Treatife on the Antiquities of Rome, and a Commentary upon 
 Vitruvius, which, Papillon informsus, he intended to have embellilhed with 
 engravinfTs on wood, but he died before it was ready for publication. The 
 common report is, that he was poifoned by fome one, envious of his fupe- 
 
 rior talents. 
 
 He is faid to have engraved on wood in chiaro-fcuro ; but there is fome 
 obfcurity with refpeft to the fa6t. The only print I have ken attributed 
 to him is en^-raved upon three blocks ; the firft for the outlines, the fecond 
 for the deep fhadows, and the laft for the lighter tints. It is a midling- 
 fized upright print, and reprcfcnts Apollo, Minerva, and the Mufes, with 
 Hercules driving forth a woman loaded with treafure, fuppofed to reprejent 
 avarice. It is executed in a fine, fpirited, bold flyle, and infcribed Bal. 
 Sen. over which letters is a five-pointed ftar, and at a diftance the word 
 
 Pervgo, 
 
PER [ 221 ] PES 
 
 Pervgo, the meaning of which is uncertain, unlefs we grant, with Papil- 
 lon, that it is the name of the engraver, and attribute the invention only to 
 Peruzzi ; but if it was not a cognomen, ufed by Peruzzi, it may as 
 reafonably be thought to belong to the publifher. 
 
 FRANCIS PERRY. 
 Flourifhed, 1760. 
 
 He was born at Abingdon in Berkfhire, and was firft placed as an appren- 
 tice to a hofier ; but having, as he thought, a turn for painting, his friends 
 put him under one ofthe Vanderbanks, a good artift, but a manof diffipation. 
 With him Perry learned very little, being chiefly employed in obtaining 
 goods on credit, anfwering duns, or removing his cloaths from one lodging 
 to another : fometimes he was fent to fetch coals in the table cloth, at other 
 times in a fheet. 
 
 From Vanderbank, our artift went to Mr. Richardfon ; but not making 
 any great progrefs, he was employed as clerk to a commiflary, with whom 
 he went down into Staffbrdfhire, where he made drawings of the cathe- 
 dral of Lichfield, which he afterwards etched ; from this time he com- 
 menced engraver, and worked for the magazines. 
 
 His beft works are coins and medals, which he copied with great neatnefs 
 andprecifion; we have alfofeveral portraits by him; and, among others, that 
 of Dr. Ducarrel in folio, placed at the title of his Anglo-Norman 
 jintiquities . 
 
 He etched upon a white ground, by which means he was the better ena- 
 bled to work by candle-light. 
 
 He was an honeft, induftrious man, but could fcarccly earn a fubfiftence. 
 He had a fpeck over one of his eyes, v/hich deprived him ofthe ufe of it. 
 He died about the year 1766. 
 
 Mr. Grofle obligingly favoured me with this account of the above artift 
 
 IL PESARESE. See CANTARINI. 
 
 JOHN PESNE, OR PENNA. 
 Flouriftied, 1670. 
 
 This artift was a native of France, and the laft name was given hinn by 
 the Italians. It does not appear from whom he learned the principles of 
 drawing and engraving. It is however certain, that he drew greatly better 
 than he engraved; from whence we may conclude, that he was brought 
 up, at firft, under fome painter, perhaps Nicholas Pouffin, from whofe 
 piftures the greater part of his engravings are taken. He etched in a 
 flight, free ftyle, but coarfe and irregular ; and he finiflied his plates 
 v/ith the graver, harmonizing the lights with dots and fliort ftrokcs. 
 The mafles of light and fliadow are conftantly kept broad and clear, 
 and the general eff^efl is well preferved, Had his outlines been more 
 
 corred. 
 
PET [ 222 ] PET 
 
 correcl-, and the heads, with the other extremities of his figures, more 
 carefully attended to, it might have been faid, that the fpirit of that ad- 
 mirable painter was never better exprtfftd than by Pefne ; but when 
 they are compared with thofe prints executed by Girard Audran, from the 
 fame matter, ihcy certainly muft be placed in an inferior clafs. 
 
 I 111 all fpecify the following prints by Pefne, which may be reckoned 
 among his beft: 
 
 Two portraits of Poajfia, middling-fized upright places, from pictures 
 painted by that matter. 
 
 Efther before Ahafuerus, a large plate, length-ways, from Pouffin. 
 
 The adoration of the Shepherds, the fame, from the fame. 
 
 A Holy Faraily, from Raphael, a midling-fized upright plate. 
 
 The Seven Sacraments, very large prints, length-ways, on two plates ; each 
 from the pidtures of Pouffin, in the Palais Pvoyal. Thefe plates were after- 
 vvards purchafed by Girard Audran, who retouched them with great judg- 
 ment, and improved the cb.arafters of the heads very confidcrably. 
 
 The tefiament of Eudamidas, a large plate, length- ways, from the fame 
 matter. This is one of his moft capital engravings. 
 
 The death of Ananias, the fame, from the fame. 
 
 The vifion of St. Paul, a middling-fized upright plate, from the fame. 
 
 The Iriumfh of Galathea, a large plate, length- ways, from the fame. 
 
 A fet of land/capes from Guercino, and feveral other plates from Van 
 Dyck and other matters. 
 
 MATTHIAS PETERS. 
 
 Flourifhed, 1660. 
 
 He, with his brother Nicholas Piters, who, it appears, were gold- 
 fmiths, ettbliflied at Amtterdam, engraved the plates for the Atlas Major, 
 or Great Atlas, publiflied in that city by Bleau, and connlling of about 
 thn-ty large volumes in folio. The drawings, from which thefe cngravmgs 
 were taken, appear to have been made by Bleau himfelf. 
 
 E D M E PETIT. 
 
 Flourifhed, 1700. 
 This artift was a native of France, He worked chiefly with the graver, 
 in a neat ftyle. His engravings are by no means deftitute of merit. I 
 fhall mention only the portrait of Francis the Firfl, from Titian, in the 
 Crozat colledlion. 
 
 Petit is mentioned by Bafan as a modern engraver, by whom, he tells us, 
 we have feveral fubjeds, from Rigaud, I. B. Vanloo, Watteau, and other 
 matters 
 
 NICOL PETRI. 
 A name, which Lattman fometimes afTumed j probably becaufe the 
 baptifmal name of his father was Peter. See the account of this artift under 
 Lastman. 
 
 P I E T R O. 
 
PET [ 223 ] PHI 
 
 P I E T R O DA PETRI, or P I T R I. 
 Born, 1665. Died, 17 16. 
 
 According to fome authors, this artift was a native of Rome ; others 
 place his birth at Novarra ; moft of them however agree, that he was a 
 difciple of Carlo Mararti. He ftudied the works of Raphael with great 
 attention, and copied them in a very fuperior manner. Notwichftandino- 
 he employed a great part of his time in copying from the paintings of other 
 artifls, we have feveral hiftorical piftiues by him from Jiis own compofi- 
 tions ; thofe efpecially, which he painted in the churcii of St. Clement 
 ac Rome. Fie etched fome few plates, and among them, the followino- : 
 
 The ajfumption of the Virgin, a middling-fized upright plate, fom his 
 own compofition. 
 
 St. Laurence Jiijlinian, a fmall uprig'it plate, from the fame. 
 
 PiETRO Antonio de Pitri is a name affixed, as of the engraver, to the 
 frontifpiece, from Ciro Ferri, belonging to a colleftion of altar pieces, 
 publiihed by Giacomo Rofil at Rome. It is etched in a flight, mafterly 
 ftyle, but, at the fame time, bears little or no refem.blance to the etchings 
 of Petri. Perhaps the family-name of this artill fhould alfo have been 
 written Petri ; and then one would have conje6lured, that he was a 
 relation ; for I cannot think, that the above-mentioned etchings were 
 all of them executed by the fame hand. The decifion, however, muft be 
 left to the experienced colledlor. 
 
 J A Q^U ES PEYTRET. 
 
 Flourifhed. 
 
 The name of an engraver on copper, mentioned by Profeffor Chrift 
 without any reference to his works. 
 
 JOHN ANDREW PFEFFEL. 
 
 Flourifhed, 1710 
 He refided at Vienna, where, according to Bafan, he traded in prints. 
 As an engraver he never made any great figure, confining his labours 
 chiefly to ornam.ental foliage and architefture, which he executed in a ftyle 
 fufficiently neat, but without any great degree of tafte. I fliall mention only 
 a book of jewellery ornaments, in conjunftion with C. Engelbrecht, from 
 A. IVIorifon, and part cf the plates for the Hiftory of Architefture, in laro-c 
 folio, by John Henhard Fifchers, publillied at Vienna, 1721. 
 
 RIGMAN PHILESIUS. 
 Flourifhed, 1508. 
 This artift, according to Papillon, engraved on wood ; and we have by 
 him a 'i^t of twenty-five prints, reprefenting the life and pajjion of our Sa- 
 viour, which were publifhed at Straftjurgh by John Knoblouch, A.D. 1508. 
 Thefe engravings are faid to be extremely rare. 
 
 4 P. P H I- 
 
PHI [ 224 ] PIC 
 
 p. PHILIPPE. 
 
 Flourifhed, 1660. 
 An aitift of no great note. He was a native of Holland, and by him we 
 have feveral feftivah and rejoicingSy middling-fized plates, length-ways, 
 from Van Venne, dated 1660. 
 
 P H I L L E R Y. 
 
 Flourilhed, 
 
 The name of an eminent engraver on wood, who refided at Antwerp. 
 I know of but one print to which his name is affixed j but I have {z&n a 
 fufficient number, which, from the refemblance they bear to his engravings, 
 may be thought to have been done by him. 
 
 It is a middling-fized upright print, reprefenting two Joldiers fianding 
 before a laoman, who is Jeated, holding a dog upon her lap. The following 
 
 infcription is affixed : (!I5l)epcint t' 9nttocrpcn l)p mji piiillcrp tie 
 
 figurfniDet> printed at Antwerp by me Phillery, engraver of figures. It is 
 neatly executed, and the crofs ftrokes or hatchings are carefully reprefented ; 
 but the defign is not well conceived, neither is the drawing of the figures by 
 any means correft, M. Heineken fuppofes this print to be very ancient; 
 to me it appears to have been engraved about the commencement of the lafl: 
 century. 
 
 JOHNPICART. 
 
 Flourifhed, 1640. 
 
 This artift refided at Paris, and was probably a native of that city. I 
 am inclined to believe, that he was a difciple of Crifpin de Pafl"e ; at lead 
 it is certain, that he engraved from the defigns of that mafl:er, and copied 
 his manner; but with no great fuccefs. His labours feem to have been 
 chiefly confined to the ornamenting of books. I have feen by him feveral 
 portraits; among others, the following: Edward infant of Portugal, a half 
 figure, in a fmall upright oval, with emblems. Erafmus, a whole length 
 figure, Handing in an arch, which ferved as a frontifpiece to part of his 
 works in odavo, publiffied at Paris, 1639. Alfo i'tYtmX fronti/pieces, and, 
 according to Florent le Comte, monuments, &c. 
 
 HuGUES PicART, Florent le Comte informs us, that this artift, who 
 was probably a relation of John Picart, engraved a large pcrfpeflive view 
 of the town of Rheims, after Hugues Collier. 
 
 STEPHEN PICART, called LA ROMAIN. 
 
 Born, 1631. Died, 1721. 
 
 This artift was a native of France, and probably related to the two en- 
 
 (rravers mentioned above. He aflTumed the appellation of La Romain, or 
 
 The Roman, for the fake of diftinftion, fearing that his works ftiould be 
 
 confounded with thole of John Picart. He refided a confiderable time at 
 
 Paris ; 
 
PIC [ 225 ] PIC 
 
 Paris ; after which he went to Amfterdam, where he died, 1721, aged 90. 
 He worked with the graver only, in a ftyle greatly refembling that of 
 Francois de Poilly; but he never equalled that admirable artift, with re- 
 fpeft to the drawing, effeft, or fkilful management of the graver. The 
 extremities, and other naked parts of the human figure, are feldom correiftly 
 drawn, or well marked ; and the effect of his engravings, in general, is cold 
 and unharmonious. Among the great multitude of hiftorical prints by 
 Picart, I fhall mention the few following only : 
 
 The Pefiilence among the Philiftines, a large plate, length-ways, from. 
 Nicholas Poullin. 
 
 A Holy Family, the fame, from the elder Palma. 
 
 The Infant Jefus Jleeping, with the Virgin holding up her finger to St. John, 
 known commonly by the appellation oi the Silence, the fame, from Annibale 
 Carracci. Michael Lajne, Heinzelman, and others, have engraved the fame 
 fubjeft; and it was lately repeated by Mr. Bartolozzi. 
 
 Tbe entombing of Cbrijl, a large plate, length-ways, from Le Sueur. 
 
 The citizens of Ephefus burning their books at the preaching of St. Paul, 
 a large upright plate, from the fame. 
 
 The martyrdom of St. Cervais and St. Protais, a large plate, length- 
 ways, from the fame. 
 
 The martyrdom of St. Andrew, a large upright plate, from Le Brun. 
 
 St. Anthony of Padua adoring the Infant Jefus, a middling-fized upright 
 plate, from Vandyck. 
 
 He alfo engraved from Dominichino, Lanfranco, Guido, Albano, 
 Romanelle, G. Courtois, N. Coypel, &c. 
 
 BERNARDPICART. 
 * Born, 1673. Died, 1733. 
 
 This artift was the fon of Stephen Picart, mentioned in the preceding 
 article. He was born at Paris, where he learned the principles of drawing 
 and engraving from his father. At the age of fixteen he went to draw from 
 nature, in the Royal Academy ; and two years afterwards gained the prize. 
 He was not fo fond of engraving as he was of drawing. It is faid, that 
 he took up the graver with reluiflance ; and this will be eafily believed, 
 when, on examining his prints, we find them far better drawn than en- 
 graved. He refided at Paris till the year 171O; after which he went to 
 Holland, with an intention of going to Sweden ; but, altering his mind, he 
 fettled at Amfterdam, where he died, May 8, 1733. He was twice mar- 
 ried ; but it does not appear that he left any children. 
 
 The greater part of his life was certainly fpent in making compofitions 
 and drawings, which are faid to have been very highly finifiied ; and they 
 are fufficient teftimonies of the fertility of his genius, and the excellency of 
 his judgment. He underftood the human figure extremely well, and drew it 
 with a tolerable degree of corredtnefs, efpecially in fmall fubjefts. His 
 mode of engraving, as was before obi'erved, was not equally meritorious, 
 efpecially when he attempted large plates. Book plates, and other orna- 
 
 voL. II. G g mental 
 
PIC [ 226 ] PIC 
 
 mental engravings, conftitute by far the beft part of his works. And the 
 multitude which he executed, chiefly from his own compolitions, is alto- 
 nifhing. 
 
 The following are among his mod: efteemed works : 
 
 The majjacre of the Innocents ; the firft impreflions of which are before 
 the crown was placed upon the head of Herod ; a fmall plate, length-ways, 
 from his own compofitions. 
 
 The Epithalamiums, confiding of twelve prints, eight of them fmall plates, 
 length-ways ; and the other four middling-fized upright plates. 
 
 The ^(os EgOy or Neptune calming the fea, a large plate, length-ways, 
 from Anthony Coypel. 
 
 The dijgrace of Calijia, a large plate, lengtli-ways, from Annibalc 
 Carracci. 
 
 A vaft variety of book-plates of all fizes ; chiefly from his own com- 
 pofitions. 
 
 The Innocent htpojlures, are a fet of prints, from the defigns of the great 
 matters, in thefe he has attempted to imitate the flyles of the old engra- 
 vers. The work confifl:s of 78 plates, which, with the difcourfe and ex- 
 planations, make a fmall folio volume. It was not publifhed till after his 
 death, a. d. 1738; and, in my opinion, it had been well, if it had not 
 been publiflied at all. In turning it over, we cannot but pity the weaknefs 
 of a very ingenious man. But concerning this book I have already fpoken, 
 in the Eflay prefixed to the prefent volume, in my refleftions upon the 
 works of Marc Antonio and Agoftino Veneziano. 
 
 We have aUb feveral mezzotintos by him ; particularly a Nativity from 
 Carlo Maratti. He alfo engraved from Cangiage, Le Sueur, C. de k 
 Fofie S. B. Santerre, N. Bertin, &c. 
 
 PETERPICAULT. 
 
 Flouriflied, 1695. 
 
 This artift was a native of France. He worked entirely witli the graver, 
 and his prints poflefs a confidcrable Ihare of merit. He died early in the 
 beginning of the prefent century, juft at the time he began to make him- 
 felf known. We have by him the Battles of Alexander, copied from the 
 engravings by Girard Audran, after Le Brun; middling-fized places, 
 length-ways. The ?neeting of the Virgin Mary and Elizabeth, a fmall plate, 
 length-ways, from Carlo Maratti. Alfo feveral portraits of various fizes. 
 He ufually infcribcs his prints in this manner : P. Picault Blefenfis, Jculp. 
 
 GIOVANNI DOMENICO P I C C H I A N T I. 
 
 Flourilhed, 1690. 
 
 He was a native of Florence, and the pupil of B. Foggini, a fculptorof 
 Tome eminence. He amufed himfelf with the point and the graver, but 
 the prints, which he produced, have no great fliare of excellence to re- 
 commend them. He worked in a coarfe, flight Ityle ; and his drawing is 
 rather manneretl, than corredt. We have by him feveral plates, for the 
 I colledion 
 
PIC [ 227 ] PIC. 
 
 coUedlion of engravings from the pidlures in the grand gallery at Florence, 
 and feme few portraits j annong others, that of Cardinal BentivogUo, a 
 large upright plate, from Vandyck. 
 
 GAJETANO PICCINA. 
 Flourifhed, 1659. 
 
 This artift is cited by profeffor Chrift as an engraver on copper ; and 
 the fame author informs us, that he m.arked his plates in this manner : 
 G. P. inven. et fecit. I much fufpeft he means the following artift, and 
 has miftaken the baptifmal name. 
 
 GIACOMOPICCINA. 
 
 Flourifhed, 1659. 
 
 He was a native of Venice ; but it does not appear from what matter he 
 learned the art of engraving. He worked chiefly, if not entirely, with the 
 graver, in a ftifF, laboured ftyle, without effeft ; and the outlines of his 
 figures are exceedingly incorredt. Among many other engravings, the 
 following are by him : 
 
 Judith with the head of Holofernes at her feet -, a middling-fized plate, 
 length-ways, from Titian. 
 
 yl Hely Family^ a middling-fized upright plate, from Liberi. 
 
 'Thirty portraits of the principal Venetian Painters, affixed to the account of 
 their Lives, by Carlo Ridolfi, publifhed at Venice, 1648. 
 
 Alio a fet of the portraits of the illujlrious men of Italy. 
 
 Profeffor Chrift writes his name, Picina, and informs us, that he fome- 
 times figns his plates with a P. only. 
 
 MATTEO TOMMASO PICCIONI. 
 Flourifhed, 1650. 
 
 This artifl was a native of Italy, and is fpokcn of as a painter. We 
 have fome few etchings by him ; among others, the Adoration of the Shep- 
 herds, a middling-fized upright plate, from Paolo Veronefe. 
 
 P. P I C K A E R T. 
 
 Flourifhed, 
 This name is affixed to a fet of coarfe, incorreft etchings, reprefenting 
 the flight of James the Second from Ejigland, which were publifhed in 
 Holland. He adds the word fecit to his name ; from whence we may rea- 
 fonably conjefture, that they were engraved after his own defigns. 
 
 ROBERT PICOU, or PI CLU O T. 
 Flourifhed, 1630. 
 He was a native of Tours, but refided much at Paris. He worked en- 
 tirely with the graver, in a near, but laboured ftyle, without tafte, or 
 
 G g 2 corrednefs 
 
P I IB [ 228 ] P I I. 
 
 corretflnefs of outline. We hav* a great number of fronti/pieces by him, 
 niany of which are from his own compofitions. He alfo engraved after 
 
 the defigns of the Bafans. 
 
 A D E P I E N E. 
 
 Flourifhed, 1670. 
 
 A French engraver of no great account, by whom we have fome few 
 plates ; among others, one reprefenting the Dutchefs of Savoy, in the cha- 
 rdifer of Diana, in folio, from Sachetti, for a book, entitled, "LaVenaria 
 "^ reale Palazzo di piacere c di Caccia," publifhed 1672. 
 
 JEAN BAPTISTE MARIE PIERRE. 
 
 Flourifhed, 1760. 
 A modern French painter in great repute. The fubjeft of his pidtures 
 are chiefly taken from low life. He was a member of the Royal Academy 
 at Paris. By him we have feveral etchings ; among others, the village 
 entertainment, a middling-fized plate, length-ways, from his own compofi- 
 tions. Several large ftudies of heads, &c. which he made in Italy ; and many 
 fubjefls, taken from the Fables of La Fontaine, after Subleyras. 
 
 P I E T. 
 
 Flourifhed, 16 18. 
 
 He was apparently a native of the Low Countries. As an artift he never 
 made any confiderable figure. I have feen by him the prints for a book of 
 military exercifes, entitled, Le Maniement D'Annes de Nafjau, avecque 
 Rondel'les, Piques, Efpees, i^ Target, felon le noveau ordre du tres illujlre 
 Prince Maurice de Naffau, par Adam V. Brien, publiHied 1608. 
 
 NICHOLAS PIGNE. 
 Flourifhed, 1730. 
 
 He was a native of France, of no great note as an engraver. We h:tve 
 by him a middling-fized upright plate, reprefenting the Virgin with the 
 Infant Chrift afleep in the cradle, -attended by four fmall Angels, from Tre- 
 vifani, for the Crozat cabinet. His name is alfo afhxed to the portrait of 
 Richard Fiddes, B. D. 
 
 PAUL PI LAI A. 
 
 Flourifhed, 
 This name is affixed to feveral plates of architefture, reprefenting opera 
 Jcenes, and theatrical decorations. They are executed in a ftiJF, taflelefs ftyle, 
 with the graver only, from the defigns of an artift, whofe monogram is 
 compofed of an F and G joined together. 
 
 ^ FRANCIS 
 
P I L [ 229 ] PIN 
 
 FRANCIS PILSEN. 
 
 Flourifhed, 
 
 Thisartift was a native of Ghent, and became the difciple of Robert Van 
 Auden Aerd, from whom he learned the principles of painting and en- 
 graving. We have by him, among other things, the converfton of St. 
 Bavon, a large upright plate, arched at the top, from Rubens ; and the 
 martyrdom of St. Blaize, a middling-fized upright plate, from Gafpar de. 
 Grayer. 
 
 D U P I N. 
 FlouriHied, 1740. ^ 
 
 A modern French artift, by whom we have a confiderable number of 
 engravings. 
 
 DupiN, his fon, was alfo an engraver, and refided at Paris, at the time 
 Bafan wrote his Didtionary of Engravers. 
 
 P. P I N C H A R D. 
 
 Flourifhed, 1687. 
 
 He refided at Genoa, where lie engraved feveral frontifpieces for books ; 
 but in a manner, which does him no fort of credit. 
 
 J O H N P I N E. 
 
 Flourifhed, 1740. 
 
 He was a native of England, and a man of letters. He refided at 
 "London, and engraved a great variety of plates, which are not without 
 merit. His chief works are the ceremonies ttfed at the arrival of the Order 
 of the Bath. 1'he deJlruSfion of the Spanijh Armada, from the tapeftry in 
 the Houfe of Lords. A fplendid edition of Horace, the whole text of which 
 was -engraved on copper, and illuftrated with antique bafs-reliefs, gems, 
 coins, &c. 'The Pajlorals and Georgics of Virgil were publifhed by his 
 fon, after his death, adorned in the fame manner, with a letter-prefs type, 
 A confiderable number of the engravings for the JEneis were alfo prepared ; 
 but want of proper encouragement prevented the appearance of that work. 
 We have befides fome few portraits by this artift. 
 
 T, P I N G O. 
 
 Flourifhed, 1740. 
 
 The name of an obfcure Englifh artift, afhxed to a plate of arms inferred 
 in Thorefby's Leeds. 
 
 P I N S S I O. 
 
 Flourifhed, 1750. 
 
 The name of a modern engraver, by whom we have fome few portraits^ 
 &c, 
 
 JOHN 
 
PIN r 230 ] p I R 
 
 JOHN GEORGE PINZ. 
 
 Flourifhed, 
 
 This engraver, who was, I believe, a German, worked chiefly for the 
 bookfellersj and his prints are executed in the fame ftyle with thofe in the 
 nuikifarious publications by Vander Aa. I fhall fpecify only an emhlema- 
 lical print, in honour of the king of France, from P. Decker, in folio. 
 
 DOMINECO PIOLA. 
 
 Flouriflied, 1658. 
 He was a native of Italy, and a painter. I have feert by him a very fpi- 
 rited etching of a holy family, in which the infant Chrift is reprcfented, 
 lying in the manger, attended by angels ; and Jofeph is above him. The 
 oxen are feen in the back ground. The heads and other extremities are 
 finifhed in a mafterly ftyle ; and this print fufficiently teftifies the ability of 
 the artift. The following infcription is affixed : D. Piola Gent, faciebat,, 
 1658. It is a middling-fized upright plate. 
 
 V. P I O R T. 
 
 Flourifhed, 
 An obfcure engraver, by whom we have a fmall upright plate, from 
 Rubens, reprefenting an old woman holding a fet with fire, from whence a 
 hoy is taking a lighted coal. 
 
 GIULIO PIPPI, called ROMANO. 
 
 Born, 1492. Died, 1546. 
 
 This artift was one of the moft celebrated fcholars of Raphael. His 
 charafter and works are fufficiently known, Florent le Comte attributes 
 fome engravings to him ; but the fubjeits are not fpecified. There is, I 
 think, great reafon to fufpe£t that this part of Le Comte's book is mif- 
 printedj or that the author had been mifinformed. 
 
 P I Q^U O T. See P I C O U. 
 
 GIOVANNI BATISTA PIRANESE. 
 Flouriftied, 1770. 
 
 This artift was a native of Italy, and an architeft. His admirable etch- 
 ings are too well known to need any comment ; and they fufficiently manifeft 
 the greatnefs of his abilities. His works confift of twelve or more large 
 volumes in folio, and reprefent the beautiful remains of ancient Rome 
 (affifted by his own ftudies). We have alfo a variety of architeSlal com- 
 ■pofitions, from his own defigns. 
 
 ^ . LOUIS 
 
P I R I 231 ] PIT 
 
 LOUIS DES PIRINE. 
 
 Flcuriflied, 
 
 This artift was a native of France. I have feen by him a middling- 
 fized plate, length-ways, reprefenting two men flaying at cards, and a woman 
 holding a mirrour behind one of them, by which means flie difcovers his hand 
 to the other, from Corn. Van Tienen. It is executed with the graver only, 
 in a coarfe, open ftyle, and without much tafte. 
 
 ALEXIS PIRNRAUM, 
 
 Flourifhed, 1545. 
 
 This artift was an engraver on wood, and of fuch eminence, that 
 Papillon fuppofes him to have been a fcholar of Hans Holbein the 
 younger; and his refiding at Bafil, of which place it is probable he v/as a 
 native, may be thought to ftrengthen the conjefture. His works, however, 
 are not fpecified. Profeflbr Chrift attributes to him the prints marked with 
 an A. and a P. joined together, in the manner exprelTed at the end of the 
 volume, 
 
 NICOLAS P I T A U. 
 
 Flouriflied, 1660. 
 
 This artift was a native of Antwerp, but he refided principally at Paris ; 
 and from his ftyle of engraving I am led to ftifped, that he may be ranked 
 among the difciples of Francois de Poilly. His drawing is in general 
 tolerably correft, but, at times, rather heavy, the extremities of his figures 
 efpecially are fo. He worked with the graver only, and appears to have 
 handled that inftrument with much facility ; but from the famenefs of man- 
 ner with which he has treated his figures, draperies, and back-grounds, the 
 efFeft of his prints is cold and filvery. His works are by no means 
 fcarce. I fliall mention the following only : 
 
 Ihe annunciation, a large upright print on two plates, from P. Cham- 
 pagne. 
 
 The Virgin reading and holding the infant Chrift in her arms, a middling- 
 fized upright plate, in an oval, from Guercino. 
 
 Chrift at the tomb /upported .by angeh, a large upright plate, from Lo- 
 dovico Carracci. 
 
 A dead Chrift, with angeh weeping over him, a middling-fized plate, 
 length-ways, from Guercino. 
 
 St. Sulpitiiis in council, a middling-fized plate, length-ways, from P. 
 Champagne. 
 
 We have alfo by him feveral very excellent portraits. 
 
 He engraved befides from Le Brun, N. Pouffin, Villequin, Le Febure, 
 and other mafters. 
 
 Nicholas Pitau, the fon of the preceding artift, engraved fome few 
 'portraits; and he might, fays Bafan, have diftinguiftied himfelf in the art, 
 if he had ufed lufficient application. 
 
 PITRI 
 
PIT [ 232 ] P L A 
 
 P I T R I. See P E T R I. 
 
 MARCO PITTERI. 
 
 Flourifhed, 1760. 
 
 A modern Italian engraver, who refided at Venice. We have by him 
 feveral of the plates for the colledlions of engravings from the piftures in the 
 Drefden gallery. A fet of large heads of the apoftles, from his own defigns ; 
 and t\\cjevenjacraments, large upright plates, from I^onghi. The works 
 by this admirable engraver are executed in a very fingular ftyle, with fingle 
 ftrokes; but very different from thofe of Mellan and his followers. They 
 run from the top to the bottom, and the fhadows are exprefled by flrength- 
 ening them, as the occafion requires. The effedl he has produced, in this 
 new mode of engraving, is far more pleaiing and harmonious, than could 
 have been expedted. 
 
 GIOVANNI BATISTA PITTONI. 
 
 Flourifhed, 
 
 By this painter we have fome few etchings, which he has infcribed with 
 thefe initials, " B. P. or, Batifta P. V. F. or, B. P. V. F." and when 
 he figns his name at length, Johannes Baptijta Pitonus Vicentinum fecit, 
 
 FRANCIS PLACE. 
 Born, Died, 1728. 
 
 This ingenious artift was the fon of Mr. Rowland Place of Dinfdale, in 
 the county of Durham, He was at firft bred up to the law, and was placed 
 .as a clerk to an attorney in London, with whom he refided till the year 
 1665, when having taken a fliop the officers came to Ihut up the houfe, oa 
 fufpicion of the plague being in it, he left London j and, as he had never 
 been pleafed with his profeffion, he dropped it at the fame time, and followed 
 other purfuits more agreeable to his unfettled difpofition. He expended 
 confiderable fums of money in attempting to make porcelaine, which he put 
 in pradlice at the manor-houfe of York ; but was not fuccefsful. 
 
 His works are very rare ; for he painted, drew, etched, and engraved, 
 in mezzotinto, merely for his own amufement. His produftions, however, 
 prove him to have been a man of very great abilities. We can only lament, 
 that his application was not equal to his genius ; for many of his defigns 
 he left entirely unfinifhed. 
 
 In the reign of Charles the Second, it is faid, that he was o-ffered a pen- 
 fion of five hundred pounds a year, to draw the royal navy, but he de- 
 - clined accepting of it, being a great enemy to confinement and dcpend- 
 ance. He died, a. d. 1728; and his widow, quitting the nianor-houfe 
 of York, difpofed of his paintings ; among which was an admired picture 
 o^ fowls, alfo others of fifljes and flowers wn'hm^tdL, together with his own 
 portrait by himfelf. He left behind him a daughter, who was married to 
 Wadham Wyndham, Efq. 
 
 Hi: 
 
P L A [ 233 ] P L A 
 
 His etchings, pirucularly of land/capes and birds, from Griffier, are ad- 
 mirable. The free ftyle, in which he treated the foliage of his trees, proves 
 his judgment and good tafte ; and his portraits in mezzotint© are excellent, 
 
 1 fhall fpecify the following : 
 
 Bijhop Crew, a fhalf-fheet in an oval, from Kneller. 
 
 Richard Thompfon, after Zouft, a fmall half-lheet in an oval. 
 
 Philip JVoolrich, Efq. in armour, the fame. 
 
 Thomas Comber, dean of Durham, the fame, after Greenhill. 
 
 John Moyzer, Efq. of Beverley, half-fheet, in an oval. 
 
 Henry Gyles, the glafs painter, a fmall quarto plate, in an oval. . 
 
 General Lambert, half-fheet, the fame. 
 
 In Thorefby's Topography of Leeds are fome churches drawn by Place. 
 The plates for Godartius's book o( InfeSls are by him j and many views, as 
 of Tinmouth-caflle and Light-houje, the Cathedral of Tork, ProfpeSt of Leeds, 
 &c. 
 
 LOUIS DES PLACES. 
 
 Born, Died, 1740. '- 
 
 This artift was a native of France, and refided chiefly at Paris. We 
 have a very confiderable number of engravings by him. He worked wiih 
 the point and the graver; and his prints have often an agreeable effect : but 
 the outlines of his figures are not always correct, efpecially the extremities, 
 which are frequently heavy. His bed engravings have lefs of this fault, 
 and certainly poffefs very confiderable merit. I {hall mention the fol- 
 lowing only, for his works are by no means uncommon. 
 
 Chrift crucified between the two thieves, a middling- fized upright plate, 
 from Annibale Carracci, for the Crozat cabinet. 
 
 Chrifi curing the difeafed, a very large plate, length-ways, from Jouvenet. 
 
 "The elevation of the crofs, a large upright plate, from the fame. 
 
 The dejcent from the crofs, its companion, from the fame. 
 
 Venus prevailing upon Vulcan to make the arms for ^neas, a middling- 
 fized upright plate, from the fame. 
 , Venus triumphant upon the water, a large upright plate, from Ant. Coypel. 
 
 Cupid taking refuge in the houfe of Anacreon, a middling-fized upright 
 plate, from the fame. 
 
 Orpheus obtaining of Pluto permifjion for the return of Eurydice, a mid- 
 dling- fized plate, length-ways, from Rubens. 
 
 Diana and AEiceon, a middling-fized plate, length-ways, from Carlo 
 Maratti. 
 
 Alfo feveral portraits and engravings, from a variety of other mailers. 
 
 MATTHEW VAN PLATTENBERG. 
 Flouriflied, 1630. 
 
 This artift was a native of Flanders, but he refided a confiderable time 
 at Paris, where he affumed the name of Montagne, and v/as ufually called 
 Platte Montagne, and fometimes Montagne only. He excelled In painting 
 
 VOL. II. , H H fhipping 
 
P L A [ 234 J P L E 
 
 Ihipping and fea views. We have fome few etchings by him of fhipping, 
 and feveral fnaall landfcapes, very fpiritedly executed. 
 
 NICHOLAS VAN PLATTENBERG. 
 
 Flouriflied, 1654. 
 
 He was the fon of Matthew Van Plattenberg, mentioned in the pre- 
 ceding article, and is fpoken of as a painter. His engravings prove him to 
 have been a man of genius. He drew the human figure very correftly; 
 and the effeft he produced in his plates is very agreeable. He was pro- 
 bably a difciple of John Morin, whofe manner of engraving he improved 
 upon. I fhall mention by this artift z dead Ckriji, from P. Champagne, a 
 large plate, length-ways. The figure is finely drawn, and the flefh executed 
 with dots only j but the back-ground and drapery are finifhed with ftrokes 
 in a bold, free ftyle. This is altogether a very fine print. He engraved 
 alfo from his father's defigns, and from his own ; but tlie greater part of his 
 works confifts of portraits, to which he almoft conftantly fubfcribes his 
 name, " Nicolas de Platte Montagne." 
 
 MARTIN PLEGINCK. 
 
 Flourifhed, 1590. 
 
 Tills artift was probably a native of Germany. He engraved on copper 
 and on wood. I have feen by him a fct o{ figures fighting., fmall plates, 
 length-ways, executed entirely with the graver, in a ftyle much refcmbling 
 that of Virgil Solis, with this title, JFetfiter 3i5uctj)Icm gc tiutftt ill OCf furft- 
 
 Uclicn ft.-it onnolt batb Uci &tcpjban ^^ermaiiburger mx^ ©ol&fcgimiit Da 
 
 S)cH)flftU. His engravings on wood are faid to be greatly in the ftyle of Joft. 
 Ammon. See his mark, compofed of an M. and a P. joined together, on 
 the plate at the end of the volume. ' 
 
 WILLIAM PLEYDENWURFF. 
 
 Flouriflied, 1490. 
 
 He was a native of Germany, and one of the early engravers on wood. 
 To him, in conjundlion with Michael Wolgemut, we owe the curious prints, 
 which adorn the Nuremberg Chronicle, in folio, which was publiftied, 
 A. D. 1493. They confift of figures of various kinds, vieii's of cities, 
 toivtis, &c. which however are evidently the work of fancy. They are 
 boldly cut, and with fpirit ; and the charadters of the heads of the figures 
 are often well delineated. But, on the other hand, they have all that ftifF- 
 nefs, and incorreftnefs of drawing, which characterized the German en- 
 gravings of that age. It does not appear that Pleydenwurff" ever engraved 
 on copper; neither did he ufe any mark to diftinguifh his prints from thofe 
 of his aflbciate. 
 
 COR. 
 
P L O I 22S ] POD 
 
 CORNELIUS PLOOS. 
 
 Flourifhed, 1760. 
 
 He was a native of Amfterdam, and a coUeftor of note. We have by 
 him a fet of engravings in folio, executed in a peculiar ftyle j the firit 
 eighteen of which were publilhed, a. d. 1765. 
 
 P L U M E I R. 
 
 Flouriflied, 
 This artifl: was certainly a painter. We have by him fomc fpirited 
 etchings from his own compofitions, which fhew him to have been a man 
 of genius ; but the naked parts of the figures are not correftly drawn. 
 
 PIETRODELPO. 
 
 ^ Born, 1610. Died, 1692. 
 
 This artift was a native of Palermo, where he was born, a. d. 1610. 
 He was the difciple of Dominichino, and is fpoken of as a painter, but is 
 more generally known by his etchings, of which we have a very confiderablc 
 number, from the paintings of the great Italian mafters. The drawing in 
 thefe, however, is not fo correft, as one would have expe£led from the 
 hand of a fcholar of Dominichino. They are (lightly executed, and fre- 
 quently affifted with the graver in the finilhing. As the etchings by this 
 mafter are not fcarce, I fliall mention the following only : 
 
 A dead Chrifi upon the lap of .the Virgin, a fmall upright plate, from An- 
 nibale Carracci. 
 
 'The four Cardinal Virtues, with their Attributes, from Dominichino, 
 large upright plates. 
 
 Flight into Egypt, a middling-fized plate, length-ways, from Nicholas 
 Pouflin. 
 
 GiA^oMO DEL Po, fon of the preceding artift, and alfo his daughter 
 Teresa del Po, etched feveral plates, in a ftyle much refembling that of 
 the father. 
 
 ANDREA POD EST A. 
 
 Flourifhed, 1640. 
 
 He was born at Genoa, and became the difciple of Giovanni Andrea 
 Ferrari. As a painter, it does not appear that he greatly diftinguifhed him- 
 felf ; but feveral fpirited and mafterly etchings, which he produced, prove 
 him to have been a very fkilful artift. We have by him a fet of three 
 middling-fized plates, length-ways, reprefenting Bacchanalian fubjetls, from 
 Titian. That, in which Bacchus is reprefenting leaping from the chariot, 
 ftrikes me as the bed. The heads of the figures are finely charafterized, 
 and the other extremities well exprefTed. The etchings alfo, marked in 
 this manner, AND. P, and And. P. in. et fee. are attributed to him. 
 
 H h a MAR- 
 
P O E [ 236 ] P O 1 
 
 MARTIN POEHAM. 
 Flourilhed, 
 
 An old German mafter, to whom the prints, marked with an M. fur- 
 mounted by a P. in the manner exprefled upon the plate at the end of the 
 volume, are attributed by profefibr Chrift. They are chiefly copies from 
 Aldcro-raver, Sebald Beham, and other German artifts j very badly 
 executed. 
 
 FRANCOIS DE POILLY. 
 Born, 1623. Died, 1693., 
 
 This juftly celebrated artift was born at Abbeville in Picardy. He was 
 the fon of a goldfmith in that town, from whom he learned the firft prin- 
 ciples of drawing and engraving. After which he was fent to Paris, and 
 placed as a pupil with Peter Daret. With him he remained three years ; 
 in which time he fo far improved himfelf, as to be able to live by his pro- 
 fefTion. But being ftill defirous of acquiring a more extenfive knowledge 
 of the arts, he went to Italy, and refided at Rome feven years, where he 
 engraved feveral very capital fubjefts, from the great painters of that time. 
 
 At his return to his native country, he fettled at Paris, and died in that 
 city, A. D. 1693, aged 70 years. 
 
 iPoilly worked with the graver only, and may properly be confidered as 
 one of the mod (kilful artifts in the management of that inftrument, that 
 France ever produced. His engravings are bold, firm, and clear. They 
 are finiihed with great accuracy, without any part of them being neglefted ; 
 but, from the want of variety in the handling of the graver, the flefti and 
 draperies of his figures are not fufficiently diftinguilhed from each other, or 
 cither of them from the back ground. This gives a cold, and fometimes a 
 heavy appearance to his beft works. His manner of engraving was to crofs 
 the firft ftrokes, where it was required, with powerful fecond ftrokes, at 
 ri<3-ht ancles, fo as to form a fquare between the interfeftions of ev|ry four 
 ftrokes. 
 
 Poilly's outlines are drawn with great precifion. The heads of his figures 
 are well charafterized, and the other extremities, in general, finely expreffed. 
 
 The works of this great mafter are very numerous ; and fome of them 
 are exceedingly valuable. I fliall be obliged to confine myfelf to the few 
 following : 
 
 yj crucifixion, a middling-fized upright plate, from a compofition of his 
 
 own. 
 
 A holy family, in which the infant Chrijl is reprefented flanding upon the 
 cradle ; the fame, from Raphael. 
 
 T- The Virgin lifting up a veil to /Ijew to St. John the infant Chrifr fleeping ; 
 the fame, from the fame. The firft impreflions of this plate are before the 
 fecond ftrokes were laid upon the veil. 
 
 A nativity, a large upright plate in an oftagon border, from Guido- 
 The firft impreffions of this plate are before the two fmall angels, which ap- 
 pear above, were inferted. 
 ^ Jre- 
 
 / 
 
P O 1 [ 237 ] P O I 
 
 yirepofe, in which the Virgin is reprejentcd feated, with Chrifl Jleepng in 
 her lap, and two angels kneeling ; a middling-fized plate, length-ways, 
 from Annibale Carracci. 
 
 ^he marriage of St. Catherine, a large upright plate, from P. Mignard. 
 
 yl holy family, from Nicholas PouiTin, a middling-fized upright plate. 
 •^ A holy family, where the infant Chrift gives his hand to an angel, who is 
 kiffing it ; a large plate, length-ways, from Sebaftian Bourdon. 
 
 Chrifl bearing his crofs accompanied by the Virgin, half figures, a middling- 
 fized, upright plate, from Annibale Carracci. 
 
 /I crucifixion, a very large upright plate, from L.e Brun. 
 
 St. Charles Borrome adminijlering the communion to the Jick, from. P.". 
 Mignard. 
 
 St. John in the ifland of Patmos, a middling-fized upright plate, from 
 Le Brun. 
 
 Several portraits, and a variety of emblematical and other fubjefts, from 
 various matters; as, Romanelli, Dominichino, Ciro' Ferri, Pietro daCortona,, 
 Stella, Frefnoy, &c. 
 
 NICHOLAS DE POILLY.. 
 Born, 1626. Died, 1696. ' ' 
 
 This artift was a native of Abbeville, and younger brother to Francois de 
 Poilly, mentioned in the preceding article. The reputation, which the 
 latter acquired, feems to have been a principal motive to Nicholas to en- 
 gage in the art of engraving, to which his genius was naturally inclined. 
 He became the difciple of Francois, and copied his manner; but his en- 
 gravings, though exceedingly meritorious, are not altogether equal to thofe 
 of his brother. He- died at Paris, where he chiefly refided, a. d. 1696, 
 aged 70 years. We have by him the following prints, among a,great va- 
 riety of others. 
 
 A holy family, with two angels holding a bafket of fl'owers; a middling- 
 fized prate, length-ways, from Sebaftian Bourdon. 
 
 A holy family with St. Catherine, to whom the infant Chrifl prefents a. 
 lamb ; the fame, from the fame. 
 
 A holy family, in which the Virgin holds the infant Chrift, who is fleeping 
 upon her lap ; a large upright plate, from L,e Brun. This print is commonly, 
 known by the name of the filence. 
 
 St. Auguftin, a middling-fized upright, plate,. from P. Champagne. Se- - 
 veral very fine portraits, &c. 
 
 JOHN B7\PTIST DE POILLY 
 Born, Died, 1728. 
 He was the fdn and fcholar of Nicholas de Poilly, mentioned in the fore- 
 going article. Having received tlie firft principles of the art of drawing 
 and engraving from his father, he went to Rome, in order to complete his 
 ftudies. On his return he fettled at Paris, and was made a member of the 
 Royal Academy of painting and fculpture in that city. He died 1728. 
 He engraved in a manner greatly differing from that of his father and his 
 
 4 uncle ^ 
 
P O 1 . [ 238 1 P O I 
 
 uncle; for he united the point v.ith the graver; and his beft prints, if not 
 quite equal to thofe of the latter, have neverthelefs a great (hare of merit to 
 recommend them to the notice of the fcientiiic colleftor. We difcover 
 much tafte in them, fine drawing, and frequently great exprefllon, joined 
 with an agreeable elfeft. The following, among others, are by him : 
 
 The rod of Mofes devouring the rods of the Magicians, a large plate, 
 length-ways, from Pouffin. Gantrel alfo engraved this compofition. 
 
 The Ifraelites adoring the golden calf, the fame, from the fame. 
 
 The martyrdom of St. Cecilia, a large upright plate, from Dominichino, 
 being the companion to the charity of that faint, engraved by his brother. 
 
 Su/anua accufed by the elders, a very large plate, length-ways, from Ant. 
 Coypel. 
 
 Mercury bringing the infant Bacchus to the nymphs, a large plate, length- 
 ways, from the fame. 
 
 He engraved alfo feveral plates for the Crozat cabinet, &c. 
 
 FRANCIS DE POILLY. 
 
 Born, Died, 1723. J 
 
 He was the fon and pupil of Nicholas de Poilly, mentioned above. He 
 went with his elder brother, John Baptift, to Rome, where he engraved a 
 lar»e print, length-ways, from Dominichino, reprefenting St. Cecilia dif- 
 tributing her wealth to the poor ; which ferves as a companion to the mar- 
 tyrdom of that faint, engraved by his brother. After his return to Paris, 
 he did not produce any thing of great importance. 
 
 N. B. D E POILLY. 
 
 Flouriflied, 172c, 
 
 He was the fon of John Baptift de Poilly ; and it was his father's in- 
 tention, fays Bafan, to have brought him up as an engraver. Bi^ it ap- 
 pears, that he could not fufficiently apply his mind to ftudy ; and for that 
 reafon there are very few prints by him. 
 
 J. P O I N S A R T. 
 
 Flouriflied, 1630. 
 This artift was a native of France. He worked chiefly for the book- 
 fellers. His prints are fufliciently neat ; but without any tafte, or correft- 
 nefs of outline. Le Comte informs us, that he principally excelled in en- 
 gravino- views of cities, caftles, &c. in France. I have feen by him the 
 entry of Charles VII. into Rheims, a|^fmall plate, length-ways. 
 
 F. DE LA POINT E. 
 
 Flouriflied, 1670. 
 A French artift, who, in the year 1678, engraved a />/<»» of the environs 
 of Paris on nine plates. He alfo engraved fome of the views of the palace 
 at Verfailles, in coniunftion with Ifrael Sylveftre. 
 
 ■^ ' •> ANDREA i3 
 
 41 
 
POL [ 239 ] POL 
 
 ANDREA POLESTANUS. 
 
 Flourifhed, 1640. 
 The name of this artift, who was certainly a painter, and probably a na- 
 tive of Italy, is affixed to a (light etching of a Bacchanalian Jubje^, into 
 which many figures are introduced. It is neatly executed ; but with no 
 great fhare of fpirit, or correftnefs of outline. 
 
 POLETNICH. 
 
 Flouriflied, 1760. 
 
 A modern French engraver, by whom we have feveral plates after Van- 
 dyck, Boucher, and other mailers. 
 
 FRANCISCO POLANSANI. 
 Flourifhed, ' 
 This artifl refided at Rome, where he engraved two and twenty fmall 
 upright plates, reprefenting the life of the Virgin, from the defigns of 
 Nicholas Pouffin. Bafan however attributes rhcfe compofitions to Jaques 
 Stella ; becaufe he thinks them more in the ftyle of defign, adopted by the 
 latter, than the former. 
 
 ANTONIO POLLAJOLI. 
 Born, 1426. Died, 1498. 
 
 He was a native of Florence, and a goldfmith of great eminence. Up- 
 on the firft difcovery of the art of engraving in Italy, he got acquainted 
 with the fecret ; and we have feveral plates executed by him. His mode of 
 engraving was, to make a powerful outline of the figures, and other parts 
 of his compofition, with the graver, upon the copper ; and then, with dia- 
 gonal ftrokes running from one corner of the plate to the other, to exprefs 
 the fhadows. This manner of engraving was adopted and improved by 
 Andrea Mantegna, Giovanni Maria, and Anronio Brixienfis, and other 
 mailers. But whether the invention of it is to be attributed to Pollajoli in 
 preference to Mafo Finiguerra, is not eafily to be difcovered. I fhall notice 
 by Pollajoli the two following prints only : 
 
 A very large plate, length-ways, in which are reprefented ten naked 
 figures, fighting, each of them about eleven inches high. Behind a figure, 
 who is fhooting with a bow, is a large tablet, on which is written, Opvs 
 AxTONii Pollajoli Florentini ; but no date. The back-ground to 
 this Angular performance is a foreft, very rudely reprefented. The fio-ures, 
 though not corre6tly drawn, fliovv us^ that he had paid attention to the 
 human form ; and the charafters of the heads have a tolerable {hare of ex- 
 preflion. 
 
 A holy family, in which the Virgin is reprefented feated, with the infant 
 Chriji u^on her lap, Elizabeth, with St. John prefenting a flower to the child, 
 
 fland 
 
POL [ 240 ] PON 
 
 ■Jlaud on the left-hand: Jojeph uppears at the right-hand, leajting upon his 
 Jtaff. This print is eleven inches three quarters high, by ten inches in width. 
 
 ZIARAKA POLONY. 
 
 Flouriflied, 1615. 
 
 A very indifferent, as well as obfcure engraver. We have by him, 
 among other things, a flight incorreft etching, reprefenting ^een Mar- 
 garet lying in Jlate, in the Fauxbourg de St. Germain, at Paris ; a niiddling- 
 fized plate, length-ways, containing many figures. 
 
 SYLVIUS POMAREDE. 
 
 Flourifhed, 1620. 
 
 ProfefTor Chrift fpeaks of this artill as a native of Italy, and a modern 
 engraver. He marked his plates, according to that author, with thefc 
 initials, S, P. F. the F. as ufual, Handing (or fecit. 
 
 MARCHIONESS OF POMPADOUR. 
 
 Flourifhed, 1760. 
 By this lady we have feveral engravings, particularly a fet of gems, from 
 Gray, confiding of 63 plates, without the frontifpiece, and fome fmall fub- 
 jefts, from Boucher, Eifen, and other mafters. 
 
 ARTHUR POND. 
 
 Flourifhed, 1740. 
 
 This ingenious artift was a native of England, and not only engraved, 
 but painted both in oil and crayons : he was alfo a very great encour.iger 
 of the arts, and was concerned with Knapton in promoting and publilhing 
 a noble volume of illullrious heads engraved by Houbraken, Vertue, &c. 
 and other curious works. 
 
 He engraved, in conjunftion with Knapton, a fet of plates, from the 
 defigns of the great Italian mafters, which he executed with great fpiric 
 and judgment, in imitation of chalk and wafhed drawings ; and -hefe imita- 
 tions he made very fucccfsfully. We have alfo a fet of caricatures from 
 the Chevalier GhifTi, &c. He etched befides feveral portraits, in a ftyle 
 fomething rcfembling that of Rembrant. I fhall mention the following 
 only : His own portrait ; thefe portraits of Dr. Mead, of Mr. Pope, and 
 of Lord Bolingbroke. 
 
 ABBE DU PONT CHASTEAU. 
 
 Flourifhed, 
 He is mentioned as an engraver by Florent le Comte j and two fmall 
 prints are attributed to him by that author j but the fubjefts are not (peci- 
 fied. 
 
 PAUL PONTIUS. 
 
 Flourifhed, 1625. 
 
 This great artifl was a native of Antwerp. It does not appear from what 
 
 mafter 
 
POO [ 241 ] POO 
 
 mafter he learned the principles of drawing and engraving; but, with re- 
 fpeft to the former, his ftudies were certainly completed under the dired:ion 
 of Rubens, who, being thoroughly fenfible of his merit, employed him 
 to engrave many of his moft capital paintings. Ifitfliould be urged, that 
 Pontius did not himfelf well underftand the human figure, it muit be faid, 
 at lead, that he copied very accurately the delineations, which were placed 
 before him. And as his bed engravings were made immediately under the 
 eye of Rubens, no wonder he has fucceeded fo well ; for his at- 
 tempts were not to correft, but to copy with faithfulnefs. He worked en- 
 tirely v/ith the graver, in a clear, bold ftyle ; but not with that facility, 
 which we find in the works of S. Bolfwert ; neither is the efFeft of his prints 
 fo brilliant, or the gradations of the lights and fhadows fo well harmonized. 
 Thefe obfervations, I hope, will not be confidered as intended to depre- 
 ciate the works of Pontius, which are juftly held in the higheft eftimation. 
 All I would wilh to infer is, that in the engravings of S. Bolfwert, and, I 
 may add, of Lucas Vorfterman, there appears more genius, and lefs re- 
 flraint, than in thofe of Pontius. Thefe two extraordinary mailers alone 
 excepted, Pontius was certainly the mod (kilful engraver, that worked 
 from the paintings of Rubens. 
 
 The following excellent engravings may be reckoned among his beft : 
 
 The flight into Egypt, a large plate, length-ways, from Jaques Jordaens. 
 
 "The wije men's offering, the fame, from Gerard Seghers. 
 
 The murder of the innocents, a very large print, length-ways, on two 
 plates, from Rubens. 
 
 Chrifi carrying the crofs, a large upright plate, from the fame. 
 
 A crucifixion, with angels, one of which is cvercomi»g Sin and Death, tlic 
 fame, from the fame painter. 
 
 Chrijl dead in thefepulchre, fupported hy the Virgin ; Mary Magdalen, St. 
 Francis, two angels, and other figures 2irt\nx.vod\icttd; the fame, from the 
 fame painter, an admirable print, infcribed Chrijli Funus. 
 
 A dead Chrifl, fupported by the Virgin, a middling- fized upright plate, 
 from Vandyck. 
 
 ^he defcent ef the Holy Ghoft upon the Apofiles, a large upright plate, from 
 Rubens. 
 
 The ajfumption of the Virgin, the fame, from the fame. 
 
 St. Roch, interceding with Chrifl for the people affiicled with the peftilence -, 
 a middling-fized upright plate, from the fame painter. 
 
 Thomyris, caufing the head of Cyrus to be put into a bajon filled with hu- 
 man blood. The fame, from the fame. 
 
 The twelfth night king ; a large plate, length -ways, from Jaques 
 Jordaens. 
 
 Many other fine fubjefts, from a great variety of Flemifli mafters ; and a 
 confiderabie number of admirable portraits, particularly from Rubens and 
 Vandyck. 
 
 MATTHEW POOL. 
 
 Flouriflidd, 1725. 
 
 He was born at Amflerdam, but refided fome time at Paris, where he 
 VOL, ir. I i learned 
 
poo [ 242 ] FOR 
 
 Ifcirned the principles of drawing and engraving. At his return to his na- 
 tive country, he executed a confiderable nui\iber of plates of various fizes ; 
 and the ftyle he adopted bears much refemblahce to that of Bernard Picart^ 
 I fliall mention the following only by this engraver : 
 
 Cupid taken in a net by 'Time, a fmall oval, length-ways, from Guercino. 
 
 A Bachannaly from Nicholas Pouffin, a fmall plate, length-ways. 
 
 A fetof 103 plates in folio, entitled, the cabinet of the art of fculpture, 
 by Francis Van BofiTuet, engraved by Pool, from the drawings made from 
 the figures, bafs-reliefs, &c. by Barent Graat, his father-in-law. 
 
 '^Tbree large btirlefque reprejentations of the ceremonies adopted by the Fle- 
 niifh painters at Rome, after the drawings of Graat. 
 
 He alfo engraved from Rembrant, and other mafters. 
 
 JUKI A EN POOL. 
 
 Born, 1666. Died, 1745. 
 
 This artiftwas a portrait painter of fome eminence, born at Amfterdam. 
 He was hufband to the celebrated Rachel Ruifch, who painted fruit and 
 flowers with very great fuccefs. We have by him ibme few portraits, exe- 
 cuted in a ftyle more finifhed than is ufual from the hand of a painter j 
 among others, that of his relation, Frederick Ruifch, M. D. a fmall up- 
 right plate, from a pidure of his own painting. 
 
 FRANCIS POOST. 
 Born, Died, 1680. 
 
 This artifl was a native of Haerlem, and a landfcape painter. He had 
 no mafter to inftrud him in his art ; but learned the principles of it from his 
 own obfervations. We have by him a confiderable number of etchings ; 
 nnd, among others, z. kt o^ views of Brazil, from drawings made by him^ 
 on a voyage to America, which he undertook in the fuite of Prince Maurice 
 of NafTau. 
 
 JOHN POPELS. 
 Flouriflied, 1660. 
 This artifl was a native of Flanders. He is fpoken of as a painter j but 
 at what degree of eminence he arrived in this art, I know not; as an en- 
 graver, in my opinion, he can claim no great fhare of merit. His works 
 confift of flight, incorrect etchings, feveral of which were for the coUedion 
 of prints, well known by the name of the cabinet of Teniers. I fhall men- 
 tion alfo the triumph of Bacchus, a middling-fized plate, length-ways, from 
 Rubens. 
 
 JOSEPHPORTA. 
 Flourifhed, 
 He is fpoken of by Papillon, as an excellent engraver on wood. I have 
 by him, fays my author, " a beautiful Academie des Sciences, infcribed in this 
 " manner, Jofeph Porta Gorfagninns," 
 
 THOMAS 
 
P O R t H3 1 POT 
 
 THOMAS PORTER. 
 
 Flourifhed, 1600. 
 
 By this artift, who was apparently a native of England^ we have a large 
 plan of London, &c. 
 
 P O R T I O. 
 
 Flouiifhed, 1700. 
 The name of a very indifferent engraver, afHxed to fome few portraits, 
 and other plates for books. He flourifhed apparently about the commence- 
 ment of the prefent century. 
 
 P O R T R E. See P A U T R E. 
 
 PORTUGAL. 
 
 Flourifhed, 
 This name is affixed to an old German engraving, in which the ftyle of 
 Aldergraver is indifferently copied. It is a fmall upright plate, and repre- 
 fents z female figure weeping, and pouring water from a cup. It is very 
 doubtful however, whether this infcription be intended for the name of the 
 engraver, or not. 
 
 ELIAS PORZEL. 
 
 Flourilhed, 1700. 
 An engraver on wood, who refided at Nuremberg. His marks are 
 given upon the plate at the end of the volume. I have this article from 
 profeffor Chrift, who has not fpecified any of his works. 
 
 POST. See P O O S T. 
 POT. See P O D E S T A. 
 
 H. P O T H O V E. 
 
 Flourifhed, 
 By this artifl: we have fevcral indifferent portraits in mezzotintd. 
 
 PAULPOTTER. 
 
 '"» Born, 1625. Died, 1654. 
 
 He was born at Enkhyfen ; and excelled in painting landfcapes and cattle. 
 He learned the principles of the art from his father Peter Potter, who was 
 a painter of no extraordinary talents ; but the genius of the fon fupplied the 
 want of ability in the father ; fo that from his inftruftions, and an affiduous 
 ftudy of nature, he arrived at a great degree of perfedtion ; and his works 
 are held in the higheft eftimation. He died at Amfterdam, a. d. 1654, 
 aged only 29 years, 
 
 lis Wc 
 
POU [244] PRE 
 
 We have feveral admirable etchings, drawn with great fpirit, and executed 
 in a moft mafterly ftylcj bythisartift; and, among them, the following : 
 
 A fet of five fmall plates of horjes, length-ways. 
 
 A fet of eight plates, length-ways, reprefenting cows, oxen, and other 
 domejlic animals. 
 
 A fet affiants and Jlowers, &c. the fame. 
 
 A confiderable number of this artift's compofitions were well engraved, by 
 Marc de Bye. 
 
 POULLEAU. 
 Flourifhed, 1760. 
 
 A modern French engraver of architefture. 
 
 GEORGE P O W L E. 
 
 Flourifhed, 1776. 
 
 A modern Englifh artift, who was pupil to Worlidge, and engraved in 
 his ftyle feveral portraits ; among others, that of Sir Robert Berkley. 
 
 ROCCO POZZI. 
 
 Flourifhedj 1750. 
 
 A modern Italian artift, concerned in the engravings made for the col- 
 ledlion, entitled, Mitjeo Florentino. He alfo engraved feveral of the plates 
 ior i\\Q jintiqtiities of Herculaneum, publilhed at Naples. 
 
 STEPHEN DE PRAET. 
 
 Flourifhed, 
 
 An engraver of no great merit, who feems chiefly to have confined him- 
 felf to portraits. His name is affixed to the head of a Jew rabbi, froni 
 G. Hondiusj executed very neatly, but in a ftifF, dry ftyle. 
 
 FRANKER. 
 
 Flouriflied, 
 
 A modern Englifh artift, who engraved much for the bookfellers. We 
 have few detached pieces by him; and they are not very valuable. 
 
 JOHN DANIEL PREISLER. 
 
 Flourifhed, 1720. 
 
 A German artift, who, if he was not a native of Nuremberg, refided 
 there. His chief engravings feem to have been portraits. They have not, 
 however, any peculiar excellence to recommend them. 
 
 Daniel Priesler ; another artift, and probably of the fame family ; he 
 ■was alfo an engraver, 
 
 JOHN 
 
PRE [ 245 ] PRE 
 
 JOHN JUSTIN PREISLER. 
 
 FlonrilheJ, 1750. 
 He was the fon of John Daniel Preifler, mentioned in the preceding ar- 
 ticle, and a native of Nuremberg. H9 refided in Italy a confiderable time, 
 and is fpoken of as a painter j but, I fuppofe, he is better known by his 
 engravings, than his pidlures. The following are by him : a ktoi antique 
 Jtatues preferved at Rome, from the defigns of Bouchardon, confifting 
 of 50 fmall upright plates. Part of the plates oi ceilings, from the pidures 
 of Rubens, painted in the Jefuits church at Antwerp, with the frontifpiece, 
 containing the portraits of Rubens and Vandyck ; the whole colleftion con- 
 fifting of twenty fmall plates, length-ways. 
 
 GEORGE MARTIN PREISLER. 
 
 Flouriflied, 1750. 
 
 A younger fon of John Daniel Preifler, and brother to John Juftin 
 Preifler, mentioned above. He was alfo a native of Nuremberg, and an 
 engraver. We have by him a fet of antique and modern ftatues at Rome and 
 at Florence, engraved from the drawings, which John Martin Preifler his 
 brother made, while he refided in Italy, confifting of twenty-one middling- 
 fized upright plates; and alfo a confiderable number of portraits. 
 
 VALE NT INE DANIEL PREISL E R. 
 
 Flouriftied, 1750. 
 Another fon of John Daniel Preifler, and brother to the two laft men- 
 tioned artifts. He was alfo a native of Nuremberg, and an engraver. His 
 works confift chiefly of portraits and book-plates. 
 
 JOHN MARTIN PREISLER. 
 Flouriflied, 1760. 
 
 A fourth fon of John Daniel Preifler. He was born at Nuremberg, and 
 learned the art of engraving, conjointly with his brothers, from his father. 
 He went to Paris in order to improve himfelf ; but fome time afterwards, 
 being invited into Denmark, he went thither, and eftabliflied himfelf at 
 Copenhagen, where he was living 1770. His ftyle of engraving was clear 
 and neat ; but feeble, and without fufficient depth of colour to produce a 
 pleafing effed:. The following prints, among others, are by him : 
 
 Chrijl carrying the crofs, a large plate, length- ways, from Paolo Veronefe. 
 
 Semiramis putting the crown of Ninus upon her own head, a large upright 
 plate, from Guido. Thefe two prints were for the colleftion from the 
 Drefden Gallery. 
 
 A battle, a large plate, length-ways, from Parocel. 
 
 ji Bacchanal, from Pierre, the fame. 
 
 A confiderable number of portraits, &c. 
 
 ANTO- 
 
PRE [ 246 ] P R E^- 
 
 ^^W«WrONIO JOSEPH DE PRENNER. 
 
 ,. Flourifliedj 1730. 
 
 This artift was a native of Vienna, and is fpokenofas a painter. After 
 the death of Mannl, he undertook, in conjundion with Andrea Altamonte, 
 Francois Stampart, and others, to engrave the piftures in the Imperial col- 
 leftions at Vienna ; which prints were publifhed in four fets in folio. Pren- 
 ner etched, or engraved in mezzotinto, as occafion required ; but his etch- 
 ings are fuperior to his mezzotintos. We have alio by him a confiderablc 
 number of portraits and other fubjefts. 
 
 CASPAR DE PRENNER. 
 
 Flourifhed, 1746. 
 
 This artift, who was probably a relation to A. J. de Prenner, mentioned 
 
 _in the preceding article, refided at Rome. We have by him feveral hif- 
 
 torical etchings, neatly tinifhed with the graver. They are middling-fized 
 
 plates, length-ways, and dated 1746. He alfo engraved feveral of the 
 
 plates for the Mujeo Florentino, &c. 
 
 THOMAS PRESTON. 
 
 Flourifhed, 1730. 
 
 An Englifli artift of no extraordinary abilities. His name is affixed to 
 a fmall upright etching, flightly executed, reprefenting the head of Mr. 
 Pope, as a buft. He alfo engraved the portrait of Admiral Blake, with 
 {hipping beneath it. 
 
 NICFIOLAS PREVOST. 
 
 Flourifhed, 1700. 
 
 Florentle Comte fpeaks of this artift as a painter. He tells us, that he 
 was a fcholar of Claude Vignon, and that he etched fix fmall plates -, but 
 the fubjefts are not fpecified. 
 
 S. Prevost, a modern engraver, who, as Bafan informs us, engraved a 
 confiderable number of Vignettes, and other book plates, from the defigns 
 of Cochin ; alfo the frontifpiece to the large Encyclopedia, publifhed at 
 Paris, from the fame m after. 
 
 F. D E S P R E Z. 
 
 Flourifhed, 1573. 
 
 He refided at Paris, where he publifhed a very large upright map, or 
 plan, of the town of Rochelle, with the additional fortifications, made at 
 the time it was befieged in the civil wars, a. d. 1573. It is very rudely 
 cut on wood by himfelf, as we find by the following infcription : A Paris 
 ■par F. des Prez rue Montorgueil au bon Pajteur. 
 
 PRICE. 
 
P R I [ 247 ] P R I 
 
 PRICE. 
 
 Flourished, ^ 
 
 An obfcure artift of no merit, by whom we have, among others^ the 
 portrait of Duncan Camphel, very indifferently executed. 
 
 ROBERT PRICK E. 
 
 Flourifhedj 1675. 
 
 This artift was one of thp fcholars of Wenceflaus Hollar, whofe ftyle of 
 etching he imitated. He publifhed, according to Vertue, a book of archi- 
 tedlure by Pierre le Muers, for which he engraved the plates. 
 
 THOMAS PRIEST. 
 
 Flouriflied, 1738. 
 He was a landfcape painter, and refided at Chelfea, near the Ferry* 
 where he publiflied, September 5, 1738, a fet of eight vie-ws of Chelfea ^ 
 Mortlake, and other towns upon the banks of the Thames. They are mid- 
 dling-fized plates, length-ways, and flightly executed in a very roughj but 
 fpirited ftyle. 
 
 FRANCESCO PRIMATICCIO. 
 Born, 1490. Died, 1570. 
 
 He was of a noble family, and born at Bologna. His firft ftudies in the 
 art of painting were made at his native city. He afterwards went to 
 Mantua, where he became the fcholar of Giulio Romano, and was the moft 
 fuccefsful of all his difciples ; he excelled in hiftorical painting. 
 
 He was in great favour with Francis the Firft of France, and employed by ' 
 liim to colleft antiquities for him at Rome j which commiflion he executed 
 greatly to that monarch's fatisfadtion. 
 
 Many of Primaticcio's piftures are in the Royal Palace at Fontainbleau. 
 Asa reward of his merit, he was made abbot of St. Martins at Troyes, 
 and lived in very great fplendour. 
 
 I own I am doubtful if this artift ever etched j but as fome have affirmed 
 that he did for his amufement, I have given the marks attributed to him 
 by profeflTor Chrift and others, at the end of the volume. But it is to be 
 obferved, diat very few of them, at any rate, can properly belong to him a& 
 an engraver. 
 
 JOHN BAPTIST LE PRINCE. 
 
 Flouriftied, 1760. 
 A modern French artift, who having refided feveral years in Ruffia, 
 drew many views of that country, as well as the different habits of the 
 people ; on his return to France he etched and publilhed them. They were, 
 as Bafan informs us, well received by the public, 
 
 5 JOHN 
 
PRO f 248 ] PRO 
 
 JOHN BALTHAZAR PROBST. 
 
 #* Flourifhed, 1734. 
 
 This artift was a native of Germany. He worked principally with the 
 graver, in a neat, ftiffftyle, withoui much tafte. We have by him part of 
 the engravings taken from the antique marbles at Drefden, in large folio, 
 publiflied A. D. 1733. alfo part of the plates of birds and beafts, &c. which 
 were in the menagery of Prince Eugene, in folio, publifhed a. d. 1734. 
 
 CAMILLO PROCACCINI. 
 Born, 1546. Died, 1626. 
 
 This artift was born at Bologna, and apparently learned the firft prin- 
 ciples of painting from his father Ercole Procaccini. He excelled in hif- 
 torical compofitions ; and his pi£tures are very highly fpoken of, though ' 
 fome faults, particularly that of want of proportion in his figures, are at- 
 tributed to him. He refided chiefly at Milan, where he painted a great 
 num.ber of piftures, and died in that city, at the advanced age of 80. 
 
 He amufed himfelf much with the point ; and his etchings are executed in 
 a bold, mafterly ftyle. The heads of his figures are often admirable, and the 
 other extremities very finely marked. The following, among others, are 
 by him : 
 
 A repofe of the holy family, in which Jofeph is reprefented in the front ; a 
 forefldortened figure lying upon the ground, and leaning upon the f addle of the 
 afs ; a middling-fized plate, length-ways. 
 
 Another holy family, in which Jofeph is reprefented prefenting an orange to 
 the infant Cbriji ; a fmall upright plate. 
 
 A holy family , in which the Virgin is fuckling the Infant ; a fmall plate, 
 length-ways. 
 
 27^1? transfiguration of our Saviour ; a large upright plate. 
 
 St. Francis receiving the ftigmatifs ; the fame, dated 15J2. Juflin Sadelcr 
 engraved the fame compofition. 
 
 GIULIO CESARE PROCACCINI. 
 Born, 1548. Died, i6'26. 
 The fon of Ercole Procaccini, and brother to Camillo, mentioned in the 
 preceding article. He learned the firft principles of painting from his 
 father; but completed his ftudies under the direftion of the Carraccii. He 
 excelled in hiftorical compofitions; and his works are held in high eftima- 
 tion. He etched, for his amufement, a fmall upright plate, reprefenting 
 the Virgin with the infant Chrifl. 
 
 ANDREA PROCACCINI. 
 Born, Died, 1739. 
 
 This artift, who was of the fame family with thofe mentioned in the two 
 laft articles, was born at Rome. He became the difciple of Carlo Maratti, 
 
 and 
 
 1 
 
PRO [ 249 ] P U I. 
 
 and fucceeded in hiftorical painting. He refided fonne.time at Madrid, where 
 he died. We liave feveral engravings by this nnafter ; and, among others, 
 The birth of Bacchus, a middling-fized plate, length-ways, from C. 
 Maratti. 
 Diana hunting ; the fame, from the fame. 
 
 Diogenes cafting away his cup ; a middling-fized upright plate, from the 
 fame painter. 
 
 G. P R O N C K. 
 Flourifhed, 1720. 
 He was a native of Holland. We have, engraved by him, feveral vievjs 
 of various fizes. 
 
 J A Q^U E S P R O U. 
 Flourifhed, 1660. 
 He was a native of France, and learned the principles of painting from 
 Sebaftian Bourdon. While he refided with that mafter, he engraved a fet of 
 fix middling-fized landfcapts, length-ways, painted by him. 
 
 P R O U D. 
 
 Flourifhed, 1760. 
 
 An artift of no note, who refided in England, and engraved title pages, 
 with other book-plates, alfo fome few portraits j and among them- that 
 oi Sarah Philips, dated 1758. 
 
 P R U N E A U. 
 Flourifhed, 1770. 
 
 An obfcure engraver, who feems to have confined himfelf to portraits. 
 We have by him the portrait of Albert Hollar, and that of Gerrard Van . 
 Szvieten, architedt to the Emperor of Germany. 
 
 .MICHAEL PUCHLE R. 
 
 Flourifhed, 
 The name of an engraver, affixed to the portraits of Leopold, Emperor 
 cf Germany, and Eleonora Magdelena therejia, his Emprejs. They are in- 
 fcribed in this manner ; Michael Puchler- Gave Suevus inv. et fecit. 
 
 CHARLES DU PUIS, or DU PUY. 
 
 Flourifhed, 17JO. 
 
 This artifl was a native of France, and a man of fuperior abilities. He 
 drew corre<5i:ly. The extremities of his figures are marked in a maflerly 
 flyle, and the heads finely charafterifed. . His prints are not very highly 
 finilhed j they are etched with much tafte, and completed with the graver, 
 in a bold, free ftyle. The following, among many others, are by this in- 
 genious artift : 
 
 VOL. II. K k St,. 
 
put [ 250 ] PUS 
 
 St. John preaching in the defert, a large plate, length-ways, for the 
 Crozat cabinet. 
 
 Ptolemy Pbiladelfhus giving liberty to the Jews ; a large plate, length- 
 ways, from Noel Coypel. 
 
 Alexander Severus giving corn to the Romans in time of famine ; the fantie, 
 from the fame. 
 
 Earth and air, two large plates, length-ways, from Louis de BouUogne; 
 companions rofire and "water, engraved by Deiplaces from the fame mafter. 
 
 Some portraits, and various other fubjefts, from different painters. 
 
 NICHOLAS DU PUIS. 
 
 Flourifhed, 1750. 
 
 This artift was younger brother to the former, and refided at Paris at 
 the time Bafan publifhed his Diftionary of Engravers. He engraved in a 
 ftyle much refembling that of his brother { but was not equally fuccefsful. 
 We have by him. 
 
 The adoration of the wife men ; a middling-fized upright plate, fiom 
 "Paolo Veronefe. 
 
 Apafloral, from Georgione -, a middling-fized plate, length-ways. Thefe 
 two are for the Crozat coUeftion. 
 
 The marriage of the Virgin ; a middling-fized upright plate, from Carlo 
 Vanloo. 
 
 Mneas faving his father Anchijes ; the fame, from the fame. 
 
 Several portraits, and a variety of other fubjefts, from Pierre, and other 
 mailers. 
 
 JOHN PUNT. 
 
 Flourifhed, 1750. 
 A Dutch engraver of no great note, by whom we have a fet of 2,^ 
 prints, engraved from the drawings, which Jacob de Wit made after 
 the pidures painted by Rubens in the church of the Jefuits at Antwerp. 
 Alfo the afcenfion of our Saviour, from Sebaftian Ricci ; a middling-fized 
 upright plate, for the Drefden colledion. 
 
 RICHARD PURCELL. 
 
 Flourifhed, 1760. 
 
 An Englilli engraver of mezzotintos, by whom we have fevcral portraits 
 from Sir Jofhua Reynolds, and other painters. 
 
 J. G. P U S C H N E R. 
 
 Flourifhed, 1670. 
 
 An engraver of portraits, whofe labours were confined to plates for books, 
 
 which he executed in a very indifferent manner. He appears to have been 
 
 a native of Nuremberg. Specimens of his works may be feen in a folio 
 
 volume, entitled, Icones virorum otnnium ordimm eruditione, &c. pub- 
 
 lifhed at Nuremberg. 
 
 &• 
 
 QJJA- 
 
QUA [ 25» ] QUE 
 
 Q. 
 
 Q^UADRATA. 
 
 Flouriflied, 
 
 HE is mentioned as an engraver on wood by Papillon, who informs us> 
 that he had feen fome of his works j which however he has not fpe- 
 cified. He calls him ^adrata de Perone. 
 
 PETER Q^U AST. 
 
 Flourifhed, 1638. 
 
 He was a Flemilh painter, and engraved from his own compofitions a 
 fet of beggars, and other grotejque fubjefts, which are executed in a bold, 
 fpirited, but incorredt ftyle, bearing fome refemblance to that of Callot. 
 We have alfo fome few prints by him, from the defigns of S. Savery, and 
 other mafters. See the monograms adopted by Quaft, compofed of a P. 
 and a Q^ joined together, upon the plate at the end of the volume. 
 
 ISABELLA QJJ ATREPOMME. 
 
 Flourifhed, 1521. 
 This lady, who appears to have been a native of Rouen, engraved on. 
 wood. Papillon mentions by her the frontifpiece to an old Calendar, with 
 a figure of Janus, tolerably well executed. Her monogram, or rebus, is 
 Angular enough, being an apple with a figure of 4 upon it, to exprefs lier 
 name. See the plate at the end of the volume. 
 
 CRISPIN VANDEN QUEBORN, or QUEEOOREN. 
 
 Flourifhed, 1630. 
 
 He is faid to have been a native of Flanders. He confined himfelf prin^ 
 cipally to the engraving of portraits; and worked with the graver only, in 
 a ftifF, unpleafing ftyle. Some of his prints however are not deflitute of 
 merit. I fhall mention only the following : The portrait of IVilliam I. 
 Prince of Orange, after Cornelius VifTcher the painter. This has been falfely 
 attributed to Cornelius Viflcher the engraver, and added to his works. The 
 portrait of Juliana Princejs of Hejfe. Alfo part of the plates for "Thii/ault's 
 Academis de L'ejpee, printed at Antwerp, 1628. 
 
 ERASMUS QJJ E L L I N U S. 
 Born, 1607. Died, 1678. 
 
 He was a native of Antwerp; and, manifefting early in life a genius for 
 the arts, was placed in the fchool of Rubens. He fuccceded in hiftorical 
 
 K k 2 painting. 
 
Q^ U E [ 252 ] Q^ U I 
 
 painting, and in landfcapes, the latter efpecially are excuted in a very maf- 
 terly ftyle. We have feveral etchings by him, among which are fome few 
 ■portraits, and a fmall plate, length-ways, reprefenting Sampfcn killing tht 
 lion, from Rubens. 
 
 HUBERT QJJ E L L I N U S. 
 Flourifhed, 1655. 
 
 He was of the fame family with the preceding artift, and brother to Artus 
 .Quellinus, the fculptor. He etched in a very peculiar ilyle, bearing fome 
 refemblance to that of Soutman, and finifhed his plates very neatly with 
 the graver. We have by him a fet of Jiatues, which Artus Quellinus 
 cut in marble, for the Stadthoufe at Amfterdam. They are in folio, and 
 marked with the initials of both the artifts' names in this manner : A. Q^ 
 H. Q^ 
 
 ANTHONY Q^U I L L A R T. 
 
 Flourifhed, 1730. 
 He was a native of France, and a painter. He died at Lifbon, according 
 to Bafan, in the flower of his age. He engraved, from his own defigns, 
 the pompous funeral o[ Don Nutio Olivares Percira, and all the other plates 
 belonging to the defcription of it, publiflied at Lifbon, 1730. 
 
 Q^ U I N T I L I E N. 
 
 Flourifhed, 
 
 He engraved, fays Florent le Comte, certain plates after Callot, in a 
 •very rnafterly ftyle ; to which however he did not chufe to affix his name. 
 
 WILLIAM DE LA QJJ E WELLE R I E, 
 Flourifhed, 1680. 
 
 He was probably a goldfmith. We have by him a fet of very fmall en- 
 gravings, reprefenting ornamental crojfes, and other defigns for jewellery, 
 neatly engraved with black back-grounds. His name is written at length 
 upon the frontifpiece, in this manner: Guilhelmus de la ^ueivellerie fecit. 
 An. Dni. 1680. On the other plates he has fixed the initials only thus, 
 G. D. L. Q^ 
 
 H A R. HIND QJJ ITER. 
 Flourifhed, 
 
 He was probably a Dutchman ; but he engraved in mezzotlnto feveral 
 Englifli portraits ; fome of which he profefTes to have drawn from the life. 
 They are however very badly executed. I fhall mention only Sir Leoline 
 Jenkins, from his own drawing ; and ^een Catherine, from Lely. 
 
 JOHN 
 
R A B [ ZS3 1 RAD 
 
 R. 
 
 John r a b e l. 
 
 Flouriflied, 1588. 
 He was a native of Paris, and is fpoken of as a painter. His works 
 IVOwever do not appear to have been held in any great eftimation. Accord- 
 ing to profeflbr Chrift, he publifhed many of his defigns, engraved on 
 wood ; but the fubjefts are not fpecified j neither are we informed, whether 
 they were engraved by himfelf. I have feen an indifferent copy on copper of 
 the martyrdom of St. Laurence, from the engraving made by Marc Antonio 
 after Baccio Bandinelli. It is not fo large as the original ; and this infcrip- 
 tion is upon a ftone at the bottom : Jo. Rabell Bellonacus lute Parijii. 
 Thomas de Leu and Charles de Mallery engraved from the defigns of th!» 
 artift, 
 
 DANIEL RABEL. 
 Flourifhed, 
 
 He was the fon of John Rabel mentioned in the preceding article, from 
 whom apparently he learned the principles of painting and engraving. His 
 beft produdtions were landicapes ; many of which were engraved by the 
 contemporary artifts. We have alfo a confiderable number of etchings, in 
 a ftyle bearing fome refemblance to that of Ifrael Sylveftre, by his own 
 hand. They confift chiefly of landfcapes, into which he often introduced 
 fmall figures with great fuccefs. 
 
 ABRAHAM RAD E MAKER. 
 Born, 1675. Died, 1735. 
 
 He was a native of Amfterdam, and an excellent painter of landfcapes 
 and views in Holland. It is remarked of him, that he arrived at great per- 
 feftion in the art of painting, without the affiftance of a mafter. He alfo 
 painted in water colours, and made drawings in Indian ink, with the greateft 
 fuccefs. His works are held in very high eftimation. 
 
 We have a fet of fmall etchings of views in Holland and the Netherlands, 
 executed in a very mafterly ftyle, by this great artift, which, when com- 
 plete, form two fmall quarto volumes. They were pubiiftied at Amfterdanri,, 
 A. D. 1731. 
 
 BERNARDINO RADl. 
 Flourifhed, 161 8. 
 The name of an engraver, affixed to a fet of architeSlal ornaments, mo- 
 numents. Sec, publifhed at Rome 16 18. The title runs thus: Varie in- 
 
 ventioni 
 
 ^ 
 
RAD [ 254 ] R A I 
 
 ventioni per depoftti di Bernardino Radi Cortonefe. They confifl of flighty 
 hafty etchings. 
 
 R A D I G U E S. 
 Flourifhed, 1760. 
 
 A modern French engraver, who, according to Bafan, came into Eng- 
 land J from whence he went to Holland, and, laftly, to Ruffia, where he 
 refided at the time that author wrote his Dictionary of Engravers. We 
 have, among other prints by him, a middling-fized plate length-ways, re- 
 prefenting Angelica and Medora, after AleflTandro Fiarini, for the colleftioa 
 of prints engraved from the pidtures in the Drefden Gallery. 
 
 P. R A E F U S, or R A E F E. 
 
 Flourifhed, 1575. 
 An ancient engraver on wood, who, according to Papillon, was a na- 
 tive of Paris, and executed the greateft part of the cuts for a Cofmogra- 
 phical Work in folio by Andre Thevet. He is fpoken of as a man of abi- 
 lity; and the extreme neatnefs of his engravings is highly commended. 
 He feldom figned his name at length, but ufually fubftituted the initials ia 
 this manner, P. R. 
 
 FRANCIS RAGOT. 
 
 Flourifhed, 
 
 J This artift was a native of France. His chief excellence lay in copying 
 the engravings of Scheltius a Bolfwert, Paul Pontius, and other mafters, 
 who worked for Rubens and Vandyck ; which he did with fuch accuracy, 
 that his prints are frequently pafTed upon the unwary colleftors for the 
 originals, efpecially when he could procure the counter-proofs of the ori- 
 ginal prints, I have already fpoken of this artift under the article Schel- 
 tius a Bolfwert, to which the reader is referred. He engraved about forty 
 of thefe copies. We have alfo fome itsu portraits by him. 
 
 ERANCESO MARIA RAIBOLINI, called FRANCESO FRANCIA. 
 
 Born, 1450. Died, 15 18. 
 
 A celebrated painter of Bologna, from whofe defigns Marc Antonio en- 
 graved a confiderablc number of plates. It is faid, that hearing of the 
 great reputation, which Raphael had acquired at Rome, he was very de- 
 liroos of feeing fome of his works ; and his curiofity was gratified in the 
 following manner: Raphael, being employed to paint a picture of St^ 
 Cecilia, for the church of St. Giovanni in Monte at Bologna ; when he had 
 finifhed it, he fent it to Raibolini, with a complimentary letter, intreating 
 him to overlook the fixing of it in its proper place. Pleafed with this com- 
 miffion, he opened the cafe, and furveyed the painting, but with the ut- 
 moft aftonilhment ; and being convinced of the fuperioriry of the genius. 
 
 of 
 
R A I [ 255 ] R A I 
 
 of Raphael, when compared to his own, he pined away with grief, and died 
 foon after. However he faithfully executed the charge impofed upon him, 
 by carefully fuperintending the putting up of the picfbure. It is faid by 
 fome authors, that Raibolini himfelf engraved, and ufed a monogram much 
 refembling that of Marc Antonio i but this is certainly a miftake. Thofe 
 prints are, with the greatefl juftice, attributed to Marc Antonio, who mighr 
 probably be affifted by Raibolini, as he moft alTuredly, in the early part of 
 his life, worked from the defigns of that mafter. 
 
 MARC ANTONIO RAIMONDI. 
 Born, 1487. Died, . 
 
 The family name of this juftly celebrated artift was Raimondi ; but he 
 is more generally known by his baptifmal names. Marc Antonio, only. 
 Very few of the circumftances of his life have reached our time ; and thofe 
 are related by Vafari, who, however, has omitted to record either the year 
 of his birth or of his deceafe. He was born at Bologna, and, accordirig 
 to the moft probable conjeflure, about the year 1487, ori488. 
 
 His firft mafter was Francefo Francia, or Raibolini, mentioned in the 
 preceding article, from whom he learned the principles of drawing ; and 
 he fucceeded fo happily under his tuition, that the cognomen of Francia 
 was added to his own name. It does not appear from whom he learned the 
 art of engraving ; but it was probably from fome goldfmith in Bologna ; 
 becaufe his firft eflays with the graver were to embellifti the filver ornaments, 
 worn at that time on the girdles, and odier parts of the drefs. 
 
 Among his firft engravings on copper are placed the four hsroeSy and 
 Pyramiis and Thijbe, dated 1502. Thefe, as well as feveral of his early 
 works from the defigns of Francia, were probably executed before his de- 
 parture from Bologna, 
 
 Being defirous of improving himfelf by travelling, he went to Venice, 
 where he firft met with the works of the German engravers, particularly a 
 fet of wood cuts by Albeit Durer, reprefenting the life and fajfion of our 
 Saviour. Thefe pleafed him fo much, that he purchafed them, .though they 
 coft him nearly all the money he had brought with him; and he copied 
 them with great exaftnefs on copper. The deception, it feems, anfwered 
 well to Marc Antonio ; for, we are told by Vafari, that they were frequently 
 fold for the originals. This circumftance, according to the fame au- 
 thor, coming at laft to the ears of Albert Durer, he complained to the 
 fenate of Venice of the injury which he had fuftained ; but all the redrefs . 
 he could. obtain was, that Marc Antonio fliould not, for the future, add 
 the cypher or monogram of Albert Durer to any of the copies he might 
 make from his engravings. 
 
 Thisftory, if true, is not without its difficulties ; and one of the moft ftrik- 
 
 ing is, that the copies, v«hich Marc Antonio made from the life and pafjicr,. 
 
 ■of Chriji, by Albert Durer, have not the mark of that artift at all upon them, 
 
 but ihr cypher of Marc Antonio only. Vafari indeed might have mittaken 
 
 I. - thf 
 
R A I [ 256 ] R A I 
 
 the life of Chrifi, for the life of the Virgin, by Albert Durer; becaufe Marc 
 Antonio copied them both with equal precifion. The latter are much 
 larger than the former, and have the monogram of Albert Durer reprdcnted 
 in the fame manner as upon the originals; and to thcfe Marc Antonio has 
 not put his own cypher^ except upon the iaft plate ; but even that has the 
 monogram of Albert Durer alfo. Of courfe, thefe prints will much better 
 agree with the ftory above related, than thofe mentioned by Vafari. 
 
 When Marc Antonio quitted Venice, he went to Rome, where his meri 
 foon recommended him to the notice of Raphael, who not only employed 
 him to engrave a confidcrable number of his defigns, but afTifted him in. 
 tracing and correfting the outlines upon the plates. The firfl plate he 
 engraved from a drawing of Raphael's was Liicretia fliibhing herjelf, in 
 which he feems to have exerted all his abilities to make it neat and delicate. 
 Soon afterwards he executed the plate of the judgment of Paris, which, 
 though not fo neat as the former, has more freedom and fpirit. Rapliael 
 himfelf was fo perfetlly well pleafed with the works of this admirable en- 
 graver, that he fent m.any fpecimens of them, as a complimentary prefenc, to 
 Albert Durer, which he thought well worthy of his acceptance. 
 
 The great reputation, which Marc Antonio acquired, under the 
 patronage of Raphael, brought many young Italian artifts to Rome, in or- 
 der to ftudy under him ; and among them were the following: Agoftino de 
 Mufis, Marc de Ravenna, Giulio Bonafoni, Niccolo Beatrici, and Enea 
 Vico ; who all of them became his pupils, and as his name began to be 
 known abroad, Bartolemeo Beham, George Penz, and James Binck, with 
 others, natives of Germany, came into Italy, and frequented his fchool. 
 
 After the death of Raphael, Marc Antonio was employed by Julio 
 Romano, who, during the life of Raphael, would not folicit him to en- 
 grave from his defigns, left he Ihould have offended his mafter, for vvhoni 
 he had the moft profound refpedt. And it was by engraving the beaftly 
 defigns of Julio Romano, for which the poet Aretin compofed verfes equally 
 lewd and libidinous, that Marc Antonio fo highly offended Pope Clement 
 VII. that he was caft into prifon; from whence he was releafed with great 
 difficulty, at the intercefiion of Cardinal Julius de Medicis, and Baccio 
 Bandinelli the fculptor, who was at that time employed by the Pope. 
 
 After his releafe from prifon. Marc Antonio, to manifeft his gratitude 
 to Bandinelli, engraved, from a pifture of his, that admirable print, re- 
 prefenting the martyrdom of St. Laurence ; and fucceeded fo happily, cor- 
 refting carefully feveral faults, which were in the pifture, that the Pope, 
 who was a great lover of the arts, upon feeing an impreffiori from the plate, 
 pardoned his offence entirely, and took him under his proteftion. We 
 now fee our artift in the zenith of his good fortune ; but his decline was ftill 
 more fudden than his advancement; for the city of Rome being taken, by 
 affault, by the Spaniards, a. d. 152.7, Marc Antonio loft in the pillage all 
 the wealth he had accumulated. He retired afterwards to Bologna, where 
 perhaps he died ; but of this there is no certain account. The Iaft dated 
 print we have by him is^ the battle of the L^^ithte, engraved 1539, after 
 
 whiclv 
 
R A I [ 257 ] R A I 
 
 which time we hear no more of him, or of his works, Malvafia indeed 
 affirms, that he was alTaffinated by a nobleman of Rome, becaufe he had, 
 contrary to his engagement, engraved a fecond plate of the murder of the 
 ImiocentSy after a defign of Raphael. This defign was certainly twice en- 
 graved by Marc Antonio, with very fmall variations, as will be mentioned 
 below. Baldinucci, following Malvafia, mentions this ftory, and adds, 
 that Marc Antonio was married; and that his wife was alio an engraver. 
 But the total filence of Vafari, upon a circumftance of fuch an extraordinary 
 nature, renders it, at leaft, exceedingly doubtful. 
 
 I have already fpoken of the merit of this excellent artiflr, in the elTay at 
 the beginning of this volume. I fhall only add here, that I confidcr him as 
 one of the moft extraordinary engravers that ever lived. The purity of 
 his outlines, the corrednefs with which the extremities of his figures are 
 marked, and the beauty and charafter which appear in the heads, prove him 
 to have been a man of great tafte and folid judgment, as well as a perfe6b 
 mailer of drawing. Thefe beauties, without doubt, appear moft linking 
 in his works from Raphael; which obfervation feems greatly to confirm the 
 common report of his being much afllfted by that great mafter. 
 
 The works of Marc Antonio are exceedingly numerous ; and almoft every 
 one of them have their peculiar merit ; it would therefore be impofTible to 
 fucceed in an attempt to leleft a fliort lift of his beft prints : for this realbii, 
 I ftiall only take notice of a few, divided into four clalTes, which may pro- 
 perly be attended to in the arrangement of his works. The difference, 
 however, will not be eafily feen, but upon the examination of good im- 
 prefTions ; for his neateft plates, when retouched, appear to be coarfe, hard, 
 and difagreeable. 
 
 Clafs the firft : his copies from the engravings by other matters, namely, 
 
 The life and faffion of Chrifi, confifting of thirty-fix fmall upright plates, 
 from Albert Durer, but without the monogram of that mafter. 
 
 "The life of the Virgin Mary, confifting of feventeen upright plates in folio, 
 from Albert Durer, with his monogram ; and on the laft plate Marc Antonio 
 has added his own cypher. 
 
 Clafs the fecond : his early engravings, as well from Francia, as from 
 other mafters. Among them are, 
 
 St. George and the dragon ; a middling-fized plate, length-ways, marked 
 at the bottom in rude letters, Mar. Ant. the n and t being joined together. 
 This is the only print, that has his name fo nearly at length, and is 
 thought to be engraved from his own defign. 
 
 The four heroes ; four fmall upright plates, reprefenting Curtius, 
 Horatius, Scipio Jfricanus, and Titus Vefpafian, fuppofed to be his firft at- 
 tempts with the graver on copper. 
 
 Pyramus and Thijhe ; a middling- fized plate, nearly fquare, dated 1502, 
 from Francefo Francia. 
 
 Apollo leaning upon the floepherd Hyacinthus, accompanied by a little Cupid; 
 a middling-fized upright plate, with the date 1506 j to which is added Je 
 
 VOL. 11. LI i^. 
 
R A I [ 258 ] R A I 
 
 Tp, from whence it is reafonably conjeftured, that he was 19 years of age, 
 when he engraved this plate. 
 
 Clafs the third : his neateft engravings, whether from Raphael, or other 
 mailers ; among thefe may be placed, 
 
 Adam receiving the forhiddtn fruit fro7n Eve, after a defign by Raphael. 
 This plate is copied, and placed at the title of the prefent volume. 
 
 Cod appearing ti Noah; a middling-fized upright plate, from the fame 
 painter. 
 
 The Jlaughter of the Innocents; a large plate, length-ways, from the fame. 
 This fubjeft was engraved a fecond time by Marc Antonio ; and above the 
 trees, towards the right-hand-fide of the print, he has added in the fecond 
 plate, a fmall pointed tree, fomewhat refembling a yew tree, called in 
 ItzYizn la felcetta, zndmVrtnch la fougere, ov le chicot. The laft, I think, 
 is not only the fcarceft, but the beft of the two prints. 
 
 The body of Chrifl, reprefented as lying upon a part of the tomb, with the 
 Virgin ftanding by him exceedingly forrowful ; a middling-fized upright plate, 
 from the fame. This fubjeft was engraved by Marc Antonio a fecond time, 
 with feveral variations ; but the moft ftriking is the face of the Virgin, who 
 is reprefented much younger than in the former ; and her right arm is not 
 covered with drapery : it is therefore diftinguifhed by the appellation of the 
 Virgin with the naked arm. 
 
 The martyrdom of St. Laurence ; a large plate, length-ways, from Baccio 
 Bandinelli. 
 
 St. Cecilia ; a fmall folio upright plate, from a defign by Raphael, very 
 different from the pifture painted by that artift, which is at Bologna. 
 
 Neptune rijjng from the fea to calm the tempefl, in which jEneas and 
 his companions viere flnpwrecked. It is furrounded by a fpecies of border, 
 in which are nine compartments, containing as many little fubjefts, taken 
 from the TEneid of Virgil, from the fame artift. 
 
 The judgment of Paris ; a large plate, length-ways, from the fame painter. 
 
 Lucretia ftanding, and holding the poniard in her right hand; a fmall folio 
 plate, from the fame. 
 
 The fourth clafs: thofe which he has executed in a bolder and flighter 
 ftyle. 
 
 Jo/eph efcaping from Potiphars wife ; a middling-fized plate, length-ways, 
 from Raphael. 
 
 Ihe Virgin feat ed with Elizabeth and St. John, to whom the infant Chrift is 
 giving the benediElion. A large palm tree appears in the back-ground ; 
 whence this print is diftinguiflied by the appellation of the Virgin of the 
 Palm ; a fmall upright plate, from the fame. 
 
 Chrift feated at the entry of the temple, with the Virgin Mary and Alary 
 Magdalen approaching him by a flight of fieps ; the fame, from the fame. 
 This print is commonly known by the appellation of the fteps. 
 
 A holy family. The Virgin is reprefented fitting, holding the infant 
 
 Chrift upon her lap, with St. John before him, Jofeph appears behind, Jeated 
 
 u^on the /addle of his ajs ; a large upright plate, from the fame. This print 
 
 a is 
 
RAM [ 259 1 R A S 
 
 is moft commonly known by the appellation of the Virgin with the long 
 thigh. 
 
 St. Paul preaching at Athens, a middling-fized plate, length-ways, from 
 the fame. This is the defign firft made for the cartoon reprefenting the 
 fame fubje£b. 
 
 Mount Parnajfus ; a large plate, length-ways, from the fame, &c. 
 
 There are alfo feveral very excellent portraits by this artift j and, among 
 them, tiaat of Cretin the poet : a very beautiful performance. See all the 
 marks and monograms, ufed by Marc Antonio, on the plate at the end of the 
 volume. But a confiderable number of his engravings are without any 
 mark or cypher. 
 
 It is to be remarked, that after the plates of Marc Antonio were taken 
 from the (lock of Tomafo Barlacchi, they came into the hands of Antonio 
 Salamanca, and from him to Antonio Lafreri ; from thence to Nicholas 
 Van Aelft ; and, laftly, they became the property of Rofli, or de Rubeis ; 
 at which time they were almoft totally worn up. Thofe imprefiions from 
 the plates of Marc Antonio are conftantly the beft, which have not the name 
 of any publifher upon them. Baron Heineken, in his DiHionnaire des Artifier 
 dont nous avons des EJianipes, printed at Lipfig, a. d. 1778, has made a 
 complete lift of this artift's works, with a particular defcription of each 
 print. It is drawn ud in a very accurate and fkilful manner ; and to it the 
 reader is referred for full information upon this fubjedt. 
 
 JOHN DE RAM. 
 
 Flourilhed, 
 
 The name of a modern engraver on copper, mentioned by profeflbr 
 Chriftj but his works are not fpecified. He ufed the initials I, R. 
 
 CLAUD RANDON. 
 
 Flourilhed, 17 10. 
 
 By this engraver, who refided at Rome, we have feveral of the plates of 
 antique and modern ftatues for the colleftion in folio, publilhed by Rofli, 
 with feveral other fubjedts, from Paffebon and other matters. 
 
 DONATI RASGIOTTI. 
 
 Flourilhed, 
 
 By this artift, fays Florent le Comte, we have fome engravings, particu- 
 larly an alphabet reprefented by figures. 
 
 RASPENTINO. 
 Flourifhed, 
 A pame affixed to a portrait of Mary de Medieis, 
 
 L 1 2 AARON 
 
RAT [ 260 ] R A V 
 
 AARON RATHBURNE. 
 
 Flourifhed, 16 10. 
 
 He was probably a native of England. He engraved, conjointly with 
 Roger Bruges, a map of London and Wejiminjlery for which they obtained a 
 patent, a. d. 161 i. 
 
 SIM'ON FRANCOIS RAVENET. 
 Born, 1706. Died, 1774 i 
 
 This ingenious artift was a native of France, where he learned the prin- 
 ciples of drawing and engraving. He came into England about the year 
 1750, and fettled in London. In the latter part of his life he refided at 
 Mother Red Cap's, near Kentifh Town, where he died. He was a man of 
 a very amiable difpofition, and greatly refpefted by all that knew him. 
 His widow is ftill living, by whom he had a ion and a daughter. The latter 
 is married to Mr. Picot, a native of France, and an engraver, fettled at 
 London. 
 
 Mr. Ravenet is juftly confidered as a very excellent artift. He gave 
 ejreat colour and brilliancy to his engravings, and finifhed them with much 
 precifion. He drew corredtly j but in a mannered ftyle ; and the outlines 
 of his figures are fometimes ratlier too fliarply marked, which hurts the 
 harmony of the effeft. The following may be reckoned among his beft 
 prints : 
 
 The Prodigal Son ; a large upright plate, from Salvator Rofa. 
 
 Lucretia deploring her misfortunes before her relations ; a middling-fized 
 upright plate, from A. Cafali. 
 
 'The manifeflation of the innocence of the Princefs Gmhilda; its companion, 
 from the fame. 
 
 The death of Seneca j a large plate, length-ways, from Luca Giordano. 
 ^}.The Arcadian floepherds ; a middling-fized upright plate, fronri N. PoufTin. 
 
 The portrait of Lord Camden ; a whole length, from Sir Jodiua Reynolds ; 
 and a variety of other plates from different matters, many portraits, and a 
 vei7 confiderable quantity of w^Hf//^j, and other book-plates, from Hay- 
 man, &c. 
 
 SIMON RAVENET. 
 
 Flourifhed, 1760. 
 He was the fon of Simon Francois Ravenet, mentioned in the preceding 
 article, and was inftrufted by his father in the art of engraving, at the time 
 he refided in England. When he had made fufficient progrefs to fupport 
 himfelf, he vifited France, and there he fcudied drawing under Boucher : 
 after which he went to Parma, where, it appears, he was fetded, at the time 
 Bafan wrote his Diftionary of Engravers, and was lately married. Among 
 other prints by him, is the following : Jupiter and Jntiope, a middling- 
 fized plate, length-ways, from a pi(aure by Rubens, in the colleftion of 
 
 the Marquis Felino. 
 
 MARCO 
 
R A V [ 261 ] R A V 
 
 MARCO DA RAVENNA, or RAVIGNANO. 
 
 Flourifhed, 1530. ->-' 
 
 The great applaufe, which Marc Antonio Raimondi acquired at Rome, by 
 his engravings from Raphael, drew many young artifts thither, in order to 
 ftudy under him ; and among them was Marco da Ravenna, who became his 
 fcholar, and worked conjointly with Agoftino de Mufis. Ravenna imitated 
 the bold flyle of engraving, adopted by his mafter, with great accuracy ; 
 bur when he attempted to follow him in his neateft manner, he was not 
 equally fuccefsful. He handled the graver with more freedom than his 
 fellow fcholar de Mufis, who, however, furpafled him in neatnefs and 
 precifion. 
 
 Rav^enna drew well, as his beft prints fufficiently teftifyj though not 
 with that purity of outline, which diftinguiflies the works of his mafter j 
 neither are the extremities of his figures marked with equal corre6i:nefs or 
 judgment. His works, however, are juftly held in high eftimation by the 
 curious. 
 
 The ufual mark adopted by this artift is a cypher, compofed of an R 
 and an S joined together, which has been the occafion of feveral miftakes, 
 not only with refpedl to his works, but with refpeft to himfelf; and has led 
 feveral authors to fuppofe, that there were two Ravennas, the one named 
 Marco, and the other Silveftro ; and they have been confirmed in this opinion 
 by the declaration ofVafari, who tells us, that Marco da Ravignano, forfo 
 he writes the name, marked his plates with an M and an R, which in fome 
 few inftances he certainly did. Thofe, who do not fuppofe there were two 
 Ravennas, have imagined that thefe two letters were defigned for Raphael 
 Sancio, and placed upon the plate to denote, that it was taken from a de- 
 fign by that mafter. This opinion, however, is eafily confuted; for the 
 fame mark is found on the /laughter of the Innocents, after Baccio Bandi- 
 nelli, and of courfe cannot, by any means, refer to Raphael. It certainly 
 ftiould be read Ravenna or Ravignano Jculpfit. He fometimes marked his 
 engravings with a fingle R. without the S. and, at other times, with an 
 M. and R. joined together. See the plate of monograms at the end of the 
 volume. The following prints are all I ftiall mention by this mafter. 
 
 'The murder of the Innocents ; a large plate, length-ways, from Baccio 
 Bandinelli, marked with the cypher of the R. and S. joined together. 
 
 "The Virgin Mary holding the child Jejus /eated upon a pedeftal, with Jofeph 
 at the right-hand, and a biffwp at the left ; laid to be after Polydoro, marked 
 in the fame manner. 
 
 Venus upon the water Jeated in a Jhell -, a middling-fized upright plate, 
 from Raphael, marked in the fame manner. 
 
 Venus feated beneath a tree^ taking a thorn from her foot ; called the Venus 
 with the rabbit, becaufe a rabbit is reprefented at the bottom of the print; a 
 middling-fized upright plate, from Raphael. M. Antonio alfo engraved 
 this fubjcft. 
 
 J battle, in which isjeen a man on foot throwing ajlone, and a hcrfeman 
 
 riding 
 
RAW [ 263 ] REG 
 
 rUing away j a very large plate, length-ways, from Julio Romano, marked 
 as above. 
 
 The lajl Jup'per ; a middling-fized plate, length-ways, from Raphael. The 
 fame defign that was engraved by M. Antonio, marked with an R. only. 
 Agoftino de Mufis is faid by Vafari to have affifted him in this en- 
 graving. 
 
 An emblematical print, in which a figure of Death is reprefented holding a 
 book, Jiirrounded by many emaciated figures, called the memorial, or remem- 
 brance of death ; from Baccio Bandinelli. This differs fomeihing from the 
 print of the fame fubjeft, engraved by Agoftino de Mufis. 
 
 A Bacchanalian JubjeSl, reprefented by Children ; from Julio Romano, 
 marked with an M. and an R. joined together. 
 
 The Laocoon ; a very large upright plate, taken from the antique flatue. 
 To this he has affixed his name nearly at length, in this manner, Mrcvs 
 Ravenas. 
 
 J. RAWLINS. 
 
 Flourifhed, 1760'. 
 
 A modern artift, by whom we have feveral portraits, and frontifpieces for 
 books. 
 
 JOHN RAYMOND. 
 
 Flourifhed, 1725. 
 
 This artifl was a native of France, and refided at Paris. He worked en- 
 tirely with the graver ; and his prints prove him to have had a great com- 
 mand of tliat inftrument. He drew the human figure with a tolerable de- 
 gree of correftnefs ; but his outlines are rather fliff and mannered. The 
 following are by him: 
 
 The fall of the mamia in the ivildeme/s ; a large plate, length-ways, from 
 Romanelli, for the colleftion called the Crozat cabinet. 
 
 A holy family ; a circular plate, from Raphael, for the fame colleftion. 
 
 Chrijl at the tomb ; a middling-fized upright plate, from Taddeo Zuccheri, 
 for the fame. 
 
 VALERIEN REGNARD, or REGNART. 
 Flouriflied, 1630. 
 This artift, who was probably a Frenchman, refided chiefly at Rome, 
 where he engraved, among other things, feveral of the plates for the col- 
 lection of prints, taken from the ftatues, bufts, &c. in the Juftinian gallery. 
 He worked alfo from J. Ant. Lelli, Ant. Pomerance^ &c. but his en- 
 gravings need not be fpecified. See a mark, which he fometimes ufed, 
 when he om.itted to fign his name, copied upon the plate at the end of the 
 volume. 
 
 N I C H O- 
 
REG [ 263 ] R E I 
 
 NICHOLAS REGNESSON. 
 
 Flourifhedj 1650. 
 
 This artift was a native of France, and brother-in-law to the celebrated 
 Nanteuil ; and from him he probably learned the art of engraving, for he 
 imitated his manner, and fometimes with tolerable fuccefs. We have a 
 confiderabie number of portraits by RegnefTon -, fome of which are juftly 
 efteemed. He alfo engraved (he defcent of the Holy Ghofi, a middling-fized 
 plate, length -ways, from a pidure by J. Blanchard, preferved in the cathe- 
 dral of Notre Dame at Paris. Several of the portraits by this mafter are 
 from drawings made by himfelf from the life. He alfo invented many 
 frontifpieces and book-plates, fome of which he engraved in the flyle of 
 Mellan. 
 
 WELSER RHELINGER. 
 
 Flourifhed, 
 
 He engraved on wood, according to Papillon, a hundred and twenty 
 prints for a German book, entitled, Patricium Stirpium Augujianarum 
 Vindelicum, fc? earundem fodalitatis infignia. 
 
 The principal figures are all of them reprefented on horfeback, com- 
 pletely armed with the arms belonging to their refpedlive families, upon 
 their fliields. 
 
 WENDEL REICH. 
 
 Flourifhed, 1515. 
 An ancient engraver on wood, who refided at Lyons, where, according 
 to profefTor Chrift, many of his works were publifhed, marked with a W. 
 and an R. joined together, in the manner reprefented upon the plate at the 
 end of the volume. 
 
 J. C. REINSPERGER. 
 
 Flourifhed, 1760. 
 This artifl was a native of Germany. He is mentioned by Bafan s& a 
 painter; and perhaps he drew many of the portraits, which he engraved 
 from the life. Some of them are as large as nature, executed in a very 
 coarfe, heavy ftyle, particularly that of Elizabeth Chriftian, the Emprefs 
 Dowager. He alfo engraved the portrait of the late Emperor of Germany., 
 and that of the Grand Duke of Tufcany ; middling-fized upright plates. 
 
 E. R E I T Z. 
 
 Flourifhed, 1700. 
 A Swedifh artifl, who engraved feveral of the plates of coins and archi- 
 teSfal views, &c. for a work in folio, entitled, Suecia Antiqua et Hodierna, 
 confifting of feveral volumes, 
 
 MATTHEW 
 
REM [ 264 ] REN 
 
 MATTHEW REM. 
 Flouriflied, 1635. 
 
 This artift is faid by profeflbr Chrift to have executed the plates for the 
 Architeofure de Furtenbach, His engravings are frequently figned with the 
 initials M. R. only. 
 
 REMBRANDT. See GERRETSZ. 
 
 REMOLDUS. See E Y N H O U E D T S. 
 
 CHARLES REMSHARD. 
 
 Flourifhedj 1700. 
 An engraver, who, according to profeflbr Chrift, refided at Augfbourg, 
 at the time he publiflied his Didlionary of Monograms. He marked his 
 plates with the initials C. R. I am not acquainted with his works. 
 
 J. R E N A N T O. 
 
 Flouriflied, 
 The name of an obfcure engraver on wood, affixed to a large upright 
 print, reprefenting the wife men's offering ; very indifferently executed, and 
 probably from his own defign. 
 
 J. R E N A R D. 
 
 Flourifhed, 17 10. 
 
 He engraved feveral of the plates for the large folio colledlion of views 
 of the palace and park at Verfailles. 
 
 JOHN RENAUD. 
 
 Flourifhed, 
 
 Is cited by Florent le Comte, as an engraver. He was probably the 
 fame with Renard, mentioned in the preceding article. 
 
 R E N A T U S. See B O I V I N. 
 
 GUIDO REN I. 
 Born, 1574. Died, 1642. •/ 
 
 This celebrated artift was a native of Bologna, and a ftudent in die fchool 
 of the Carracci. His great talents in hiftorical painting are too generally 
 known, to need any repetition in this work, where he claims a place as an 
 engraver. He feems to have been fond of amufing himfelf with the point; 
 for we have a confiderable number of prints by his hand. They are etched 
 
 with 
 
REN I 265 ] REV 
 
 with great freedom, in a bold, mafterly ftyle. The heads of the figures 
 are beautiful and exprefTive ^ and the other extremities drawn with all that 
 tafte and judgment, which might be expelled from the hand of fo excellent 
 an artift : And though they are very flightly executed, yet the beauties, 
 abounding in them, have ftamped a value upon them, which they ju.ftly 
 deferve. Simon Cantarini, called il Pefarefe, copied the ftyle of etching, 
 adopted by Guido, with fuch precifion, as fometimes to deceive the eye of 
 the connoifleur ; but, in general, the extremities of the figures, in the 
 plates of Cantarini, are not marked with that admirable tafte, fo difcerni- 
 ble in the works of Guido. 
 
 Guido often marked his plates with the initials of his name only ; at other 
 times with the initials G. and R. joined together cypher-wife, in the man- 
 ner exprefled upon the plate at the end of the volume. The following 
 etchings are by this artift : 
 
 A holy family, in which the Virgin Mary is reprefented feated, and her 
 face turned towards the infant Chrijt ; a Imall upright plate, from his own 
 compofition. This defign he engraved again, with fome variation. 
 
 The entombing of Chrifl\ a middling-fized upright plate, from Parmigiano. 
 
 The Virgin Jeated in the clouds, iJiiith St. George, St. Francis, St. Laurence, 
 and others, reprejented as adoring her ; a large upright plate, from his own 
 compofition. 
 
 St, Jerom praying in his cave, with a book before him ; a fmall upright 
 plate, from the fame. 
 
 The charity of St. Roch ; a large plate, length-ways, dated 1610, from 
 Annibale Carracci, intended as a companion for the good Samaritan, en- 
 graved by Francefco Bricci, from the fame mafter. 
 
 Many madonnas and holy families, with a variety of other fubj efts, chiefly 
 from his own compofitions. 
 
 B. RENTER. 
 
 Flouriftied, 1612. 
 
 To a very fpirited and correft etching, in which the extremities are 
 marked in a mafterly ftyle, I found this infcription, Bartt Renter pilior 
 fgur. Manachii, 161 2. It is a fmall plate, length-ways, reprefenting Chrifi 
 Jhown to the Jews by Pilate ; half figures. 
 
 C. REVERDINUS. 
 
 Flouriftied, 1570. 
 
 This artift was probably a difciple of ^neas Vico ; for he imitated his 
 ftyle of engraving with great exaftnefs. His prints, however, have little, 
 except their neatnefs, to recommend them, being very indifferently drawn, 
 and without effeft. If the dates upon the two prints, mentioned below, be 
 genuine, they will prove, that he worked with the graver a very confiderable 
 time ; and we may be furprized, that his engravings are not more coinmon. 
 Florent le Comte informs us, that he performed feveral obfccne fubjefts, 
 VOL. II. M m which 
 
R E U [ 266 ] RIB 
 
 which have probably been deftroyed. I (hall mention only the following 
 prints by him, apparently from his own defigns. 
 
 Mojes ftrik:ng the Reck ; a imall plate, length-ways. 
 
 Ihe ivife men's off'ering ; a middling-fized circular engraving. 
 
 A Jmall frieze ; length- ways, reprefenting a i'tfa/idWtf/, marked with his 
 name at length, and dated 1564. 
 
 Venus coming to Vulcan for the armour of Mneas ; a fmall plate, length- 
 ways, marked in the lame manner, and dated 1602. 
 
 See the marks of a C. and an R. and of a C. an E. and an R, on the 
 plate of monograms at the end of the volume. 
 
 F. A. R E U T E R. 
 
 Flouriflied, 1550. 
 
 An ancient engraver, mentioned by profeflbr Chrift, who marked his 
 prints with a cypher, compofed of an F. an A. and an R. See the 
 plate at the end of the volume. 
 
 NICHOLAS REYNOLD. 
 
 Flourifhed, 1580. 
 
 He was a native of London, and an engraver of maps. He afllfted 
 Saxton, who had undertaken to publifh a complete fet of maps of the 
 counties of England. 
 
 The map of Hatfordflnre, in particular, is engraved by Reynold. 
 
 GUISEPPE RIBERA, called SPAGNOLETTO. 
 Born, 1589. Died, 1656. 
 
 This celebrated painter was a native of Spain, born at Xativa. He rc- 
 fided a confiderable time in Italy, and ftudied affidioufly from the works of 
 Correggio ; but he afterwards adopted the ftyle of Michael Angelo Cara- 
 vaggio, with the greateft fuccefs. He excelled in hiftorical fubjefts, and 
 fuch efpecially as excite horror. His portraits are alfo held in very high 
 eftimation. He died at Naples, a. d. 1656, aged 67. 
 
 This great artift fometimes amufed himfelf with the point. His etchings 
 are executed in a bold, free ftyle ; the lights are kept broad and clear, 
 which gives them a powerful and pleafing ctfeft. He drew very corredtly ; 
 and the extremities of his figures are marked in a mafterly manner. The 
 charafters of the heads are admirably exprefled ; efpecially thofe of old men, 
 which he was fond of introducing into his compofuions. The following, 
 among others, are by him : 
 
 A dead Chrifi lying upon a linen cloth j a middling-fized plate, length- 
 ways, from a compofition of his own. 
 
 ^he martyrdom of St. Bartholomew ; a middling-fized upright plate, the 
 fame. 
 
R I C i 267 ] R I C 
 
 St. Jerom ; a fmall upright plate, with an angel blowing a trumpet. This 
 fubjeft was repeated without the angel. 
 
 St. Jerom Jeated reading, with ajkull upon the ground; a fmall upriglit- 
 plate. 
 
 Bacchus made drunk by Satyrs ; a middling-fized plate, length-ways, 
 dated 1628. 
 
 Several fmall plates, length-ways, for a drawing-book. 
 
 The portrait of Don John of Aufiria on hor/eback; a middling-fized upright 
 plate. 
 
 See the feveral marks, adopted by this mafter, copied on the plate at 
 the end of the volume. 
 
 GIOVANNI BATISTA RICCI. 
 Born, 1543. Died, 16 18. 
 This artift was a native of Novara, and died at Rome. He is fpoken 
 of in the Abecedario as a painter, and as an engraver. I am not acquainted 
 with his works. 
 
 MARCORICCI. 
 
 Born, 1680. Died, 1730. 
 
 He was born at Belluno, near theMarquifate of Frevigiano, and became 
 the difciple of his uncle Sebaftian Ricci. He excelled in painting land- 
 fcapes, and perfpeftive architedture. We have alfo feveral hiftorical fub- 
 jefts by him. He came into England, where he refided fome time, and 
 painted many pictures, which are held in high eftimation. He returned 
 into Italy, and died at Venice, in the fiftieth year of his age. 
 
 He amufed himfelf with the point; and we have by him a fet of land- 
 Jcapes, from his own compofitions. 
 
 JOHN RICH. 
 
 Flourifhed, 1679. 
 He was probably an Englifliman. By him we have a large whole fiieet 
 map of the great roads of England, with a border of foliage, executed en- 
 tirely with the graver. 
 
 JONATHAN RICHARDSON. 
 
 Born, 1665. Died, 1745. 
 This artift was a native of England, and a portrait painter of fome degree 
 of eminence. He amufed himfelf with the point ; and we have feveral 
 flight etchings by him ; among which are his own portrait; and the portrait 
 oi Pope the poet, of which he made two plates, one of them a profile; that 
 of Mtlton, and thix. oi Richard Mead, M. D. 
 
 A. RICHER. 
 
 Flouriftied, 
 
 He was a painter, the fcholar of Lanfranco, and is faid to have etched 
 feveral plates from the defigns of his mafter. 
 
 M m 2 P. Richer 
 
• R I C [ 268 ] RIG 
 
 P. Richer. This artiflr, according to Florent le Comte, engraved, con- 
 jointly with Chauveau, eleven plates of philofophical tables by Louis Lef- 
 (laches. 
 
 L. Richer. This artift is mentioned by profeffbr Chrift as an engraver, 
 refiding in England about the comnaencement of the prefent century. His 
 plates, according to that author, are marked L. P. F. 
 
 RICKEMANS, or RICKMAN. See RYCKMANS. 
 
 JOHN ELIAS RIDENGER. 
 Flouriflied, 1760. , , 
 
 This artift was a native of Germany, and refided at Augfbourg, where 
 he engraved a very confiderable number of plates of animals, and hunting 
 JiibjeSts. Thefe are exceedingly well executed, in a bold, free ftyle, but 
 not very highly finifhed. Generally fpeaking, the prints of Ridenger are 
 wanting in effeft, owing to the lights being too equally diffufed. The 
 greater part of this mailer's works are from his own compofitions. We 
 have alfo by him a middling-fized plate, length-ways, repreienting a hunt- 
 ing of lions, from Rubens. 
 
 PIETRO RIDOLFI. 
 
 Flourifhed, 17 10. 
 
 This artift was a native of Italy, and probably related to Claudio 
 Ridolfi of Verona, an hiftorical painter of fome eminence. Judging from 
 Ridolfi's ftyle of engraving, I fliould fufpe6l, that he ftudied under Cor- 
 nelius Bloemart ; but he did not poflefs either tafte or abilities to be placed 
 in a rank with that admirable mafter. I have feen two frontijpeces by 
 Ridolfi, from the defigns of C. N. Lamparel : one of them is affixed to a 
 volume in folio, containing half-fheet views of ancient and modern Rome, 
 publiftied at Venice, a. d. 17 16. 
 
 JOHN RIGAUD. 
 
 Flouriftied, 1710. 
 
 This artift, a native of France, was probably a relation of Hyacinth 
 Rigaud, a celebrated French portrait painter. John Rigaud was a land- 
 I'cape painter ; and, as far as one can judge from his prints, of confiderable 
 eminence. We have many landfcapes and views by him, etched with great 
 fpirit, and in a very mafterly ftyle ; and the figures, which he has occafi- 
 onally introduced, are exceedingly well executed. I fliall fpecify only two 
 middling-fized plates, length-ways, reprefenting the plague at MarfeilleSy 
 A. D. 1720, which I think are his mafter-pieces j and a fet oi Jcripture Jub~ 
 jeSts, fmall plates, length-ways. 
 
 J. RI- 
 
 
RIG [ 269 ] R I V « 
 
 J. R I G A U L T. 
 
 Flourifhed, 1740. 
 This artift, who was a native of France, engraved four views of royal 
 palaces in England^ and a confiderable number of plates of the fame kind, 
 taken from the palaces and gardens of St. Clou and Fontainbleau, which 
 were publifhed, a. d. 1738. He was probably the fame artift with Rigaud 
 mentioned above. 
 
 GOTTHARD RINGEL. 
 Flourifhed, 1720. 
 
 This artift, according to profeflbr Chrift, was a native of Zuric, and an 
 engraver on wood. He marked his prints with a G. and an R. joined to- 
 gether, in the manner exprefled upon the plate of monograms, at the end 
 of the volume. 
 
 PAUL RITTER. 
 Flouriftied, 1700. 
 
 An indifFerent engraver, who, profeflbr Chrift informs us, marked his 
 plates with the initials, P. R. 
 
 ANTONIO RIVAL Z. 
 
 Born, 1667. Died, 1735. 
 
 This artift was the fon of John Peter Rivalz, and a native of Touloufe. 
 He learned the firft principles of drawing and painting from his father. 
 His ftudies were improved under the diredtion of Le Fage, and completed 
 at Rome. His great excellence confifted in copying the works of the 
 celebrated Italian mafters ; and in fome inftances he fucceeded fo well, as 
 to deceive feveral very able judges. He amufed himfelf with the point; 
 and we have the following fpirited etchings by him : 
 
 "The martyrdom of St. Symfhorianus ; a middling-fized plate, nearly fquare.. 
 
 An allegorical fubjecl, in memory of Nicholas Pouflin. 
 
 Four fmall plates oi allegorical fubjetJs, for a Treatife on Painting, pub- 
 lilhed at Touloufe. 
 
 BARTHOLOMEW RIVALZ. 
 
 Flouriftied, 1750. 
 
 He was the nephew and the pupil of the preceding artift. By him wc 
 have feveral flight etchings ; and, among others, the following : 
 
 The fall of the evil angels j a middling-fized plate, from a compofition 
 of his uncle's. 
 
 The death of Mary Magdalen ; a fmall upright plate, from Benedetto 
 
 Luti. 
 
 STEPHEN DE RIVIERE. 
 
 Flouriftied, 
 He is mentioned by Florent le Comte, as an engraver on wood -, but none 
 of his works are fpecified by that author. 
 
 4 WILLIAM 
 
• ROB [ 270 ] ROB 
 
 WILLIAM ROBINS. 
 
 Flourifhed, 1730. 
 
 He was an engraver in mezzotinto ; and we have feveral portraits by 
 him i among others, that of William Warren, L. L. D. from Heims. 
 
 NICHOLAS ROBERT. 
 
 Born, 1610. Died, 1684. 
 
 He was a native of Orleans, and an admirable painter in miniature of 
 plants and birds. A great part of his works are preferved in the royal 
 library at Paris, and held in high eftimation. We liave alfo by him a col- 
 iedtion of etchings, confiding of _floivers and l>ireis; to which are added the 
 moft curious beajls, which were at that time to be feen in the King's 
 Menagerie. 
 
 A. ROBERT. 
 Flourifhed, 
 
 He was, according to Bafan, a pupil of Le Blond. We have feveral 
 prints in colours by him, which poffefs a confiderable fhare of merit. 
 
 HUBERT ROBERT. 
 
 Flourifhed, 176c. 
 He was a native of France, and Bafan fpeaks of him as a painter, newly 
 arrived at Paris from his ftudies in Italy. He informs us, that we have 
 feveral very fpirited etchings by this artift, 
 
 R. ROBINSON. 
 
 Flourifhed, 
 
 This name is affixed to feveral portraits in mezzotinto. I fhall mention 
 the following : 
 
 Charles the Firft, from Vandyck. Charles the Second, and James the 
 Second. 
 
 R O B E T T A. 
 
 Flourifhed, 16 10. 
 
 I have before mentioned the uncertainty of judging of the date of prints 
 from the rudenefs of the flyle of engraving, or the incorre6tnefs of the dcngn ; 
 bccaufe unfkilful pretenders to the art have been found, wherever it has 
 been encouraged. If we examine the prints of Robetta, we fhall find them 
 fo very rudely and uncouthly executed, that, when compared with the en- 
 gravings of Mantegna, Brixianus, Pollajoli, or even of Sand ro Boticelli, we 
 fhould not hefitate, 1 think, to give them the priority ; tor it feems liighly 
 improbable, that fuch mifhapen delineations fhould have been produced by 
 a man, who had ever feen any tokrable engravings, or any better than his 
 own. He was, we find, a native of Italy j fo that he had the opportunity 
 
 of 
 
 (^ 
 
ROB [ 271 ] ROC 
 
 of examining not only the prints by the above-mentioned artifts, but alfo the 
 early produdtions, at lead, of Marc Antonio Raimondi and his fcholars. 
 But, if he did fee them, it is abundantly evident, that they were of little 
 or no fervice to him. He is faid to have been a goldfmith by profeflion^ 
 One might therefore have expedted he would have been able to handle the 
 graver with more facility j for the goldfmiths were frequently oblio-ed to 
 ornament their works with that inftrument. The fcarcity alone of Robetta's 
 engravings gives the leaft value to them. He fometimes figned his name at 
 length, and ufually infcribed it upon a tablet ; but it is often marked 
 in this manner, R. B. T. A. 
 
 The following, among other engravings, are by him, apparently from 
 his own compofitions : 
 
 Adam and Eve ; a middling-fized upright plate. 
 
 The wife men's offerings-, a middling-fized upright plate, nearly fquare. 
 
 the refurreSlion of Chrijl ; a middling-fized upright plate. 
 
 The golden age ; a large upright plate. 
 
 GIACOMO ROBUSTI, called TINTORETTO. 
 Born, 1512. Died, 1594. 
 This celebrated artift was born at Venice. He became the difciple of 
 Titian, and excelled in painting hiftorical fubjefts and portraits, It is al- 
 moft needlefs to add, that his piftures are held in the higheft eftiination 
 his reputation being fo generally known. He died at Venice, a. d. iroA.,. 
 aged 82. We have only one etching by him, which is a portrait of Pajchal 
 Ciconiay Doge of Venice. 
 
 P. DE ROCHFORT. 
 
 Flourifhed, 1720. 
 He was a native of France, but refided fome time in Portugal, where he 
 died. We have by him feveral of the plates for the large folio colledlion 
 of views of the palace and gardens of Verjailles, publifhed by P. Menant* 
 He alio engraved from the piftures of J. B. Santerre, and other mafters» 
 
 STEPHEN DES ROCHERS. 
 
 Flourifhed, 17 10. 
 
 This engraver was a native of France, and refided at Paris. If he was 
 not a difciple of P. Drevet, it appears, at leaft, that he endeavoured to 
 imitate his ftyle of engraving ; but with no great fuccefs. We have by 
 him a fet of fmall portraits of illujirious perfonages, confifting of a very, 
 great number. 
 
 P. ROCHIENNE. 
 
 Flourilhed, 1551. 
 He was a native of France, and, according to Papillon, an engraver on 
 wood, who, in conjunction with J. Ferlato, executed a fet of prints for the 
 
 New- 
 
."roc [ 272 ] R O G. 
 
 New Teftament in Latin, publiJhed 1551. He fpeaks of thefe prints as 
 being very indifferently performed. 
 
 J. R O C Q_ U E. 
 
 Flourifhed, 1735. 
 He was probably a native of France, but refided in England. We have 
 by him, among other engravings, two large views, length-ways, of Wanjled 
 Houfe in EJfex, from drawings made by himfelf. They are in every refpedt 
 very indifferently executed. 
 
 JOHNHENRYRODE. 
 
 Born, Died, 1759. 
 
 He is mentioned by M. Heineken as an engraver of the German fchool. 
 
 Bernard Rode, his brother, a painter, who alfo engraved, was living 
 at Berlin, at the time iVI. Heineken publifhed \\\^ Idee generate d'une coUeSlion 
 complette d'ejlampes, a. d. 177 i. I am not acquainted with the works of 
 thefe artifts. 
 
 RODERMONT, or ROTTERMONDT. 
 
 Flourifhed, 1640. 
 He is alfo called by fome authors Rotermans. He appears to have been 
 a native of Holland, and a painter. We have feveral portraits by him, 
 etched in a bold, free ftyle, which prove him to have been a man of ge- 
 nius. He fometimes imitated the manner of engraving, adopted by Rem- 
 brandt, with great fuccefs. I fliall mention the following portrait only by 
 him : Sir William Waller, Serjeant Major General of the Parliament army, 
 and Member of the Houje of Commons, with a battle reprejented in the hack- 
 ground; a fmall upright plate from C. Johnfon. 
 
 F. R O E T T I E R S. ^^ 
 
 'Flourifhed, #X 
 
 He was a native of France, and probably the difciple of Nicholas de 
 Largilliere, from whofe defigns he engraved two large plates, length-ways ; 
 one of them reprefenting Chrijt canying his crofs j the other Chriji's cruci- 
 fixion. They are executed in a bold, free ftyle ; and the exprefTion of the 
 heads is well preferved. The mafles of light and fhadow are kept very 
 broad, and fo diftributed as to produce a ftriking, as well as a pleaf- 
 ing effeft. 
 
 HANS, or JOHN ROGEL. 
 Flourifhed, 1567. 
 
 An ancient engraver on wood, who refided at Augfbourg. ProfefTor 
 Chrift makes mention of this artifl j but he has not fpecified any of his 
 works. 
 
 WIELIAM 
 
R O G [ 273 ] R O L 
 
 WILLIAM ROGERS. 
 Flouriflied, 1600. 
 
 It appears from the infcriptions upon his plates, that he was a native of 
 London. It is uncertain from whom he learned the art of engraving. He 
 worked with the graver only, in a neat, laboured ftyle, but without much 
 tafte. "We have feveral portraits by him, alfo a confiderable number of 
 fronti/piecesy and other ornamental book-plates. To the plates for Huc^h 
 Broughton's Conjent of the Scriptures, printed a. d. 1600, he has affixed his 
 monogram, compofed of a W. and an R. joined together, in the manner re- 
 prefented upon the plate at the end of the volume. 1 Ihall mention the 
 following portraits by him, all of them probably drawn by himfelf : 
 
 ^een Elizabeth j a fmall upright plate. 
 
 Henry the Fourth of France ; a whole length, a fmall upright plate. 
 
 Earl of EJfex, furrounded with emblematical figures, in folio. 
 
 Earl of Cumberland, the fame. 
 
 Sir John Harrington, in folio, the title to his Orlando Furio/o. 
 
 Thomas Moffat, in an ornamental frontifpiece, affixed to his Theatre of 
 Infests. 
 
 ROLAND ROGMAN, or ROGHMAN. 
 Born, 1597. Died, 1686. 
 This artift, who was a celebrated painter of landfcapes, was born at 
 Amfterdam. It is remarked of him, that he ftudied carefully from nature, 
 and formed his manner rather from copying her, than the ftyle of any mafter. 
 His piftures are fpoken of with great commendation. We have by him 
 feveral fets of views in Holland, and the Low Countries, etched in a flight, 
 but mafterly ftyle. They are of various fizes, but none of them very 
 large. 
 
 HENDRICK ROKERZ. 
 
 Flouriftied, 
 
 An obfcure and indifferent engraver, by whom we have fome few portraits, 
 and, among others, that of William Henry Prince of Orange, on horjeback j 
 a fmall upright plate, from Peter Janfe. 
 
 R O L. See R O L L O S. 
 
 JOSEPH ROLL 
 Born, 1654. Died, 
 He was born at Bologna, and became the difciple of Canueti, from whom 
 he learned the principles of drawing and painting. We have a confiderable 
 number of etchings by him, from Guido, and other mafters of the Bologna 
 fchool. I Ihall mention only the following : 
 
 Charity ; a fmall upright plate, from Lodovico Carracci. 
 
 A Sybil ; the fame, a half figure only, from Lorenzo Pafinelli. 
 
 VOL. II. • N n PETER 
 
R O L [ 274 ] R O O 
 
 PETER ROLLOS. 
 
 Flourifhed, 1620. 
 
 If he was not a native of Francfort, he refided there, where he engraved 
 the frond/piece to a book of emblems, in oftavo, publiflied in that city, a. d. 
 16 1 9. It was written originally by Georgette de Montenay, in French ; 
 but in this edition is tranflated into the Latin, Italian, Spanifh, Englifb, 
 German, and Belgic languages. I have feen feveral other frontifpieccs by 
 RoUos, all of which are very indifferent; one in particular, confifting of am 
 ornamental vafe, decorated with flowers, in fmall folio. He fometimes ab- 
 breviated his name in this manner, P. ROL. and P. ROl. f. 
 
 GIOVANNI FRANCESCO ROMANELLI. 
 Born, 1617. Died, 1662. 
 
 This artift was born at Viterbo. He became the difciplc of Pietro da 
 Cortona, and excelled in hiftorical painting. His merit recommended him 
 to the notice of the French King, who employed him a confiderable time, 
 and conferred the honour of knighthood upon him. We have fome few 
 etchings by him from his own compofitions. 
 
 R O M A N E T. 
 
 Flourifhed, 1760. 
 
 A modern engraver, who was, I believe, a native of France. We have 
 by him, among others, the following fmall upright prints, the village print- 
 Jeller, and the ballad-finger, its companion. 
 
 CHRISTIAN ROMSTET, or ROMSTAEDT. 
 
 Flourifhed, 1670. 
 
 He was a native of Leipfic, and an engraver of no note. His works con- 
 
 fift principally of portraits, which are but indifferently executed. ProfefTor 
 
 Chrift attributes to him a monogram, compofed of a C. and an R. joined 
 
 together, in the manner expreffed upon the plate at the end of the volume. 
 
 MARGARET LOUISA AMELIA DE LORME DU RONSERAY. 
 
 Flourifhed, 1750. 
 
 This lady, fays Bafan, etched, with great tafle, feveral ftudies from 
 Bouchardon and other maflers. He notices in particular a head, flrongly 
 marked, from the cartoon, painted by Pierre for the chapel of St. Roch at 
 Paris. 
 
 R O O K E R. 
 Born, Died, 1774. 
 
 A mofl admirable engraver of architecture, whofe works are too well 
 known to need any recital here. He was remarkable for his agility, and 
 performed the part of Harlequin, at Drury Lane Theatre, with great fuc- 
 
 cefs. 
 
R O O i 275 ] R O S 
 
 cefs. The SeSlion of St. Paul's Cathedral, from a drawing made by Wale, 
 a very large upright plate, is a wonderful performance by this great artift. 
 
 JOHN KENDRICK ROOS. 
 
 Born, 1631. Died, 1685. 
 
 He was a native of Ottenberg, and became the difciple firft of Julian 
 Jardeyn, and afterwards of Adrian de Bie. He excelled in painting land- 
 fcapes, animals, and portraits ; and his works are held in very high eftima- 
 tion. He amufed himfelf with the point ; and we have feveral very capital 
 etchings by him j among others, a fet of domeftic animals on twelve mid- 
 dling-fized upright plates ; another fet of animals, confift'ing of eight mid- 
 dling- fized plates, length-ways. 
 
 SALVATOR ROSA. 
 Born, 161 4. Died, 1673. 
 
 This celebrated painter was born at Naples, and received his firft inflrufti- 
 ons in the art of painting from his kinfman Francefco Francazano. He after- 
 wards entered the fchool of Spagnoletto, and completed his ftudies under 
 the diredtion of Daniel Falcone. His hiftorical pictures and battles are 
 held in very high eftimation ; but his landfcapes and fea views, enriched 
 with excellent figures, are very wonderful performances. 
 
 This great artift amufed himfelf with the point ; and the etchings we 
 have by him are executed in a flight, but bold and mafterly ftyle. The 
 maffes of light and fhadow are very finely preferved ; and the expreffion of 
 the heads of his figures is admirable j but the legs and other naked parts 
 are not corredlly drawn. 
 
 The following prints, among others, are by him : 
 
 The fall of the giants ; a very large upright plate. 
 
 The execution of the tyrant Polycrates ; a large plate, length-ways. 
 
 The death of Regulus ; the fame. 
 
 A fet of twelve middling-fized upright plates, reprefenting Alexander 
 •with Apelles. Alexander vijiting Diogenes. Diogenes breaking his cup. 
 Plato difcoiirfing with his difciples. Democritus meditating, &c. 
 
 A fet of fixty middling-fized upright plates, reprefenting banditti, foldiers, 
 and other figures, fingle and in groups. 
 
 His mark, compofed of an S. and an R. joined together, is copied upon 
 the plate of monograms, at the end of the volume. 
 
 DOMENICO ROSETTI. 
 
 Flouriflied, 1720. 
 
 He was a native of Italy, and is fpoken of by Bafan as a painter. He 
 engraved feveral of the plates for the colledtion of prints, taken from the 
 moft capital piftures at Venice, publifhed by Domenico Louifa, a print- 
 feller in that city, a. d. 1720. 
 
 N n 2 ■■ MICHAEL 
 
R O S [ 276 ] R O S 
 
 MICHAEL ROSLER. 
 
 Flcurifhed, 1626. 
 
 A very indifferent engraver of portraits. He worked chiefly, if not en- 
 tirely, for the bookfellers. Many of his prints are in a folio volume, en- 
 titled Icones Bibliofolarum et Typographorum ; publilhed at Nuremberg, 
 1626. 
 
 JAMES ROSS. 
 Flouriflied, 1778. 
 
 A modern artift, by whom we have feveral views of the city of Hereford, 
 very neatly engraved ; they are fmall plates, length-ways, and taken from 
 the drawings by G.Powle. 
 
 GIOVANNI BATISTA ROSSI. 
 Flourifhed, 1640. 
 He is fpoken of as an engraver by Florent le Comte, who attributes to 
 him a fet oi perfpeHive views of Rome, publifhed 1640. 
 
 GIROLAMO ROSSI, or DE RUBEIS thb Elder. 
 
 Flourifhed, 1650. 
 
 He was a native of Rome, but refided chiefly at Bologna, and became 
 the fcholar of Simon Cantarini, from whom he learned the principles of 
 painting. He amufed himfelf with the point ; and we have feveral very 
 flight, but meritorious etchings by him ; and among others the following : 
 
 The Virgin and Child, accompanied by St. Francis and St. Jerom ; a mid- 
 dling-fized upright plate, from Lodovico Carracci : it is infcribed, Hiero- 
 nimiis de Rtibeis pi£lor delineavit incidit. 
 
 Two Cupids playing together ; a fmall upright plate from Guercino. 
 
 FiLiPO, or Philip Rossi, who flouriflied about the fame time, is men- 
 tioned by fome authors as an engraver ; but, I believe, he was a publiflier 
 only. 
 
 GIROLAMO ROSSI, or DE RUBEIS the Younger. 
 
 Flouriflied, 1720. 
 
 He was probably a relation of the artifl:, mentioned in the preceding ar- 
 ticle. He refided at Rome, and engraved a confiderable number of plates, 
 which he executed principally with the graver, in a ftifi^, heavy ftyle. I 
 fhall mention the following only: 
 
 The Virgin and Child ; a middling-fized upright plate, from Correggio. 
 
 The martyrdom of St. Agapita ; a large plate, length-ways, from J. 
 Oddazzi. Alfo a confiderable number of pi?r/r<?;Vj, &c. 
 
 GIOVANNI NICCOLA ROSSILIANI, or ROSSIGLIANI. 
 
 Flourifhed, 1555. 
 
 Some authors have omitted the family name of this artift, and called 
 
 him 
 
R O S [ 2yy ] ROT 
 
 him Giovanni Niccola Vicentino, from the place of his birth. He en- 
 graved on wood, in the manner diftinguifhed by the appellation of chiaro- 
 fcuro, which is performed with more blocks than one. Rofliliani ufed 
 three ; the firft for the outline j the fecond for the more powerful fhadows ; 
 and the third for the lighter tint. He engraved from Raphael and other 
 mafters. 
 
 ROSSO, called MAITRE ROUX. 
 
 Born, 1496. Died, 1541. 
 
 This celebrated hiftorical and portrait painter was born at Florence. 
 He attained the art of defign and painting, chiefly from the force of his own 
 genius and application i for it does not appear, that he was regularly inftrudb- 
 ed by any mafter. It is faid, that he ftudied the works of Michael Angelo 
 Buonaroti with great attention, and derived confiderable knowledge from 
 them. He was employed by the King of France ; and his principal work 
 is the galler)' at Fontainbleau, reprefenting the hiftory of Alexander, in 
 twenty-four pidlures. Florent le Comte affures us, that he engraved fe- 
 veral of his own compofitions j but he has not fpecified the fubjefts. 
 
 MARTINO ROTA. 
 
 Flourifhed, 1560. 
 
 This artift was a native of Sebenico in Dalmatia, and refided principally 
 at Venice. It is uncertain by what mafler he was inftrufted in the art of 
 engraving. His works, however, prove him to have been a man of great 
 abilities. He drew the human figure very corredlly, and marked the ex- 
 tremities in a mafterly manner. He worked entirely with the graver, in a 
 neat, clear ftyle ; though his plates are not very highly finiflied. Want of 
 effeft, a fault univerfally prevalent among the engravers of that age, is the 
 only blemilh we difcover in his beft prints ; among which the following may 
 be reckoned ; fome of them from his own defigns. 
 
 l!he laft judgment; a middling-fized upright plate, dated 1569, from 
 Michael Angelo Buonaroti. This excellent engraving, which is juftly con- 
 fidered as the chef d'ceuvre of Martino Rota, has been copied with much 
 exaftnefs by Leonard Gaultier; the difference, however, is eafily difcovered 
 by comparifon, the copy being much inferior to the original : that is, fup- 
 pofing the original to be a good impreflion ; but not othervvife. But a more 
 ftriking diftindlion is, the face of the portrait oi Michael Angelo, which is 
 reprefented in a fmall oval at the top, is turned towards his right fhoulder 
 in the original, and towards his left fhoulder in the copy. 
 
 "The martyrdom of St. Peter the Dominican-, a middling-fized upright plate, 
 from Titian. 
 
 Mary Magdalen -, a half figure, a fmall upright plate, from the fame 
 painter. 
 
 Prometheus chained to the rock ; a middling-fized upright plate, from the 
 fame. 
 
 The 
 
ROT [ 278 ] R O U 
 
 'The murder of the Innocents, a middling-fized plate, length-ways, from 
 his own compofition. 
 
 The Jcourging of Chriji ; the fame, from the fame, dated 1568. 
 
 'The refurreSiion of Chriji ; the fame, from the fame. 
 
 The laft judgment ; a middling-fized upright plate, from his own compo- 
 fition, dedicated to the Emperor Rodolphus II. He repeated this fubjeft 
 with fome confiderable variation in the defign. This plate was left un- 
 finiihed at his death, and was afterwards completed by the care of Anfelme 
 de Boodt. 
 
 We have feveral portraits by Martino Rota, and, among them, that of 
 the Emperor Rodolphus 11. dated 1592; a middhng-fized upright plate, 
 marked wi(h a fingular monogram, compofed of an M. with a wheel by 
 the fide of it, to exprefs his family name. Rota in Latin fignifying a wheel. 
 He alfo engraved from the piftures of Raphael, Frederic Zucchero, Luca 
 penni, and other mafters. A complete fet of his works is very valuable; 
 but any fine impreflions of them is rarely to be obtained. 
 
 PIETRO ROTARI. 
 
 Born, 1707. Died, 
 
 He was a native of Verona, born of a noble family; but having a na- 
 tural turn for the arts, he became the difciple of Antonio Baleftra. He 
 went from his mafter to Venice, and from thence to Rome, ftudying with 
 great affiduity from the works of the beft mafters. He arrived at a very 
 confiderable degree of eminence in hiftorical and portrait painting; and his 
 works are very much fought after. He amufed himfelf with the point; and 
 we have feveral flight, but fpirited etchings by him, from the defigns of 
 his mafter Baleftra, and others from his own compofitions. Of the laft I 
 fliall mention the following : 
 
 St. Francis adoring a crucifix ; a middling-fized upright plate in an oval. 
 
 The education of the Virgin ; half figures, a middling-fized upright plate. 
 
 ROTERMANS. See RODERMONT. 
 
 J. MAURO ROVARE. 
 
 Flourifhed, 1600. 
 This artift, according to profefl"or Chrift, refided at Milan, where he en- 
 graved feveral plates, marked with the initials of his name in this manner, 
 I. M. R. F. the F. as ufual ftanding (or fecit ; and thus, M. R. IN. Thefe 
 engravings are dated 1604. 
 
 JOHN LOUIS ROULLET. 
 
 Born, 1645. Died, 1699. ,-' 
 
 He was a native of France, born at Aries in Provence. He learned the 
 
 5 firft 
 
R O U [ 279 ] R O U 
 
 firft principles of drawing and engraving from John Lenfant, and com- 
 pleted liis fludies under the diredlion of Francois de Poilly, whofe manner 
 of working he adopted with very great fuccefs- After he quitted the 
 fchool of Poilly, he went to Italy, and refided there ten years, where his 
 merit foon recommended him to the notice of Ciro Ferri, and other cele- 
 brated artifts. He returned to France, and fettled at Paris, where he died, 
 A. D. 1699, aged 54 years. 
 
 Roullet may very properly be placed among the moft capital French 
 artifts. He handled the graver widi great facility,- and drew the human 
 figure very correftly. The following prints, with a great number of 
 others, are by him: 
 
 Mary viftting Elizabeth, a very large upright plate, from P. Mignard. 
 ^ The Virgin with the infant Chriji in her arms, who is holding a bunch of 
 grapes ; a middling-fized upright plate, from the fame. 
 
 The three Maries vifiting the tomb of Chriji ; a large plate, length-ways, 
 from Annibale Carracci. According to Florent le Comte, he engraved this 
 print while he refided at Naples. 
 
 A dead Chriji, Jupported by the Virgin, who is fainting, accompanied by 
 Mary Magdalen and two other women ; a very large plate, length-ways, 
 from a celebrated pidture by the fame artift, in the colledtion of the French 
 King. This is RouUet's moft capital performance. 
 
 We have alfo many fine portraits by him ; and, among others, that of 
 Louis XIV. of France, a half length, half the fize of nature. 
 
 LA ROULLIERE. 
 
 Flouriftied, 1700. 
 
 An engraver on wood, who is mentioned by Papillon with feme com- 
 mendation j but his works are not fpecified. 
 
 ROUSSIERE. 
 
 Flouriflied, 
 
 A name affixed to the portrait of Michael de Caflelnau, ambaftador from 
 France, an oval in folio. 
 
 J A Q^U ES ROUSSEAU. 
 Born, 1626. Died, 1694. 
 
 He was born at Paris, and became the pupil of Herman Swanefeld. He 
 profited exceedingly from the inftruclion of that mafter, and arrived at a 
 great perfeftion in painting of landfcapes, perfpeftive views, and archi- 
 tedure. Being a proteftant, to avoid the perfecution, which was rigouroufly 
 fet on foot againft the profeflbrs of that religion, he was obliged to quit his 
 own country, and retired to Switzerland; from thence to Holland, and 
 from Holland he came into England, and was employed by the Duke of 
 Montague, in conjundlion with Baptift and le Fofle, to ornament his houfe 
 
 in 
 
R O U [ 280 J R O U 
 
 in Bloomfbury (now the Brltifh Mufcum) with piftures. He died in Lon- 
 don, A. D. 1694, aged 68 years. 
 
 Roufleau amufed himfelf with the point. We have by him a fet of fix 
 flight etchings confifting of land/capes, ornamented with architeEture and 
 figures. They are middling-fized plates, length-ways ; alio feveral of the 
 plates for the colleiStion of prints, engraved from the pidures in the cabinet 
 of Jabach. 
 
 J. F. ROUSSEAU. 
 
 Flourifhed, 1760. 
 
 A modern engraver, who refided at Paris. His works confift chiefly of 
 vignettes and other book-plates. He alfo engraved a middling-fized upright 
 plate, reprefenting St. Jerom^ from F. Mola. 
 
 GILLES ROUSSELET. 
 Flourifhed, 1670. ^^ 
 
 He was a native of France, and refided at Paris. It is uncertain from 
 what mafter he learned the art of engraving; but if he was not inftrudted 
 by Francois de Poilly, it is certain, that he carefully ftudied the works of 
 that artift ; for he copied his ftyle of engraving with no fmall luccefs. 
 Rouflelet drew correftly 5 and his belt prints poflefs much merit ; but he 
 was too apt, in his naked figures efpecially, to cover his lights more power- 
 fully than was neceflary, which gives a great flatnefs to the effeft. 
 
 The works of this m after are exceedingly numerous, and not very fcarce. 
 I fliall mention the few following only : 
 
 Ahrahanisjervant meeting Rebecca at the well; a large plate, length-ways, 
 from Nicholas Pouffin, dated 1677. 
 
 Mo/es found hy Pharoah's daughter-, the fame, from the fame. 
 
 The annunciation of the Virgin Mary, a large upright plate, from Guido. 
 
 A holy family, with Elizabeth, St. John, and two angels ; a large upright 
 plate, from Raphael. Edelinck engraved a plate from this pifture. 
 
 Chrifl carried to the tomb ; a large plate, length-ways, from Titian. This 
 is out of his ufual ftyle of engraving, executed in a dark, bold manner. 
 
 Four middling-fized plates, length-ways, reprefenting three o^the labours 
 of Hercules, and his death ; middling-fized upright plates, from Guido. 
 
 "The Centaur Nejfus, carrying Deianira over the river ; the fame, from the 
 fame painter. 
 
 He alfo engraved from Bourdon, Annibale Carracci, P. de Cortona, P. 
 Champagne, Stella, Valentinian, Blanchard, Le Brun, L. le Hire, L. 
 Tertelin, Errard, &c. 
 
 MARY ANN ROUSSELET. 
 
 Fluuriflied, 1750. 
 
 This lady was probably a relation of the laft-mentioned artift. She was 
 married to Peter Francis Tardieu. We have by her feveral engravings, 
 
 and 
 
ROY [ 281 ] R U C 
 
 aftd among others, St. John in the defert, a middling-fized upright plate, 
 from Cario Vanloo. The fame pidture was engraved by Wagner. She alfo 
 engraved many of the plates for Buffon's Natural Hiftory. 
 
 HENRY LE ROY. 
 
 Born, 1579. 
 An obfcure artift, by whom we have a fet of fix fmall plates, length-ways, 
 reprefenting flies, butterflies, beetles, and other inJeEls, etched in a ftyle 
 fomething refembling that of Hollar's, and retouched with the graver. 
 They are thus, infcribe.d, Henri le Roy fecit, iE. 72. 1651. 
 
 C. L E ROY, 
 
 Flouriflied, 
 
 A name affixed to the portrait of And. Hercules Card. Fleury, in a half, 
 fheet oval, after Autreau. 
 
 R U B E I S. See R O S S I. 
 
 Sir PETER PAUL RUBEN S^ 
 Born, 1577. Died, 1640. 
 
 iTie great merit of this extraordinary artift, as a painter, is too generally 
 known to need any repetition in this work. He took up the point for his 
 amufement, and the etchings, which we have by him, bear fufficicnt 
 evidence of the hand of the mafter. They are flightly executed, but in a 
 bold, free ftyle ; and are as follows, from his own compofitions : 
 
 St. Francis D'Jflize receiving the Jiigmatics -, a very fmall upright plate. 
 
 St. Catherine ; a middling-fized upright plate, a defign for a ceiling. 
 
 y^n old woman holding a lighted candle, with a boy lighting another by it ; 
 half figures, a fmall upright print. This plate was finiflied, after Rubens 
 had etched it, by Lucas Vorfterman, or, as fome fay, by Paul Pontius. The 
 etching, as left by Rubens, is exceedingly rare. Cornelius Viflcher copied 
 this plate. 
 
 The portrait of an Englifl) Minifler, a fmall buft in an oval, marked P. P. 
 Rubens fecit, 
 
 PETER RUCHOLLE. 
 
 Flouriflied, 
 A native of France, and a very indiff^erent engraver, who flouriflied to- 
 wards the conclufion of the laft century. We have feveral prints by him, 
 after various maflers, and, among others, the portrait of Charles Emanuel, 
 Duke of Savoy ; a fmall upright plate from Vandyck, 
 
 VOL. II. O o GEORGE 
 
RUG [ 282 i R U I 
 
 GEORGE PHILIP RUGENDAS. 
 
 Born, 1666. Died, 174'i. 
 
 He was born at Augfbourg, and became the difciple of Ifaac Fifches, an 
 hiftorical painter. He Iludied from the works of Bourgognone, and other 
 eminent painters of battles, to which fpecies of fubjeds his genius naturally 
 ltd him. In order to improve himfelf, he travelled to Rome ; and, at his 
 return to his native city, met with fufficient employment ; and there he 
 died, A. D. 1742, aged 76. 
 
 He etched and engraved in mezzotinto a great number of prints, which 
 fufficiently demonftrate his abilities. They confift of Jkirmijhes y marches^ 
 halts, &c. of the hiijfars and other Joldiery. 
 
 George Rugendas, the fon of the preceding artift, is alfo faid to have 
 engraved from the defigns of his father. 
 
 CHRISTIAN RUGENDAS. . 
 
 Flourifhed, 1760. 
 This arcift, and Laurence Rugendas, his brother, were the grandfons 
 of George Philip Rugendas, mentioned above. They engraved from the 
 pictures of their grandfather. 
 
 GUIDO RUGGER I. 
 
 Flourifhed, 1550. 
 He was a native of Bologna, and became the difciple of Francefco 
 Francia. I am not at all acquainted with his works as a painter j but as 
 an engraver, I believe, he is more generally known. He accompanied 
 Primaticcio into France, and engraved ieveral of the pi£lures, which that 
 artift painted at Fontainbleau. His ftyle of engraving greatly refembles 
 that of Marc de Ravenna ; and, it is probable, he miglit have been in- 
 fl:ru6led in the fchool of Marc Antonio. Ruggeri marked his plates with a 
 cypher, compofed of a G. and an R. joined together, and followed by an 
 F. {or fecit. See the plate of monograms at the end of the volume. 
 
 JOHN CONRAD RUIDIMAN, or REUTTIMAN. 
 
 Flourifhed, 
 
 He was probably a goldfmith. We have by him fome plates o{ foliage.^ 
 and other ornamental defigns, which were publiflied at Augibourg. 
 
 GASPAR RUIN A. 
 
 Flourifhed, 
 By this artift, who was an engraver on wood, we have a middling-fized 
 print, length-ways, reprefenting x\\t creation of Adam ; and though ir is 
 evidently taken from the pidlure of Michael Angelo Buonaroti in the 
 V'atican, yet this infcription is affixed, Hieronymo de Grandi pncfit, Gafper 
 Ruina fecit : it is very indifferently executed. 
 
 PRINCE 
 
R U P I 283 ] R U P 
 
 PRINCE RUPERT. 
 
 Flourifned, 
 To this noble perfonage the invention of engraving in mezzotinto has 
 been ufually attributed ; and, according to the general account, it owed its 
 origin to a very trifling accident. Prince Rupert one morning oblervinCT a 
 foldier employed in cleaning his muflcet from the ruft, occafioned by the 
 fall of the night dew, perceived, upon examination, ibme refemblance of a 
 figure corroded upon the barrel ; and hence he conceived, that fome me- 
 thod might be difcovered to cover the plate all over with fuch a grained 
 ground ; fo that by fcraping away thofe parts, which required to be white, 
 the efFedl of a drawing might be produced. This hint he afterwards im- 
 proved upon ; and, afllfted by Wallerant Vaillant, to whom he had com- 
 municated his thoughts upon the llibjeft, a fteel roller v/as conllrutted with 
 fliarp teeth, channelled out like a rafp or file, which anfwered, in fome de- 
 gree, the intended purpofe. Thus lar our own audiors inform us ; but 
 .Baron Heineken, a very judicious and accurate writer upon the fubjedt of 
 engraving, afTerts in a note, page 208, of his Idee Generale d'une Colle£lio)i 
 comflette d'EJlampes, publiflied at Leipfic 177 1, that " it was not Prince 
 ** Rupert, who invented the art of engraving in mezzotinto, as Vertue and 
 " fevcral other authors pretend to fay. But it was the Lieutenant Colonel 
 '' de Siegen, an officer in the fervice of the Landgrave of Heflfe, who firft 
 " engraved in this manner ; and the print, which he produced, was a por- 
 *' trait of the Princefs Amelia Elizabeth of Heffe, engraved as early as the 
 " year 1643. Prince Rupert learned the fecret from this gentleman, and 
 " brought it into England, when he came over the fecond time with Charles 
 " the Second." 
 
 If the account, as given by Baron Heineken, be allowed as authentic, 
 and it bears every appearance of being true, efpecially if fuch a portrait 
 really exifts, then the probability of the firft ftory is entirely deftroyed. I 
 muft leave the reader, however, to decide for himfelf, having given him 
 all the information I could obtain upon the fubjedt. Mr. Granger, indeed, 
 adds that Sir Chrillopher Wren is faid to have been the inventor of mezzo- 
 tinto, but there feems to be very little proof of the faft. 
 
 The prints engraved by Prince Rupert in mezzotinto are the two fol- 
 lowing : 
 
 A large whole fheet plate, reprefenting an execuiiofier holding a /word in 
 one hand, and a head (intended probably for the head of John the Baptift) in 
 the other; a half length figure, from SpagnoUetto, dated 1658. Upon the 
 fword are thefe initials, with the date, R. P. F. 1658. and the firft letter is 
 furmounted with a crown. Upon aftone or tablet, at the bottom, is this in- 
 fcription, Sp. In. Rvp. P. Fecit. Francofvrti, ano 1568, with the 
 initials, IVI. A. P. M. which I cannot eafily explain. He engraved the head 
 of the executioner a fecond time, on a fmaller fcale, for Mr. Evelyn's Sculp- 
 tura, who therein aflures us, that it was given to him as a fpechnen of 
 the new invented art, by Prince Rupert himfelf. 
 
 Aivoman's head looking doivn; a fmall upright plate, 
 
 O o 2 ScQ 
 
R U S [ 284 ] R I C 
 
 See the mark, which he put upon his engravings, copied upon the plate at 
 the end of the volume. 
 
 Florent le Comte, fpeaking of Prince Rupert, fays, " he etched two 
 " fmall land/capes" Thefe 1 know nothing of i it might be a miftake of le 
 Comte's. 
 
 LUPRECHTRUST. 
 
 Flouriftied, 
 
 Said to be a very ancient engraver, and mafter to Martin Schoen. If 
 this be true, we may reafonably fuppofe, that he worked as early as 1450; 
 but there is very little authority to prove, that fuch an artift as Ruft ever 
 exifted; much lefs, that Martin Schoen owed his inftruftions to him, not- 
 withftanding profeffor Chrift fpeaks fo pofitively upon the fubjedt. The 
 fame author, a little further on, mentions one Lubert Rust, who is faid 
 to have marked his engravings with the initials L. P. but, continues he, 
 I am doubtful, if any of his works are now excani. 1 fuppofe, that both 
 thefe names are intended for the fame artift. 
 
 JAKOB RUYSDAAL. 
 Born, 1636. Died, 168 1. 
 This juftly celebrated landfcape painter was born at Haerlem. He was 
 contemporary with Berchemj and they were upon a very intimate footing 
 with each other. From Berchem's works Ruyfdaal is thought to have 
 profited confiderably ; but nature was his greateft and bell inftruftor. 
 The great prices, which the pictures by this admirable mafter bear, are fuf- 
 ficient teftimonies of tlie eftimation they are held in, and this eftimation is 
 not fuperior to their real merit. He died at Amfterdam, a. d. 168 i, aged 
 
 45- 
 
 We have a confiderablc number of etchings by him o^ landjcapes of vari- 
 ous fizes, executed in a very flight, but mafteriy ftyle, bt-anng fome re- 
 femblance to that of Waterloo. They are very valuable, and may be con- 
 fidcred as beautifid fketches from nature. 
 
 N. D E R U Y T E R. 
 
 Flouriftied, 1688. 
 
 An artift of no great note, who imitated the ftyle of engraving, adopted 
 by Paul Pontius, but without much fuccefs. We have by him a middling- 
 (ized plate, leiigth-ways, reprefenting Diana repofing after the chace, from 
 Gerard Valck. 
 
 NICHOLAS RICHMANS. 
 
 Flourifhed, 1660. 
 
 He was a native of Antwerp, and probably a difciple of Paul Pontius. 
 He worked with the graver only, in a neat, but ftifF ftyle j and the outlines 
 
 of 
 
R Y L . [ 285 ] R Y L 
 
 of the naked parts of his figures, the extremities elpecially, are exceed- 
 ingly incorreft. We have by him 
 
 Tbe adoration of the nvije men ; a large upright plate, from Rubens. Tlie 
 firft impreflions are prior to the infertions of the addrefs of either Gafper 
 Huberti, or of Corn. V'an IVIerlen. 
 
 A holy family \ a fmall plate, length -ways, from the fame painter. 
 
 The entombing of Cbriji ; a fmall upright plate, from the fame. 
 
 The di/covering of Achilles j a middling-fized upright plate, from the 
 fame. 
 
 WILLIAM WYNNE RYLAND. 
 
 Born, 1732. Died, 1783. 
 
 This great artift was a native of London. His genius for the arts 
 difcovered itfelf at a very early period of his life ; and he was placed with 
 Simone Francois Ravenet, who was at that time fettled in England. 
 When he had finifhed his apprenticefliip, he went to Paris, where he re- 
 fided five years, and applied himfelf clofely to the ftudy of drawing, par- 
 ticularly of the human figure, under the direction of Boucher, a painter, 
 then in very high repute ; and he engraved feveral plates from his 
 compofitions -, among which the moft capital is a middling-fized plate, 
 length-ways, reprefenting Jupiter and Leda. 
 
 Soon after his return to England, he was appointed engraver to his 
 Majefty, and had a yearly penfion allowed him. He engraved two whole 
 length portraits of the King, from Ramfey ; and a portrait of the Queen, 
 from Coates. It is greatly to be lamented, that his engagements in the 
 mercantile line, as a printfeller, deprived him of fo confiderable, and fo 
 precious a part of his time, and prevented his purfuing the arts with that 
 alacrity the fl:rength of his genius required, which feemed formed for great 
 and extenfive exertions. The works, which he has left behind him, abun- 
 dantly prove, that he had fufiicient knowledge and judgment to have car- 
 ried them to great perfeftion. 
 
 In the latter part of his life, he applied himfelf entirely to the engraving 
 of plates in imitation of chalk drawings, from the piftures chiefly of Ange- 
 lica Kauff"man ; which manner of engraving he firft introduced into Eng- 
 land ; and how much it was improved under his hands, the prints them- 
 felves fufficiently demonftrate. 
 
 He was a man refpedted and beloved by all that were well acquainted 
 with him ; for few men in private life ever poflefled more amiable qualities 
 than he did. He was a tender hufband, a kind father, and a fincere friend. 
 He frequently fliraitened his own circumflances to alleviate the forrov/s 
 of others -, for Tiis heart was always open to receive the felicitations of 
 diftrefs. 
 
 The narrow limits of this work will permit me only to mention the few 
 following engravings by this eminent artift: 
 
 Antiochiis and Stratonice j a large plate, length-ways, from Pietro da 
 Cortona, for Mr. Boydell's Colleftion. 
 
 The firft interview between Edgar and Elfrida ; a large plate, length- 
 ways. 
 
R Y S [ 386 ] R Y T 
 
 ways, from Angelica; left unfinifhed at the time of his death, but com- 
 pleted for the benefit of his widow by Mr. Sharp. 
 
 The following are in imitation of chalk, drawings : 
 
 Four half flieet circles, from Angelica, reprefenting Juno borrowing the 
 Cejins of Venus. AJacrifice to Pan. Cupid bound, with nymphs breaking his 
 boiv. Cupid ajleep, with nymphs awaking him: 
 
 Eleanor, the wife of Edviard the Firfi, fucking the poifon from his wound ; 
 a half-Iheet plate, length-ways, from Angelica. 
 
 Lady Elizabeth Gray, foliciting of Edward the Fourth the rejioration of her- 
 hufband's lands j its companion, from the fame» 
 
 Patience; a half- fheet upright oval, from the fame. 
 
 Maria ; from Sterne's Sentimental Journey, the fame, from the fame. 
 
 King John ratifying the Magna Charta ; from Mortimer. This admirable 
 engraving was not quite completed at Mr. Ryland's death, but was finilhed 
 by Mr. Bartolozzi ; it is of the fime fize with the Edgar and Elfrida men- 
 tioned above, and is ufually bought as a companion. 
 
 PETER RYSBRACK, or RYSBRECHTS. 
 
 Born, 1657. 
 
 He was a landfcape painter of fome eminence, born at Antwerp. He 
 was the difciple of Francefco Mille ; but, admiring the works of Gafpar 
 PoulTin, he iludied from them with great affiduity, and imitated his ftyle 
 with fuch fuccefs, that fome of his piftures have been fold for Pouffin's. 
 We have feveral landfcapes, etched by this artift in a very flight ftyle. 
 
 AUGUSTINE RYTHER. 
 
 Flourifhed, 1590. 
 
 He was an engraver of maps, and a printfeller. It appears, that he 
 kept a fhop near Leadenhall. We have by him fome maps of the Spanifh 
 Invafion. He was alfo principally concerned in the engraving of the map 
 of Yorkfhire, publiflied in Saxton's Colledtion, which was looked upon as -x. 
 very extraordinary performance. 
 
 T. SAAL. 
 
A 
 
 S A A [ 287 J SAD 
 
 S. 
 
 T. S A A L. 
 
 Flourifhed, 1672. 
 
 Very indifferent engraver of vignettes, and other ornamental book- 
 plates, which he executed in a ftiff manner, with the graver only. 
 
 CARLO SACCHI. 
 Born, 1617. Died, 1706. 
 
 He was a native of Batavia, and an hiftorical painter of foine eminence. 
 We have by him a few flight, fpirited etchings, which want, however, cor- 
 reftnefs of outline. I fhall mention the following : 
 
 'The adoration of the fiepherds -, a large upright plate, from Tintoretto. 
 
 "The wife men's offering ; the fame, from Paolo Veronefe. 
 
 HERMAN SACHTLEVEN, or ZAFTLEVEN. 
 
 Born, 1609. Died, 1685. 
 A very celebrated painter of landfcapes. He was a native of Rotterdam, 
 and the difciple of John Van Goyen. He died at Utrecht, a. d. 1685, 
 aged 76. We have fome few etchings of landfcapes by him ; one in par- 
 ticular, in which is reprefented two elephants-, a middling-fized plate, 
 length-ways. 
 
 JOHN SADELER. 
 Born, 1550. Died, 1600. ' 
 
 ^ The family of the Sadelers makes a very confiderable figure in the an- 
 nals of engraving. A complete coUeftion of their works is rarely met 
 ■vVith, though detached pieces by all of them are common enough. 
 
 John Sadeler was born at BrulTels, a. d. 1550. It is probable, that 
 his father was a workman in iron and fteel ; for his firft employment was 
 to engrave upon thofe metals, in order to inlay them with gold or filver; 
 therefore le Comte fays of himj " il a ete Damafquineur en fer," or a da- 
 mafkener of iron. It appears, that he applied himfelf very early in life to 
 the ftudy of the human figure, which he drew correftly, though in a ftiff^ 
 and mannered ftyle ; but this ftifFnefs feems rather to have arifen from the 
 habit he acquired in his firft application to the airts, than from want of 
 ability. And indeed it fliould be obferved, that this fault is lefs confpicu- 
 ous in his laft works, after he had been fome time in Italy. He publilhed 
 feveral of his engravings at Antwerp, and from thence he went to Franc- 
 I fort. 
 
SAD [ 288 ] SAD 
 
 fort, in the year 1588, and travelled over the greater part of Germany, in 
 order to receive inftruftions from the beft matters of the age. He refided 
 a few years at Munich, where his merit being made known to the Duke of 
 Bavaria, he was very gracioufly received; and that nobleman made him a 
 prefent of a chain of gold. From iVIunich he went to Verona ; from thence 
 to Venice ; and afterwards to Rome ; but not meeting with the encourage- 
 ment he expefted from the Pope, he returned to Venice, where he efta- 
 blifhed himfelf, and died in that city of a fever, a. d. 1600, aged 50. 
 
 It is uncertain from whom he firfl; learned the art of engraving, but it 
 appears that he improved himfelf from a variety of mailers. His earliefl 
 productions have much of that ftiffnefs, not only in drawing, but in point 
 of mechanical execution, which eclipfes the merit of the old engravings of 
 the German fchool. It is true, that after he refided in Italy, he made a con- 
 fiderable improvement in his ftyle of engraving, efpecially in the landfcape 
 part of his plates ; but he never entirely diverted himfelf of the habit he at 
 firfl: acquired. He worked with the graver only, in a clear, neat ftyle ; but 
 his plates were never highly finifhed. We fee in them, however, the hand 
 of a very able artift, much corrednefs of drawing, and great expreffion. 
 His engravings are exceedingly numerous ; and, as before obferved, de- 
 tached prints are by no means rare. It will be needlefs therefore to fpecify 
 any more than the following j efpecially as the limits of this work are fo 
 exceedingly confined. 
 
 The h'lflory of Adam and Eve ; fix middling-fized plates, length-ways, 
 from Michael Coxcis, dated 1576. 
 
 The life of Chrift -, a fet of fmall upright plates, from Martin de Vos. 
 
 The life of Chrift -, a larger fet of upright plates, from the fame painter. 
 
 The twelve vionths ; from Bafan, middling-fized plates, length-ways. 
 
 The feafi of Dives ; a middling-fized plate, length-ways, from Bafan. 
 
 fefus entertained by Martha and Mary ; the fame, from the fame. 
 
 fefus with the two difciples at Emmaus ; the fame, from the fame. Thefc 
 three laft prints are dillinguilhed by the appellation of Sadelers Kitchens. 
 
 A Jet of hermits ; finall plates, length-ways, from Martin de Vos. 
 In thefe he was afllfted by his brother Raphael. 
 
 Variety of other fets of prints, taken from facred and prophane hifloryj 
 alfo of allegorical and emblematical fubjefts. 
 
 Of the detached prints I fliall mention only 
 
 a avid flaying upon his harp in the 7nid(i of his muficians ; a middling-fized 
 plate, length-ways, from Jodocus a Winge. 
 
 The nativity of Chrijl ; a large plate, length-ways, from Polidoro da 
 Caravaggio. 
 
 The lafl Jupper ; a middling-fized plate, length-ways, from Pietro Can- 
 dido. 
 
 The martyrdom of St. Urfula and her companions j a middling-fized upright 
 plate, from the fame painter. 
 
 Mankind fiirprifed by the Judden advent of the Deluge; from Theodore 
 Bernard, a middling large plate, length-ways. 
 
 Mankind 
 
SAD [ 289 ] SAD 
 
 Mankind furprifed by the advent of the lafi day ; its companion, from the 
 fame painter. 
 We have alfo a number of very excellent portraits by this mafter. 
 
 RAPHAEL SADELER the Elder. 
 Born, 1555. Died, 
 ij He was brother to the preceding artift, born alfo at Bruflels, and, like 
 
 " him, was originally a damafkener of iron and fteel. He followed the foot- 
 
 fteps of John, travelling through Germany, and afterwards to Italy. He 
 fettled at Venice, and was probably in partnerfhip with his brother. The 
 year of his death is not pofitively known; but it is faid, that he lived to a 
 very advanced age. He had quitted the graver a confiderable time before his 
 death, and taken up the pallet and pencils. But I am not well acquainted 
 with his fuccefs as a painter. His beft engravings are in a bold, powerful 
 ftyle ; which, however, has at times rather too much appearance of an af- 
 fedted manner. He underftood the human figure exceedingly well j and the 
 extremities are, in general, correftly marked. His portraits, of which we 
 have a confiderable number, are many of them extremely fine. I fhall 
 mention the following only, by this artift, whofe works are not fo multi- 
 farious as thofe of his brother ; 
 
 Lot iffilh his two daughters -, a middling-fized upright plate, from J. de 
 Winge. 
 
 The wife men's offering; A fmall upright plate, from Bafan. 
 
 yf holy family ; a middling-fized plate, Jength-ways, from John Van 
 I Achen. 
 
 Chriji dead, attended by the Maries, St. John, and angels, holding flam- 
 beaus ; from J. Straden. 
 
 Two fets of prints ; the one containing fixty, the other forty-two, en- 
 titled Bavaria San£fa, from the defigns of M. Kager ; part of which plates 
 were executed by his brother and his fon. They were publiflied at Antwerp. 
 
 Afeafl, where Death interrupts the merryment byjeizing upon a lady-, from 
 J. Straden. 
 
 The judgment of Paris ; a middling-fized plate, length-ways, from John 
 Van Achen. 
 
 Several land/capes, from Paul Brill, the Breughels, &c. and a variety of 
 hifiorical, emblematical, and allegorital Jubje^s, from different matters. 
 
 GILES SADELER. 
 
 Born, 1570. Died, 1629. 
 
 He was nephew to the two preceding artifts, and was born at Antwerp. 
 His uncles, perceiving that his genius inchned him to follow the arts, un- 
 dertook to inftruiSt him ; and being firft well grounded in the principles of 
 drawing, he foon became mafter of the graver, and handled that inftru- 
 ment with more facility, tafte, and freedom, than his tutors. He refided 
 
 VOL. II. P p fomc 
 
SAD [ 290 ] SAD 
 
 Ibmetime In Italy, from whence he was recalled by the Emperor Rodolphus 
 die Second, and a penfion, at his command, was affigned to him. After 
 the death of his patron, Sadeler fuffered no inconvenience ; for the fuc- 
 ceeding Emperors held him in equal efteem, and continued to him the fame 
 honours. He died at Prague, a. d. 1629, aged 52 years. His works are 
 exceedingly multifarious ; and many of them are valuable, particularly his 
 beft portraits, which are executed in a very beautiful manner. I Ihall note 
 only the following prints by him : 
 
 'The angel appearing to the Jhepherds ; a fmall plate, length-ways, from 
 Bafan. 
 
 The murder of the Innocent^s ; a large plate, length-ways, from Tintoretto* 
 
 The call of St. Peter; a large upright plate, from F. Baroccio. 
 
 The lajl /upper ; a middling-fized upright plate, from Tintoretto. 
 
 The Jcourging of Cbriji; a large upright plate, from Giofeffo Cefare 
 d'Arpino. 
 
 Chrijt carried to the tomb ; a large upright plate, arched at the top, from 
 F. Baroccio. 
 
 Chrift carried to the tomb ; a large upright plate, from Jofeph Heintz. 
 
 The three Maries at the Jepidchre of Chrifl ; the fame, -from Spranger. 
 
 St. Sebaflian ; a middling-fized upright plate, from the younger Palma. 
 
 St. Sebaftian dying, with an angel pulling out the arrows, from his fide \ a 
 large upright plate, infcribed, Mgidius Sadeler inventor et'Iculpfit . 
 
 The twelve months ; fmall plates, length- ways ; and a thirteenth plate for 
 the title, from Peter Stephanus. 
 
 The twelve months ; large plates, length-ways, from Paul Brill. 
 
 Hercules and Omphale ; a middling-fized upright plate, from B. Spranger. 
 
 Diana and AStaon ; a large plate, length-ways, from J. Heintz. 
 
 He made alfo feveral copies trom Albert Durer, imitating the flryle of 
 that mafter, particularly, a madonna and child, a middling-fized upright 
 plate ; and Chrijl carrying the crofs, the fame. 
 
 A great number of very fx.ce.\\Gnt. portraits, amounting to one hundred 
 and fixty ; alfo feveral fets of landfcapes, from Breughel, Roland Savery, 
 and other mafters. 
 
 JOOST or JUSTUS SADELER. 
 
 Flourifhed, 1600. 
 He was the fon of John Sadeler, mentioned above ; and from his father 
 he learned the art of drawing and engraving. He imitated the flyle of his 
 father J and with fuccefs. I fhall mention only, by him, a repcfe, where 
 the Virgin is reprefented fwaddling the infant Chrift, and an angel is employed 
 in warming the linen ; a fmall plate, length- ways, from J. Rottenhamer. 
 A number of portraits belonging to the family of Conzague. 
 
 RAPHAEL SAPELER the Younger. 
 
 Flourifiied, 1600. 
 
 He was the fon of Raphael Sadeler, mentioned above. He was in- 
 
 ftrufted 
 
SAD [ 291 ] S A E 
 
 ftruAed by his father in the art of engraving, and adopted his ftyle ; but 
 the works of the fon are inferior to thofe of the father. I fhall mention 
 only, the four Evangelifls, half figures, from P. Candidus, fmall upright 
 plates. Venus and Adonis j a fmall upright plate, from Titian. He alfo 
 aflifted his father in engraving the fet of prints of the Bavarian Saints. 
 
 MARC SADELER. 
 
 Flourifhed, 1600. 
 
 He was certainly of the fame family with the preceding artifts ; ' but ir 
 does not appear, that he was an engraver. He feems to have been the 
 publifher only of the works of his relations. 
 
 Philip Sadeler is mentioned by M. Heineken as an engraver. I am 
 not acquainted with his works. 
 
 JOHN SAENREDAM. 
 
 Flourifhed, 1 600. ^.-^ 
 
 He was a native of Holland. It is not known, however, in what part of 
 it he was born, or under what mafter he fludied ; but it appears to me 
 highly probable, that Henry Goltzius was his tutor ; at leaft, it is certain, 
 that many of his ea^y performances are from the compofitions of that mafter. 
 He worked with the graver only, and handled that inftrument with the ut- 
 moft facility. There is great neatnefs and clearnefs, joined with much free- 
 dom, in his prints, which are remarkable for their foftnefs and delicacy ; 
 but, in general, they want more powerful mafles, and greater depths of 
 fhadow, to produce a ftriking effedt. 
 
 Saenredam defigned himfelf ; and his compofitions manifeft the good- 
 nefs of his tafte, and the fertility of his genius. If he had applied himfelf 
 more affiduoudy to the ftudy of the human figure, he would probably have 
 avoided many little inaccuracies of outline, which are often to be found in 
 his beft engravings. 
 
 The number of his prints, according to Florent le Comte, amounted to 
 one hundred and thirty-two ; many of which are very large. 
 
 I muft confine myfelf to the following, which may be confidered as ex- 
 cellent fpecimens of his abilities : 
 
 Adam and Eve in Paradije j a fmall upright plate, from Goltzius, dated 
 
 1597- 
 
 The hijiory of Adam and Eve ; fix fmall upright plates, from Abraham 
 Bloemart. 
 
 Lot and his two daughters ; from Goltzius, a fmall plate, length-ways. 
 
 Elijah and the widow of Sarepta ; a large upright plate, from Abraham 
 Bloemart, the companion to the repudiation of Hagar, by J. Matham. 
 
 The hiJlory of Elijha and Elijah -, four fmall upright plates, from the fame 
 painter. 
 
 The angel appearing to thefijepherds ; a large upright plate from the fame. 
 
 P p 2 The 
 
S A H [ 292 ] S A I 
 
 The nativity of Chriji ; a very large upright plate, from Carl Van Mander. 
 
 Chrift entertained by Simon the Pharifee ; a large upright print on four 
 plates. 
 
 The parable of the wife and foolijij Virgins ; five middling-fized plates, 
 from his own compofitions. 
 
 A large allegorical fubjeSt, relating to the governnaent of the Low Coun- 
 tries by the infant Ifabella. That Princefs herfelf is alfo reprefented ftanding 
 under a tree at the right-hand ; the fame. 
 
 A reprefentation of a large ivhale, ivhich was thrown upon the coaji of 
 Holland; companion to the preceding print; the fame. 
 
 The f even planets. The four feafons. The four ages. And the three mar- 
 riages at three feveral times of life ; all of them fmall upright plates, from 
 Goltzius. 
 
 The bath of Diana; a fmall plate, length-ways, from the fame painter. 
 
 The hath of Diana ; a middling-fized plate, length-ways, from Paul 
 Moreelfen. This print is called the great bath of Diana, to diftinguifli ic 
 from the preceding one. 
 
 He alfo copied fome of the engravings of Lucas Van Leyden, with great 
 accuracy. I fliall mention only, David carrying the head of Goliah upon his 
 Jword ; a fmall upright plate. 
 
 We have alfo feveral ^na portraits by him. 
 
 He fometimes marked his plates with the initials, L S. only; but his 
 engravings are eafily diftinguifhed. 
 
 C. S A H L E R. 
 
 Flourilhed, 
 
 The name of an obfcure engraver, affixed to the portrait of Adrian 
 Stalbent, a painter. 
 
 ISAAC SAILMAKER. 
 
 Born, 1633. Died, 1721. 
 He was a painter of maritime fubjefts, employed by Oliver Cromwell 
 to take a view of the fleet before Mardyke. Tiie honourable Mr. Walpole 
 informs us, that he etched fome plates ; but the fubjefts are not fpecified. 
 
 SAINT ANDRE. 
 
 Flouriflied, 
 
 He was a native of France, and a painter of fome eminence. We have 
 etched by him forty-fix plates, from the gallery at tlie Louvre, by Le 
 Brun, executed in a flight, but bold and fpirited fliyle. 
 
 SAINT JOHN. See D I E U. 
 
 SAINT MAURICE. See MAURICE. 
 
 SAINT 
 
S A I [ 293 ] SAL 
 
 S A I N T N O N. See N O N. 
 
 JOHN SAITER, orSEITER. 
 Flourifhed, 
 
 This ardft was a native of Germany. He and his fon, John Gottfried 
 Saiter, are mentioned by M. Hcineken, as engravers. I am not ac- 
 quainted with their works. 
 
 ANTONIO SALAMANCA. 
 Flouriflied, 1540.- 
 
 He was a native of Italy, and carried on a very large commerce inr 
 prints. He is thought by fome to have engraved ; but if he ever took up 
 the graver, it feems only to have been for the purpofe of retouching the 
 plates, which belonged to his flock. The marks, however, attributed to 
 him, are given on the plate at the end of the volume; but it is moft pro- 
 bable, that none of them belong to him ; for his ufual manner was to put 
 his name at length upon the plates he publiflied. 
 
 VENTURA SALIMBINI. 
 Born, 1557. Died, 1613. 
 
 An hiftorical painter of fome note, born at Siena. He learned from his 
 father the firft principles of painting j and completed his ftudies at Rome^ 
 He was half brother to Francefco Vanni, whofe ftyle of painting he imi- 
 tated ; but his pidures are not held in equal eftimation widi thofe of 
 Vanni. We have feveral flight mafterly etchings by this artiftj and, among 
 them, the following, all from his own compofition. 
 
 The marriage of the Virgin j a fimall upright plate. 
 
 The falutation of the Virgin ; a fmall fquare place. 
 
 The Virgin and Child; a fmall upright plate, in ivhich Jo/eph appears he- 
 hind, walking with a Jtick upon his fioulder. The name appears reverfed 
 upon the print. 
 
 The baptijm of Chrijl ; a large upright plate. 
 
 He fometimes figned his engravings with the initials V. S. only, 
 
 A. SALLARTS. 
 
 Flourifhed, 1620. 
 
 He was a native of Flanders, and, according to Papillon, a painter of 
 great eminence. He was contemporary with Rubens, and is thought to have 
 aflifted him in his large compofitions. Sallarts engraved on wood, in a 
 bold, free ftyle; and we have many excellent prints by him. I fhall men- 
 tion only the heads of the four Evangelijls, fmall upright prints, from his 
 own compofitions. He fometimes marked his engravings with the initials 
 only, thus, A. S. or with the initials, formed into a cypher upon a tablet^, 
 in the manner expreffed upon the plate at the end of the volume. 
 
 ANDREA 
 
SAL [ 294 ] SAN 
 
 ANDREA SALMINCIO. . 
 
 Flouriflied, 
 
 He was a native of Bologna, and the difciple of Valefio. We have fe- 
 veral prints engraved by him, both on wood and on copper, which he marked 
 with a cypher, compofed of an A. and S. joined together. See the plate of 
 monograms at the end of the volume. 
 
 P. SALTZBURGER. 
 
 Flourilhed, 1580. 
 
 He was a native of Germany, and an engraver on wood. He worked 
 from the defigns of Joft Amman, and marked his prints with a P. and an 
 S. joined together, in a cypher, and in fome few inftances I'eparate, thus, P. S. 
 He may be ranked among the little mailers. 
 
 SALVADOR. See CARMONA. 
 
 S A LV I A T I. 
 
 This name was given to Jofeph Porta, becaufe he was the difciple of 
 Francifco Salviati. See Porta. 
 
 JAQ^UES SALY. 
 
 Flourifhed, 1760. 
 
 A French fculptor : he refided at Copenhagen, where he made an equeftrian 
 ftatue of the King of Denmark. He etched thirty plates of vafes^ and four 
 defigns for monuments ; fmall upright prints, from his own compofition. 
 
 HUGUES SAMBIN. 
 
 Flourilhed, \c^ii. 
 
 An architeft of great note, who was a native of Dijon. He defigned 
 and engraved a fet of pilafters, and other architeElal compofitions, which were 
 executed with great precifion. They were publilhed at Lyons, a. d. 1522. 
 He ufually infcribed his plates, Hugues Sambin ArchiteSleur en la 'uille de 
 Dijon. ProfelTor Chrift attributes a monogram to him, compofed of an H. 
 and an S. joined together. See the plate of monograms at the end of 
 the volume. 
 
 RAPHAEL SANTIO DE URBINO. 
 Born, 1483. Died, 1520. 
 The name and reputation of this admirable artift is well known. He is 
 here introduced, not becaufe he ever engraved any prints himfclf, but be- 
 caufe he is faid to have affifted Marc Antonio Raimondi, by outlining his 
 
 defigns 
 
SAN f 295 ] SAN 
 
 defigns upon the places, which that engraver was to execute ; and it feems 
 very probable, that he did fo ; and in feme inftances, correfted the drawing 
 afterwards. In the print of the Judgment of Paris, mentioned in the works 
 of Marc Antonio, the corrcfted outline is feen in many parts; particularly in 
 the figure of Minerva, who is Handing with her back towards the fpedlator. 
 
 JOACHIM DE SANDRART. 
 Born, i6c6. Died, 1683. 
 
 He was born at Francfort upon the Maine, and was firft inflrufted in the 
 artofdefign and engraving by Theodore de Bry and Matthew Marian ; 
 but afterwards he learned the principles of painting from Gerard Hon- 
 thorft. He excelled in hiftorical and portrait painting : and his piftures 
 are fpoken of with great commendation. He refided a confiderable time 
 in London ; after which he vifited Venice, Bologna, Naples, and Rome. 
 Returning into his own country, he fettled in Nuremberg, where he efta- 
 bliflied an academy for drawing and painting; and in that city he died, a. d. 
 1683, aged 77. 
 
 He was a man of letters, and publifhed feveral works ; and, among them, 
 the Lives of the moft famous Painters, which he enriched with a confider- 
 able number of portraits. It was written in the German Language, and 
 entitled, the Academy of ArchiteSlure, Sculfture, and Painting, publifhed at 
 Nuremberg, 1679. An edition in Latin, containing the lives of the artifts, 
 was printed at Nuremberg, 16H3, with the fame portraits. We have a 
 few etchings by him from his own compofition ; among others, the follow- 
 ing : the death of Cleofatray a fmall upright plate j and an old woman "with 
 & Cupid, the fame. 
 
 JACOB DE SANDRART. 
 
 Flouiifhed, 1660. 
 
 He was nephew to the preceding artift, and was eftabliflied at Nurem- 
 berg. He engraved a very confiderable number of excellent portraits ; 
 and, among them, that of Joachim de Sandrart, bis uncle. He worked 
 entirely with the graver, in a neat, clear ftyle. 
 
 JOHN JACOB DE SANDRART. 
 
 Flourifhed, 1680. 
 
 He was the fon of Jacob de Sandrart, mentioned in the preceding article. 
 He was a defigner, as well as an engraver ; and his works prove the facility 
 of his invention. He enriched the books of his great uncle with many 
 very fpirited etchings. He alfo engraved fcvcral of the plates for the fe- 
 cond volume of a work, in folio, entitled, Suecia Antiqua et Hodierna ; and 
 a buft of the i^een of Pruffia, furrounded by emblematical figures j a mid- 
 dling-fized upi ight plate, from A. Clerck. 
 
 2 SUSAN- 
 
SAN [ 296 ] S A R 
 
 SUSANNAH MARY DE SANDRART. 
 
 Flouriflied, 1680. 
 
 The daughter of Jacob de Sandrarc, and brother to the preceding artift. She 
 learned the principles of drawing and engraving from her father ; and we 
 have by her a confiderable number of ornamental plates. She alfo copied 
 the Aklobrandine Marriage, which Bartolo engraved from an antique bafs- 
 relief, for one of the volumes of Joachim de Sandrart, her great uncle. 
 
 LAURENCE DE SANDRART. 
 
 Flouriflied, 1700. 
 
 He was probably of the fame family with the preceding artifls. His 
 name is affixed to the frontifpiece (or a fet of prints from Ovid's Metamor- 
 phofes by Engelbrecht. It is, however, but a very indifferent print, and 
 moft probably engraved from his own defign. 
 
 EDWIN SANDYS. 
 
 Flourifhed, 
 A name affixed to the portrait of Sir William Petty. 
 
 A. SANTVORT. 
 
 Flouriflied, 
 
 This name, followed by the word fecit, is affixed to a fmall upright 
 print, reprefenting an almanac Jeller, with a church and totun in the back- 
 ground. It is nightly etched, in a ftyle bearing fome refemblance to that 
 of Hollar, and has much merit. 
 
 JULIUS SANUTUS. 
 
 Flouriflied, 1540. 
 
 He was a native of Venice, as appears from the infcription affixed to 
 a fmall upright plate, reprefenting the birth of a monflrous child, which runs 
 thus, Jul. Sanutus Venet. fac. It is executed with the graver, in a coarfe, 
 heavy flyle, and with lingle flrokes, without any crofs hatching, fo as to 
 bear great refemblance to a wooden cut. 
 
 CARLO SARACCINO, called the VENETIAN. 
 Born, 1585. Died, 1625. 
 
 He was a native of Venice, and the difciple of Cammillo Mariani. He 
 painted hiftorical fubjecEls with great fuccefs, and died at Venice, a. d. 
 1625, aged 40. We have by him feveral flight etchings from his own com- 
 pofitions. 
 
 S A R- 
 
S A R C 297 ] S A S 
 
 S A R B O T. 
 
 Floiirifhed, 1675. 
 
 An artift of no great note, by whcm we have a fmall uprightprint, re- 
 prefenting Chrift fraying in the garden, fupported by an angel; probably 
 from his own defign, for he adds the v^oxA fecit to his name. 
 
 JOHN SARRABAT. 
 
 Flourifhcd, 169c. 
 
 He was a native of France^ and refided at Paris, where he engraved feveral 
 portraits and other fubjects in mezzotinto ; but they are fo very indiffer- 
 ently executed, as fcarcely to merit particularizing. 
 
 JOHN SARRAGON. 
 
 Flourifhedj 1645. 
 
 He engraved feveral portraits, in a neat, clear ftyle, bearing fome refem- 
 blance to that of Delft. I fhall mention only the head of Adrian Hoffer^ 
 in an oval, a fmall upright-plate. This print is by no means devoid of merit. 
 
 S A R T, See D U S A R T. 
 
 ANDREA DEL SARTO. 
 Born, 1488. Died, 1530. 
 
 He was a native of Florence, and a very celebrated hiftorical painter. 
 It has been faid, that he engraved, and particularly a holy family, in which 
 the virgin is reprefented kneeling before the infant Chrift, with St. John, 
 and Jofeph a half figure appears behind ; under it is written, Andrea del 
 Sarto fatti in Roma. It is a neat dark etching, but by no means equal to 
 the hand of that great mafter. The words fatti in Roma certainly bear 
 reference to the pidure, and not to the print. There is alfo a very fmall 
 \ipright etching, greatly in the ftyle of Bartoli, reprefenting the Virgin and 
 child with Jofeph and St. John, marked " Andre del Sarte, F." but this is 
 evidently a modern produftion. 
 
 J. C. S A R T O R I U S. 
 
 Flourilhed, 
 He was a native of Nuremberg, and engraved /'cr/r^/Vj', chiefly, I fap- 
 pofe, for books. His prints are in the ftyle of thofe publiftied by Vander 
 Aa, and hardly worth fpecifying. 
 
 CHRISTIAN SAS. 
 
 Flourifhed, 1660. 
 
 He was a native of Germany, by whom we have feveral engravings; and, 
 VOL. II, Q^q among 
 
S A V [ 298 ] S A V 
 
 among them, forty-five plates, reprefenting the life of St. Philip de Neri, from 
 Stella. He alfo engraved from Le Pomerange, and other mafters. 
 
 J. SAVAGE. 
 
 Flourifhed, 1680. 
 
 An Englifli artift, who refided in London. He worked much for the 
 bookfellers ; but he alfo executed feveral plates upon his own account ; 
 for example, the portrait of Philip King of Spain, under which is written, 
 fold by J. Savage, near the Do5iors' Commons, irie engraved a great num- 
 ber of portraits, particularly of malefaftors. He worked principally with 
 the graver, but without any great tafte ; and his drawing is ftill more de- 
 fective than the mechanical part of his plates. I fliall mention only the 
 following prints by him : the portrait of Bipop Latimer, and x.\\2Lt o^ John 
 a Lafco. He was paid three pounds each plate for the engraving of thefe 
 two prints. The portrait of Algernon Sidney -, that of S\r Edmondbury God- 
 frey ; and that of John Godbury, &c. Part of the plates for Tempeft's 
 Cries of London ; and fome Coins in Evelyn's Numifmata, Sec. 
 
 LAURENCE SAUBERLICH. 
 
 Flourifhed, 1599. 
 According to profcflbr Chrift, this artift publifhed fome engravings on 
 wood at Wittemberg, a. d. 1599 ; and to him that author attributes a mono- 
 gram, compofed of an L. and S. joined together. See the plate of mono- 
 grams at the end of the volume. 
 
 o 
 
 PETER SAUDMAN. 
 
 Flouriflied, 
 
 An engraver, mentioned by Sandrart, as being in the fervice of the King 
 of Poland. I am not acquainted with his works. 
 
 SOLOMON SAVER Y. 
 
 Flouriflied, 1630. 
 
 This artift, if not a native of Amfterdam, at leaft refided there, and by 
 fome he is faid to have been in England ; but this circumftance does not 
 appear to be certain. Portraits conftitute the beft part of his engravings; 
 and many of them are executed in a ftyle, which does him no fmall credit. 
 I fhall mention the following : John Speed the hijlorian, with his hat on, 
 fitting in a chair, a half-ftieet print, in folio. Charles the Firfl, with a high 
 crowned hat : the face of which portrait is thought to have been taken from 
 a pi(5ture of Vandyck, and the hat, &c. added by Savery himfelf. Thomas 
 hord Fairfax, with his hat on, &c. We have alfo by him the entry of Mary 
 of Medicis into Amflerdam, reprefented on feveral fmall plates, length- 
 4 ways. 
 
S A U [ 299 ] S C A 
 
 ways. Chrijl cajling the money- chafigers out of the Temple; a large plate, 
 length-ways, from Rembrant. Seventeen plates for Ovid's Metamorphqfes, 
 &c. 
 
 JOHN SAUVE. 
 
 Flourifhed, 
 
 A very indifferent French engraver, who flourifhed in the laft century. 
 We have by him feveral devotional plates from Guido, P. de Cortona, &:c. 
 and alfo fome portraits ; among others, that of the Marquis de Hunfley, in 
 an oval j a large upright plate. 
 
 CHRISTOPHER SAXTON. 
 Flourilhed, 1580. 
 
 He was a native of Yorklhire, and lived at Tingley near Leeds, In the 
 fervice of Thomas Sekeford, Efq. Matter of the Requefts, and IV^after of 
 the Court of Wards. Encouraged by this gentleman, who alfo provided 
 him with money, Saxton undertook to make a complete fet of the maps 
 of the counties of England and Wales. He engraved many of the plates 
 himfelf, and was affifted by Francis Hogeberg, Nicholas Reynold, Auguftin 
 Ryther, and other artifts. This work employed Saxton for fix years ; and 
 it was publiihed a. d. 1579. Thefe were the firft county maps whichever 
 appeared in England ; and they are fpoken of as very accurate perform- 
 ances, confidering the difadvantages he laboured under ; that of Yorkfhirc 
 cfpecially is highly commended. Thorefby indeed fays, it is the befl that 
 ever was made of that county. It was three feet wide, having at one cor- 
 ner, a view of York j and at another, a view of Hull. 
 
 ANDREA SCACCIATI. 
 
 Flourifhed, 1760. 
 
 He was a native of Italy, and refided at Florence, where he publifhed a 
 fet of 21 prints in aqua tinta, from drawings of the great mafters, in the 
 coUedion of the Great Duke of Florence. They are executed in a fpirited 
 ftyle, and polTefs much merit. 
 
 GOTTEFRED DE SCAICHI. 
 
 Flouriflied, 1623. 
 
 We have by him a fet of views of the palaces and gardens belonging to the 
 Great Duke of Tufcany, etched in a very flight, taftelefs flyle. They are 
 middling-fized plates, length-ways. He was afTifted in this work by M. 
 Greuter. 
 
 PETER SCALBERGE. 
 
 Flourifhed, 1638. 
 
 He was a native of France, and a painter; hot, I apprehend, of no 
 
 Ci.q 2 great 
 
S C A [ 300 ] S C A 
 
 great note. We have many flight, incorreft etchings by him, from his own 
 compofitions, and from thofe of other mafters. I fliall mention the follow- 
 ing only : 
 
 I'enui and CupiJ ; a fmall upright plate, 'MScnhcd, P. Scalberginv. et 
 Jculp. 1638. 
 
 Chriji carried to the tomb ; a large plate, length-ways, from Raphael. 
 
 The battle of Conjlantine ; a large print, length-ways, on four plates, from 
 the fame painter. 
 
 Diana and her nymphs -, a fmall plate, length-ways, from Dominichino. 
 
 RAPHAEL SCAMINOSSI. 
 Flouriflied, 16 10. 
 
 He was a native of Italy, born at Borgo S. Sepolcro, and is fpoken of 
 as a painter. We have a very confiderable number of etchings by this 
 artift, amounting, according to Florent le Comte, to 130. They are exe- 
 cuted in a bold, dark flyle. There is, however, a coarfenefs in them, 
 which gives them a difagreeable appearance at firft fight; but, on exami- 
 nation, they will be found to poflTefs great merit. His knowledge in draw- 
 ing feems to have been extenfive ; and the charadlers of the heads of his 
 figures are very ftriking. His monogram, compofed of an R. an A. an S. 
 and an F. is copied on the plate at the end of the volume. 
 
 The following engravings are by him : 
 
 The Virgin and Child i a middling-fized upright plate, infcr'ihed Raphael 
 SchiamioJ/ius, pi£?or ex civitate Burgi SanSii incidebat, a. d. 16 13. 
 
 St. Francis preaching in the defer t i the fame, from his own compofition, 
 dated 1604. 
 
 A fet of fourteen fmall plates, length-ways, exclufive of the title, en- 
 titled, Myfteria rofarii Bsat<e Maria Virginis, publifhed at Rome 16093 the 
 fame. 
 
 The Sibyls; a fet of fmall upright plates, the fame. 
 
 The martyrdom of St. Stephen i a middling-fized plate, length-ways, from 
 Lucas Cangiage. 
 
 A repofe; a middling-fized upright print, from Baroccio. Cornelius 
 Cort engraved the fame compofition, with fome fmall difference only in the 
 legs of the infant. 
 
 He etched alfo from Raphael, Paolo Veronefe, Caflelli, and other 
 maflers. 
 
 LUIGI SCARAMUCCIA, called PERUGINO. 
 
 Born, Died, 1684. 
 This artift was an hiftorical painter of fome eminence. He was born at 
 Perufia, and learned the firft principles of painting from his father ; after 
 which he became the difciple of Guido. He etched feveral plates, in which 
 he imitated the ftyle of Guido. They are executed in a free, fpirited man- 
 ner: 
 
S C A [ 301 ] S C H 
 
 ner j but the outlines are exceedingly incorred ; and the extremities of his 
 figures badly drawn. I Ihall mention the two following only : 
 
 Chriji crowned with thorns ; a middling-fized upright plate, from Titian. 
 
 St. Beneditl overcoming the Devil by his prayers, who had caujed a large fione 
 to be immoveable, which was to be ujed in building a church j a large upright 
 plate, from Lodovico Carracci. 
 
 FRANCIS SCATTERUS, or SCALTERIUS. 
 
 Flourilhed, 1577. 
 He engraved the map ofCheJlnre, for Saxton's coUeftion of county maps. 
 
 H- L. S C H ^ R E R. 
 
 Flourifhed, 1627. 
 
 According to profeflbr Chrift, he engraved feveral little land/capes, which 
 he marked with an H. an S. and an L. joined together. See the plate of 
 monograms at the end of the volume. 
 
 HANS, or JOHN SCHAEUFLEIN. 
 
 Flourilhed, 1540. 
 
 He was a native of Germany, and an engraver on wood. His prints arc 
 executed in a bold, fpirited ftyle ; and the compofitions fhow him to have 
 been a man of genius, though the ftiff manner, which charafterifed the 
 early German mafters, obfcures much of their merit. Befides which, they 
 are incorrectly drawn ; the extremities of the figures, in particular, 
 are very defedlive. Schaeuflein ufually marked his prints with an H. and 
 an S. or an I. and an S. joined together, various ways. To thefe he added 
 a baker's peel to exprefs his name ; becaufe a peel'xn German is called Sitjiau- 
 fcl; and the word ^tfiactinein fignifies a little peel. All the marks ufed 
 by this artift are copied on the plate at the end of the volume. 
 
 It is to be obfervcd, that one of the ufual marks of Schaeuflein is an H. 
 with an S. upon the crofs bar of the H. and this mark was alfo ufed by an 
 engraver, ccnfiderably more ancient than he. M. Heineken fuppofes, he 
 might have been of the fame family j and, as I fee no reafon to differ in 
 opinion from him, I Ihall confider the works of that artift in this article, and 
 call him The Elder Schaeuflein. He flourilhed towards the conclufion of the 
 fifteenth century : for though Sandrart tells us, that he had feen a print, 
 marked with this monogram, bearing the date 1455, it is generally fuppofed, 
 that he was miftalcen. The author of the preface to The Little Chronolo- 
 gical Series of Engravers, printed at Cambridge, aflerts, that the two fives 
 fhould be two fevens, which reduces the date twenty-two years ; and that 
 probably was the time, in which the elder Schaeuflein lived. 
 
 There was alfo a third artift, who engraved on wood, and etched on 
 copper, and ufed a mark very like that of the two Schaeufleins. I have 
 feen by him two men fighting, cut on wood, in a very coarfe, but fpirited 
 
 manner 3 
 
» C H [ 302 ] S C H 
 
 manner ; and a very fine mafterly etching in the ftyle of a painter, repre- 
 fenting a large company at an entertainment in a garden. Thefe prints prove 
 him to have been a man of very great abilities. He was probably of the 
 fame family ; I have therefore given his mark with thofe of the Schaeu- 
 fleins, on the plate at the end of the volume. 
 
 Prints by the elder Schaeuflein, which are chiefly very fmall ; he may 
 therefore be ranked among the little mafters- 
 
 A crucifixion., i^nth St. John, the Virgin, and t-j:^o Jcldiers \ a fmall circular 
 plate, two inches and a quarter in diameter. 
 
 'The Virgin and Child; the fame fize, 
 
 St. Chriftopher ; the fame. 
 
 St. Laurence converfing with St. Augufiin ; the fame. 
 
 This artift was probably a difciple of Martin Schoen, whofe flyle of en- 
 graving he imitated very carefully ; but his prints are not equal, in any 
 refpedl, to thofe of Schoe?i. He alfo copied fome of Martin Schoen's en- 
 gravings. I flnall mention that only in which a lady and gentleman are repre- 
 Jented walking together, and Death appears behind a tree. This print was 
 alfo engraved by Ifrael Van Mecheln, Wenceflaus, and Albert Durer. 
 
 Prints engraved on wood by the younger Schaeuflein. 
 
 Adam and Eve ; a fmall upright print. 
 
 Lot and bis daughters ; a middling-fized plate, length-ways. 
 
 ChriJ} preaching to the multitude from the Jhip ; a middling-fized print, 
 length-ways, marked with an I. and an S. joined together without the peel. 
 
 The life of Chrift ; a fet of middling-fized upright prints, in quaito. 
 
 The life of Chrift ; in an octavo volume, confifting of 37 prints, entitled Vitt 
 etpaffio Jefu Chrifti, &cc. publiflied at Francfort by Chriftian Egolophus, a. d. 
 ^537- To thefe are added, Hifloria Evangelio -, containing the mitacles, 
 parables, &c. of Chrifl, in 2^ prints ; the fame fize as the above, and 
 printed on both fides. Thefe are marked with the I. and S. joined toge- 
 ther upon the peel. 
 
 He alfo engraved on copper. I have feen a fmall print, length- ways, 
 reprefenting foldiers converfing, executed with the graver only, in a bold, 
 fpirited ftyle i and a very free etching oi a landjcape -, a fmall upright plate, 
 dated 155 1. 
 
 MATTHiEUS S CH AFFN AB U RG EN S I S. 
 
 Flourilhed, 1545. 
 An engraver on wood, who executed, from his own defigns, the cuts for 
 a bible, printed at Wittemberg, 1545. He marked his prints with the 
 initials M. S. placed upon a tablet, and ufually added the date. 
 
 ELIAS SCHAFHAUSER. 
 
 Flourifhed, 1700. 
 An engraver, mentioned by profeffbr Chrift, as a native of Augft)urg. 
 He marked his plates with the initials E. S. 
 
 C. VAN 
 
S C H [ 303 ] S C H 
 
 C. VAN S C H A G E N. 
 
 Flourifhed, 
 
 He was a native of Holland, and probably a difciple of Oftade. I have 
 ken a flight etching by him, reprefenting a cottage Jceiie, with an old man, 
 from a defign of his own. 
 
 JORG SCHAPFF. 
 
 Flourifhed, 1448. 
 
 One of the moft early engravers on wood. He executed the cuts for a 
 book of Chiromancy by Dr. Hartlieb. Baron Heineken, in his Idea of a 
 complete Collefiion of Prints, has given us a copy from one of thefe en- 
 gravings, and nothing certainly can be more rudely executed. The book, it 
 leems, confifts of 24 leaves, printed on both fides, the difcourfe itfelf beino- 
 cut upon blocks of wood. It is dated 1448 ; and the name of the engraver, 
 who was a native of Augfburg, is at the bottom of one of the leaves, 3Iorg 
 &ti)apff in i^ugfpurg. I have fpoken of this book in the Eflay on engrav- 
 ing upon wood, at the beginning of this volume. 
 
 GEORGE SCHARFFENBERG. 
 
 Flourifhed, 1560. 
 
 A native of Saxony, and an engraver on wood. He marked his plates 
 with a G. and an S. joined together. 
 
 GASPAR SCHECKSi. 
 
 FloOrifhed, 1617. 
 
 This artift engraved the ftars, and other ornamental parts of the plates 
 for a book in folio, entitled, Cxlum Stellatum Chrifiianv.m. The figures 
 were executed by Lucas Kilian. He appears to have been a native of 
 Augfburg, where this book was printed, a. d. 1627. 
 
 GEORGE VAN SCHEINDEL. 
 
 Flourifhed, 
 
 He was a native of Holland, and engraved in a very neat ftyle, bearing 
 much refemblance to that of Callot. His landfcapes polTefs great merit. 
 We have by him twelve fmall landfcapes, length-ways, apparently from 
 nature, ornamented with excellent little figures : alfo a fet of habits of 
 the countrywomen of the feveral Cantons of Holland ; fmall upright plates, 
 from Buytewech. 
 
 M. S C H E I T S. 
 
 Flouriflied, 1672. 
 He was a native of Holland, and probably a painter. We have by him 
 fome flight etchings in a bold, free ftyle. I fhall mention the following only : 
 
 An 
 
S C H [ 304 ] S C H 
 
 ^n old man playing upon the violin, with a wotnanfinging, before the door of 
 « cottage; inlcribed iW. bcheits fecit, 1672. 
 
 SCHELLENBERGER. 
 
 Flourifhed, 1660. 
 
 A name affixed to the portrait of Gafpar Jellez, engraved for the third \Q- 
 \vme of Prior ato's Hifiory of the Emperor Leopold. 
 
 PETER SCHENCK. 
 
 Flouriflied, 1700. 
 
 He was a native of Holland, and refided at Amfterdam. He engraved 
 a great number of plates; many of which are in mezzotinto ; but perhaps 
 he is more generally confidered as a publiftier, than as an engraver. I 
 have before me a fet of one hundred fmall half fheet plates, length ways, 
 tnnxX&di Roma jEterna, confiding of views in and about Rome; many of 
 which, apparently, were engraved by himfclf. We have alfo feveral por- 
 traits by him in mezzotinto j but his works prove him to have been a man 
 of more induftry than genius. 
 
 S C H E N D E L. See S C H E I N D E L. 
 
 ANTHONY SCHEVENHUYSEN. 
 
 Flourifhed, 1695. 
 
 We have by him a fet of one hundred fmall upright plates, reprefenting 
 the different trades in Holland, dated 1695. 
 
 SCHIAMINOSE. See SCAMINOSSI. 
 
 ANDREA SCHIAVONI. 
 
 Born, 1522. Died, 1582. 
 
 A celfjbrated hiftorical painter, born at Sebenico in Dalmatia, who, under 
 all the djfadvantages of poverty, purfued his ftudies in the art of painting 
 with the greateft fuccefs. His colouring efpecially is fpoken of with the 
 warmefl commendation. He etched Ibme few plates from his own compo- 
 fitions, and xjthers from Parmigiano, &c. I fhall mention only the rape of 
 Helen, a large^ate, length-ways, from his own compofition. 
 
 BARTOLOMEO SCHIDONE. 
 
 Born, 1560. Died, 16 16. 
 He was born at Modena, and was the difciple of Lodovico Carracci. 
 He ftudied the works of Correggio with attention, and imitated his llyle of 
 painting with great fuccefs. He died at Parma, of grief, as it is reported, 
 
 for 
 
S C H [ 305 ] S C JH 
 
 for having loft by gaming a fum of money, fo large as to ruin himfelf en- 
 tirely. The following etching is faid to be the only one by his hand : 
 I'he Virgin and Child with Jojeph, half figures, a fmall upright plate, nearly 
 fquare, from a compofition of his own. 
 
 JAMES VANDER SCHLEY. 
 
 Flourifhed, 1730. 
 
 He was a native of Holland, and a difciple of Bernard Picart, whofe ftyle 
 of defigning and engraving he imitated with fome fuccefs. We have a 
 great number of vignettes and other book-plates by him j alfo feveral por- 
 traits. I fhall mention only the portrait of Bernard Picart his majier, from 
 M. Des Angles, furrounded by emblematical figures, invented by Schley 
 himfelf J a large half-flieet print. 
 
 GABRIEL SCHLUSSELBURGER. 
 
 Flourifhed, 
 
 The name of an old engraver, cited by le Comte; but none of his works 
 are fpecified. 
 
 GEORGE FREDERIC SCHMIDT. 
 
 Flourifhed, 1760. ;, 
 He was a native of Germany, and refided a confiderable time at Paris, 
 where he became a member of the Royal Academy. He went from thence 
 to RufTia, and afterwards fettled at Berlin. He worl^ed principally with the 
 graver, in a very neat, clear ftyle. His prints prove him to have been a 
 man of great abilities. We have many very excellent portraits, as well as 
 other fubjefts, by him. 
 
 JACOB SCHMITZER, or SCHMUTZER. 
 
 Flourifhed, 1760. 
 
 A modern defigner and engraver, by whom we have feveral portraits 
 very neatly executed. He was of the fame family with thofe mentioned in 
 the following article. 
 
 D 
 
 ANDREA SCHMUTZER. 
 
 Flourifhed, 1760. 
 
 This artift, together with his brother Jofeph Schmutzer, refided at 
 Vienna in Auftria, where they engraved part of the pictures of Rubens, 
 reprefenting the hifiory of Decius, in the gallery of the Prince of Lichtenftein. 
 
 John Adam Schmutzer, brother to the above artift, was alfo an en- 
 graver. 
 
 GABRIEL SCHNELLBOTZ. 
 
 Flourifhed, 1590. 
 
 This artift refided at Wittemberg, where he engraved a confiderabel 
 VOL. II. R r numbre 
 
S C H [ 306 ] S C H 
 
 number of very excellent prints. He marked them with an arrow, upon 
 which he placed an S. the family name of this mafter fignifying an arrow 
 in the German language. 
 
 JOHN SCHNITZER. 
 
 Flourifhed, 1480. 
 
 He was. an engraver on wood, and executed the geographical charts for 
 the edition of Ptolemy, printed at Ulm, i486. On the -map of the world, 
 which is ornamented with ten rude heads, reprefenting the winds, is this in- 
 fcription, Infculptum efi -per Johannem Schnitzer de Arnfkheim, or Arnflieim. 
 
 MARTIN SCHOEN. 
 Born, Died, i486. 
 
 This ingenious artift was a native of Culmbach, and was at once a gold- 
 fmith, a painter, and an engraver. In the latter part of his life he was 
 eftablilhed at Colmar in Alfatia, where he died, i486. 
 
 At a time when the art of engraving was in its very infancy, this mafter be- 
 gan to praftife itj and when we confider the manifeft difadvantages he la- 
 boured under, we cannot but be aftoniflied at the perfeflion to which he car- 
 ried the mechanical part of it. His compofitions, though obfcured by that 
 formality and ftiffnefs, which charafterize the works of the early German ar- 
 tifts, prove him to have been a man of genius and judgment. The naked 
 parts of his figures, it muft be owned, are very incorredt; but then he has 
 frequently given fuch expreffion to the heads, as in fome meafure compenfates 
 for the other deficiency. Michael Angelo was fo pleafed with the print of St. 
 Anthony carried into the air by the evil fpirits, that he ftudied from it him- 
 felf; which was paying a very high compliment to the abilities of Schoen ; 
 and really the head of the faint is very beautifully reprefented, with the 
 ftrongeft marks of patience and refignation in his countenance. The de- 
 vils are the efforts of a fertile imagination ; their forms are varied and con- 
 trafted with great ingenuity. 
 
 I have fpoken already of Martin Schoen, in the fourth chapter of the 
 Eflay on the Origin and Progrefs of Engraving, at the beginning of the firfl: 
 volume, pages 16 and 17. An exaft copy of one of his prints is alfo given 
 in the prefent volume. The plates engraved by him are exceedingly nu- 
 merous. I fhall feleft the few following only, all from his own compofi- 
 tions : 
 
 The life of the Virgin ; a fet of twelve middling-fized upright plates. 
 
 The life of Chrijl ; a fet of twelve fmall upright plates. 
 
 Chrijt carrying his crofs ; a large plate length-ways. 
 
 The death of the Virgin; a middling-fized upright plate. This was en- 
 graved by Ifrael Van Mecheln, Wencellaus of Olmutz, and other contem- 
 porary artifts. 
 
 A very fmall fet of the apojiles, 
 
 5 The 
 
S C H [ 307 ] S C H 
 
 'The wife and foolijh Virgins ; ten very fmall upright plates. 
 
 A battle againjl the Saracens, in which St. James appears on the part of 
 the Chriftians ; a large plate, length-ways : the diftant figures are not en- 
 tirely finifhed. 
 
 St. Anthony carried into the air by demons ; a middling-fized upright plate. 
 
 St. Sebajtian tied to a tree -, a fmall upright print. This is copied 
 plate 2. of this volume. 
 
 An incenje cup or cenjer ; a middling-fized upright plate. Ifrael Van 
 Mecheln alfo engraved this cup. 
 
 See the mark, conftantly ufed by Martin Schoen, upon the plate at the 
 end of the volume. 
 
 BARTHELEMY SCHOEN. 
 
 Flourifhed, 1480. 
 
 According to Profeflbr Chrift, he was faid to have been the brother of 
 Martin Schoen. His engravings are certainly very ancient, and marked 
 with a B. and an S. feparated by a crofs refembling that of Martin Schoen, 
 which confirms the probability of their being brothers. The ftyle of en- 
 graving of the onerefembles that of the other. But the prints by Barthe- 
 lemy are not executed with that neatnefs and expreffion, which we find in 
 the works of Martin. 
 
 The original engravings by Barthelemy appear to be grotefque figures 
 (many of which are by no means deftitute of humour). 1 Ihall men- 
 tion the following : 
 
 An old beggar many with an old woman in a wheel-barrow j a fmall plate, 
 length-ways. 
 
 Two grotefque heads, well marked, reprefenting an old man and woman ; 
 the fame. 
 
 A man playing on a lute, and an old woman holding a ladle in one hand, and a 
 jar in another, the fame. 
 
 A lover and his mijlrefs -, a fmall circular plate. 
 
 He alfo copied the Life of Chrijl, and many other plates, from Martin 
 Schoen. 
 
 See the mark of this artift upon the plate, at the end of the volume. 
 Paul and George Schoen are faid to have been goldfmiths, and brothers 
 to Martin Schoen. The matter is however exceedingly doubtful ; at leaft, 
 their works are not known. 
 
 ERHART SCHOEN. 
 Flourifhed, 1530. 
 He was perhaps of the fame family with the preceding artifts ; but of 
 this particular we find no certain account. He engraved on wood ; and his 
 works deferve every commendation for their neatnefs and accuracy. The 
 naked parts of the human figure he did not draw corredlyj but the heads 
 are marked with fpirit ; and his compofitions prove him to have been a 
 
 R r 2 man 
 
S C H [ 308 ] S C H 
 
 man of renins. I have feen by him a frontifpiece, in folio, reprefenting 
 a genealogical branch from Jejfe to Chrijl, with figures of the principal per- 
 fonao-es, very delicately executed. He marked his plates with an E. and an 
 S. joined together, with a fmall knife under them. See the plate of mono- 
 grams at the end of the volume. 
 
 HANS, or JOHN HENRY SCHOENFELD, or SCHOONFELD 
 
 Born, 1619. Died, 1689. 
 He was born at Bibrach in Germany, and was the fcliolar of John Se- 
 chetbein. He excelled in painting hiftorical fubjefts, landfcapes with 
 animals, and architefture. Profeffor Chrift, by miftake, attributes to this 
 artift the fmall engravings, printed at Augfburg, a. d. 1626, and 
 marked with an H. and an S. joined together; at which time he could not 
 have been above feven years of age j and we can hardly fuppofe him capa- 
 ble, at that early period, to have executed fuch performances. M. Hei- 
 ncken, and other authentic authors, tell us, that he did engrave, but the 
 fubjedts are not fpecified. 
 
 M. SCHOEVAERTS, or SCHOEVARDTS. 
 
 Flourilhed, - ^ 
 He was a native of Holland ; but an artift of no great note. We have 
 feveral flight, incorreft etchings by him, of Dutch merriments, from his 
 own compofitions j alfo from thofe of Teniers and other matters. 
 
 ADRIAN SCHOONEBECK. 
 
 Flourifhed, 1690. 
 He was a native of Amfterdam, and a defigner as well as an engraver. 
 His works, however, have very little to recommend them. They are 
 executed in the flyle of Remain de Hooghe, whofe difciple it is probable he 
 was ; but they do not pofTefs that merit, which we find in thofe of De Hooghe. 
 He 'publilhed two volumes in oftavo, containing the habits of all the 
 religious orders in- Europe, &c. We have alfo by him a variety of fron- 
 tifpeces, and other book-plates. 
 
 J. V. S C H O O R E. 
 
 Flourifhed, 
 An indifferent engraver of the laft century. We have, among other 
 things by him, St. Vincent, a whole length figure ftanding, from A. Sal- 
 laerts j a large upright plate. 
 
 FRANCIS SCHOOTER. 
 
 Flourifhed, 
 To a portrait of Des Cartes the Philofopher, in oiStavo, engraved in a 
 very bad ftyle, is this infcription : Francijcus a Schooler ^ ad, viv. del.Jculp. 
 
 HANS, 
 
S C H [ 309 j S C H 
 
 HANS, or JOHN SCHOREL. 
 
 Born, 1495. Died, 1562. 
 A celebrated painter of liiftorical fubjefts, landfcapes, and portraits. He 
 was a native of Germany, and is faid by fonne to have ftudied under Albert 
 Durer. The prints on wood, marked with an S. inclofed in a G. which 
 is furmounted by a fort of double crofs, are attributed to him by the 
 author of the Abecedario ; but without the ieaft reafon, unlefs we fuppofe, 
 that he Italianifed the baptifmal name, and wrote it Giovanni. Profeflbr 
 Chrift and Papillon afcribe thefe prints to Sigifuond Gelenius, under which 
 article the reader will find them defcribed. 
 
 HANS, or JOHN FREDERICK SCHORER. 
 
 Flourifhed, 1619. 
 
 A native of Nuremberg. He is fpoken of as a painter, and profeflbr 
 
 Chrift informs us, that he engraved on copper, and marked his prints with 
 
 an H. an F. and an S. joined together, followed by a fecond F. {or fecit, and 
 
 the date 1619. See the mark copied on the plate at the end of the volume. 
 
 J. VAN SCHOR CLU ENS. 
 
 Flourifhed, 1600. 
 
 He was probably a native of Holland ; but it appears, that he refided at 
 Madrid, where he executed feveral folio fronti/pieces and other book-plates^ 
 in a neat, ftifF ftyle, entirely with the graver. I fhall mention the frontifpiece 
 only to a Commentary on the Prophets, by Balthafaro, in folio, infcribed 
 7. Van Schorquens fecit en Madrid. 
 
 A. SCHOUMAN, or SCHOUWMAN. 
 Flourifhed, 
 
 He was a native of Holland, and engraved in mezzotinto ; but his 
 prints are by no means well executed. We have feveral fubjefls from his 
 own compofitions -, others from thofe of J. Hals, and a great number of 
 portraits. As they are by no means fcarce, I Ihall not fpecify any of them. 
 
 HA.NS, or JOHN SCHRODER. 
 
 Flourifhed, 1600. 
 
 He appears to have been a native of Germany, and, according to pro- 
 feffor Chrift, he engraved feveral plates of ornamental foliage, &c. 
 
 PETER SCHUBART. 
 
 Flourifhed, 1696. 
 He was, according to profelTor Chrift, a painter, and refided at Venice. 
 The engravings, marked with the letters P. S. d. E. which that author ex- 
 plains in this manner, Peter Schubart de Ehrenberg^ are attributed to him, 
 
 A. G. 
 
S C H [ 310 ] S C H 
 
 A. G. J. S C H U B L E R. 
 
 Flouriflied, 1626. 
 
 A very indifferent engraver of portraits. He was a native of Germany, 
 and refided probably at Nuremberg. Part of tlie plates for a work in folio, 
 entitled hones Bibliopolanim et Typographorum , publilhed in that city and 
 at Altdorff", a. d. 1626, are by him. 
 
 PETER VAN SCHUPPEN. 
 
 Flourifhed, 1670. ^ 
 
 This artift was a native of Antwerp, where he probably learned the firfl 
 principles of drawing and engraving ; but he completed his ftudies at Paris, 
 and worked in a ftyle much refembling that of Francis de Poilly. His 
 prints prove him to have been a man of genius ; particularly his portraits, 
 feveral of which are exceedingly fine. We have by him, 
 
 yi holy family ; a middling-fized circular plate, from Raphael, dated 1661. 
 
 yi holy family ; a middling-fized upright plate, from Gafpar de Crayer. 
 
 A holy family^ with St. John, who holds a pigeon ; the fame, from Sebaftian 
 Bourdon. The firfl: imprefilons are before the drapery was put over the 
 nudity of the infant. 
 
 Among his portraits, which are numerous, may be reckoned that of 
 Louis XIV. of France y from Le Brun, a middling-fized upright plate; that 
 oi Cardinal Mazarin, from N. Mignard, the fame j and thofe of the King 
 and ^een of Sweden, from Klooker, the fame, &c. 
 
 CORNELIUS NICHOLAS SCHURTZ. 
 
 Flourifhed, 1670. 
 
 A very indifferent engraver, who refided at Nuremberg. We have by 
 him fome bad portraits and other book-plates. He often marked his prints 
 with the initials C. N. S. only. 
 
 CORNELIUS SCHUT. 
 
 Born, 1600. Died, 1660. ^^- 
 
 He was a native of Antwerp, and the difciple of Rubens. He painted 
 hiftoricaL and poetical fubjedls with much fuccefs. He amufed himfelf 
 greatly with the point; and we have a confiderable number of prints by 
 him, etched in a very flight ftyle, refembling that of Caftiglione, but 
 bolder and more determined. The drawing of the nalced parts of the hu- 
 man figure is incorreft ; but the characters of his heads are generally ex- 
 preffed in a mafterly manner. The compofitions are judicioufly made, 
 and prove him to have been a man of great genius. 
 
 ^he martyrdom of St. Laurence ; a middling-fized upright plate. 
 
 The faints in glory ; the fame. 
 
 MarSi Venus, and Flora ; a fmall upright oval. 
 
 Bacchus, 
 
S C H [ 311 ] S C H 
 
 Bacchus, Ceres, and Pomona ; its companion. 
 
 The liberal arts ; a fet of eight middling-fized plates, length-ways. .•^•?^ 
 
 Many madonasy and other devotional Jubje£ls, &c. ^ 
 
 S C H U T E R. 
 
 Flourifhed, 1760. 
 
 He engraved the portrait of Rembrant, from a pidlure by that mafter, 
 for the firft volume of prints, from the paintings in the cabinet of the 
 Marquis Gerini. 
 
 LAMBERT SCHWABE, or SUAVIUS. 
 
 Flourifhed, 1545. 
 
 Sandrart confounds this artift with Lambert Lombard ; others again have 
 called him Sufs or Suterman ; but profeflTor Chrift informs us, that his 
 proper name was Schwabe, which in Latin he wrote Suavius. He was a 
 native of Liege in Flanders, and was the difciple of Lambert Lombard. 
 He worked confiderably from the defigns of that matter ; but we have 
 many engravings by him from his own compofitions ; and of thofe I fhall 
 particularly fpeak. His figures are generally tall and thin ; the outlines of 
 the naked parts of them are very correct ; but they want dignity of flyle to 
 render them agreeable. His draperies are ufually divided into fmall folds, 
 which by not being fufficiently varied or contrafted with each other, form 
 unpleafing lines. The attitudes of his figures are feldom well chofen, or 
 properly adapted to the fubje£t, and the management of the light and fliadow 
 is by no means commendable. His ftyle of engraving is very neat, and 
 feems to have been contracted in the German fchools -, but his mode of de- 
 fign difcovers more of the Italian, than of the German tafte. He fometimes 
 marked his prints with the initials L. S. only : they are, however, eafily 
 diftinguilhed. He engraved a confiderable number of plates j but as they 
 are Jiot very rare, I Ihall mention the following only by him, from his own 
 compofitions. 
 
 The refurre5fion of Lazarus ; a fmall plate, length-ways, dated 1544. 
 
 The entombing of Chrift ; the fame. 
 
 St. Peter and St. John healing the lame man at the gate of the temple ; a 
 large plate, length-ways, dated 1553. 
 
 The twelve apoftles ; fmall upright plates, dated 1545, 1547, and 1548. 
 
 Some. portraits, and a variety of other fubjedls, from Lambert Lombard, 
 &c. 
 
 WILLIAM SCHWA N. 
 
 Flourifhed, 1630. 
 
 An engraver on copper, mentioned by profeflbr Chrift, who informs us 
 that he was a native of Brunfwick; but his works are not fpecified. 
 
 SCHWARTZ. 
 
S C H f 312 ] SCO 
 
 SCHWARTZ. 
 
 '^f^.. Flour iflied, 1626. 
 
 A very indifferent engraver of portraits and book-plates. Specimens of 
 his works may be found in a folio publication, entitled Icones Bibliopolarum 
 et T'yfographorum, printed at Nuremberg, 1626. 
 
 MELCHIOR SCHWARTZENBERGER. 
 
 Flourifhed, 
 
 An engraver on wood, who is fuppofed by profeflbr Chrift to have worked 
 conjointly with John Feyeraband the Bookfeller; at leaft, it appears that 
 he executed fome frontifpieces for him. 
 
 JOHN SCHWEIZER. 
 
 Flourilhed, 1660. 
 
 He refided at Heidelberg, and was probably a native of that place. He 
 worked chiefly, if not entirely, for the bookfellers j and his engravings are 
 very indifferently executed. I fliall mention only the portrait of William 
 Balthazer Frenhers, in an oval, a fmall upright plate, from Peter Schik ; 
 and the plates for a work entitled, Parnajfus HeidelbergenftSy omnium illuj- 
 trijfima hujus academic profejforum icones exhibens. The fror.ti/piece and other 
 ornamental parts of this work arc engraved from his own defigns. 
 
 J. S C H Y N V O E T: 
 
 Flouriflied, 1700. 
 He certainly refided in England, and we have by him feveral bird's-eye 
 views of gentlemen's JeatSy engraved in a ftyle refembling that of Kip, which 
 artift he probably affifted. They are chiefly from his own drawings. 
 
 GIOSEFFO SCOLARI. 
 
 Flourifhed, 1580. 
 
 A native of Venice. Papillon has attributed to this painter feveral en- 
 gravings on wood ; and, among them, a print in cliiaro-fcuro on two Iheets, 
 in three colours, the fubjeft of which, he tells us, was taken from the 
 New Teftament ; but he has not particularized it. Thofe I have feen are, 
 
 The entombing of Chrift ; a large upright plate, very rudely executed, but 
 evidently the work of a mafler. 
 
 A dead Chrift lying on the ground^ a foreftoortened figure, with the Virgin 
 Mary, a middling-fized print, nearly fquare. 
 
 St. Jerome ftanding and holding a crucifix ; a very fpirited engraving. This 
 is a large upright print. 
 
 ne rape of Proferpine ; the fame, nearly fquare. 
 
 But after all, it is not certain, that he was the engraver ; for the infcrip- 
 tion upon them by no means juftifies the fuppofition, being only Giojeppe^ 
 
 Scolari 
 
SCO [ 313 ] SCO 
 
 Scolari inv. I know nothing of the print in chiaro-fcuro. Andrea Andrianc 
 indeed engraved a large print from this mafter in chiaro-fcuro, with three 
 blocks, reprefenting Cbriji carried to the tomb. 
 
 ORAZIO SCOPPA. 
 
 Flourifhed, 1642, 
 
 He was a native of Naples, and probably a goldfmith. We have, de* 
 figned and engraved by him, a fet of fifteen plates in folio, containing de- 
 figns for chalices, crofters, and other ecclefiaftical ornaments. They arc 
 flightly etched j but in a very fpirited ftj-'le. 
 
 SINIBALDO SCORZA DA VOLTAGGIO. 
 
 Born, 1600. Died, 1641. 
 
 He was a native of Italy, and fcholar of G. B, Paggi. We have fome 
 engravings by him from his own compoficions. 
 
 GIRARD JOHN BAPTIST SCOTIN the Elder. 
 
 Flouriftied, 1680. 
 
 He was a native of France, and a difciple of Francois de Poilly. He 
 executed his plates with the graver, in a neat, but flight ftyle, without taftej 
 and the outlines of his figures, in general, are very incorreftly drawn. 
 Among other engravings, the following are by him : the marriage of St. Ca- 
 therine, half figures, a middling-fized upright plate, from Alexander Ve- 
 ronefi, for the colleftion of engravings from thepidures, in the king's cabi- 
 net. The circumcifion of Chriji ; a large upright plate from C. Mignard. 
 
 The baptifm of Cbriji ; the fame, its companion. The Country Life ; a 
 middling-fized upright plate, from Dorninico Feti. 
 
 J. B. ScoTiN, a name affixed to fome very indifi^erent anatomical prints, 
 etched, and finiflied with the graver, for Boudon's Anatomy, in two vo-- 
 lumes, oftavo, publillied at Paris, 1734. 
 
 GIRARD SCOTIN the Younger. 
 Flouriflied, 1730. 
 
 He was a native of France, and related to Girard J. B. Scotin, men- 
 tioned above. He learned the principles of the art of engraving in hii 
 own country. He came into England, where he continued a confiderable 
 time, working chiefly for the bookfellers. He was an induftrious man ; 
 but his prints do no great credit to his tafte. Among his befl plates may 
 be reckoned the .following : Alfred receiving the account of the defeat of the 
 Banes, a middling-fized plate, length-ways, from Blakeney. jBelifarius, a 
 large plate, length-ways, from the fuppofed pifture by Vandyck at Chif- 
 wick. We have alfo fome fortraits by him ; but none of any great con- 
 fequence. 
 
 VOL. II. S s G. SCOT T. 
 
SCO [314] S E I 
 
 G. SCOTT. 
 
 Flouriflied, 
 
 A name affixed to a fmall upright half figure, from Guido, very in- 
 differently executed. 
 
 CHART. ES SCRETA. 
 
 Flouriftied, 
 He was a native of Bohemiaj and engraved fome fmall plates, which he 
 marked with the initials C. S. B. 
 
 SCUPPER. See SCHUPPEN. 
 
 S E A M E R. 
 Flouriflied, 1730. 
 We have by him a fmall fatirical print, very (lightly etched, reprefenting 
 a man on horfeback, giving his purfe to a country girl, who has got a bafket 
 of eggs upon her arm. It is infcribed, Mr. Seamer, Jun. fecit, 1734. 
 
 MARTIN DE SECO. 
 Flourilhed, 
 
 This artift, according to Baldinucci, marked his plates with an M. and 
 and S. divided by a fmall crofs. See the plate of monograms at the 
 end of the volume. 
 
 RENAUDIN DE SEDAN. 
 
 Flouriflied, 
 According to Florent le Comte, he engraved fome few plates -, but the 
 fubjeds are not fpecified. 
 
 JEREMIAH JAMES SEDELMAYR. 
 Flouriflied, 1735. 
 He is mentioned by Baron Heineken, as a painter and an engraver. His 
 chief work feems to be the views, in large folio, of the imperial library at Vi- 
 enna, which he engraved from his own drawings. They were publiflied, 1737. 
 
 S E G A E R S. 
 
 Flouriflied, 
 A name affixed to the portrait of Godef. Chodkiewie of Ruffia. 
 
 P. P. A. ROBERT D E S E I S. 
 
 Flouriflied, 
 
 This name is affixed to a flight but maflicrly etching, attempted in the 
 
 ftyle 
 
S E M 
 
 [ 3^S f 
 
 S E R 
 
 ftyle of Rcmbrant. It reprefents Lot with his two daughters i and is very 
 corredlly drawn. The word fecit being added to the name of the artill, 
 gives us great reafon to conclude, that it is from a compofition of his own. 
 It is a fmall upright plate. 
 
 D. G. S E M P E L I U S. 
 
 FlouriHied, 1580. 
 
 This artift copied fome of the prints by Albert Durer with great fuccefs. 
 The de/cent of Chrift into hell, from the [Life of Chrift, by that mafter, a 
 fmall upright plate, is a good fpecimen of his abilities. The original is 
 dated 151 '2, which date the copy alfo bears, and the date 1580, when it was 
 engraved. 
 
 JOHN SENEX. 
 
 Flourifhed, 1720. 
 
 He engraved the London Almanacks from the year 1717 to 1727, except- 
 ing that only for the year 1723, which was executed by John Clarke. 
 
 HERCULES SEPTIMUS, or SETTE. 
 Flourilhed, 1560. 
 
 He was a native of Modena, and etched feveral hiftorical fubjefts ; alfo 
 fome architeftal ornaments, &c. He marked his plates with the initials 
 H. S. and ufually added the date, as, H. S. 1558. 
 
 L. 
 
 O T. 
 
 E CL U E N 
 
 Flourifhed, 1671. 
 
 We have fome frontifpeces and other hook--^lates by this engraver, very 
 badly executed. 
 
 PHILIP SERICCUS, or SYTICUS. 
 
 Flourilhed, 1560. 
 
 This name is affixed to the portrait of Tope Pius the Fifth, furrounded 
 with ornamental figures, executed in a very neat, pleafing ftyle, with the 
 graver only, from his own defign. He alfo engraved « /^o/y /<:2w;i/y, a mid- 
 dling-fized upright print from M. Angelo Buonarota ; and Chriji upon the 
 crofs, with St. John and the Virgin Mary, a large upright plate, from the 
 fame painter ; thefe prints are by no means devoid of merit. 
 
 PETER SERWOUTER, or SHERWOUTER. 
 
 Flourifhed, 16 10. 
 
 He was a native of Antwerp, or, at leaft, he refided there. He worked 
 with the graver only, in a clear, neat ftyle, but without any great marks of 
 good tafte. His plates are not fufficiently finifhed to produce a pleafing 
 
 cffed ; nor accurate enough to bear examination, 
 are by him : 
 
 S s 2 
 
 The following prints 
 Sampfon 
 
S E S [ 316 ] S E Z 
 
 Samp/on killing the lion ; a middling-fized plate, length-ways, from David 
 Vinckenbooms. 
 
 David killing the bear ; its companion, from the fame painter. 
 
 An emblematical print, reprefenting in the front, a Dutch merry 
 
 making, with figures dancing, and a cottage in the back-ground, from the door 
 
 of which, a man and his wife are ijfuing forth to oppcfe a man with a drawn 
 
 fzvcrd, dated 1608, without any painter's name, but apparently from 
 
 Vinckenbooms. 
 
 Part of the plates for 'Thibault's Academie de Lefpee, in folio, publifhed at 
 Antwerp, a. d. 1628. Seethe mark, which he fometimes ufed, compofed 
 of a P. and an S. joined together. 
 
 FRANCESCO SESSONE. 
 
 Flourifhed, 1760. 
 He engraved feveral of the plates for the Antiquities of Herculaneum, pub- 
 lifhed at Naples by royal authority. 
 
 B. S. S E T T E Z K Y. 
 
 Flourilhed, 
 We have fome very indifferent er«fl»7f«/«/ i?Kgrat;z«|:i, &c. by this artift. 
 
 P. S E V I N. 
 
 Flouriflied, 1689. 
 A very indifferent engraver o{ fr ontif pieces and other book-plates. I have 
 feen by him the frontijpiece to Tachard's French and Latin Di£iionary, &c. 
 from his own defign. 
 
 J. A. S E U P E L. 
 
 Flourifhed, 
 An engraver of portraits, which he frequently drew himfelf from the life. 
 He worked in a very neat ftyle, with the graver only j but the ftiffnefs and 
 formality of his performances prove his want of tafte. I fhall mention only 
 the portrait of John Schiller, in folio. 
 
 JOHN GODFRED SEUTER. 
 
 Flourifhed, 1750. 
 He was a native of Germany ; but refided in Italy a confiderable time, 
 where he engraved part of the plates, which were taken from the pictures 
 in the colledion of the Marquis Gerini. 
 
 VALENTIN SEZENIUS. 
 
 Flourifhed, 1620. 
 He engraved ornaments and grotefque fubjeds, and marked his plates 
 with the initials V. S. and fometimes added the date. 
 
S I G I 317 ] SHE 
 
 B. S I G R I L L I. 
 
 Flourifhed, 1760. 
 A modern Italian artift, who engraved part of the plates for the colle(Stion 
 of prints, taken from the pidures of the Marquis Gerini. 
 
 ROBERT SHEPHERD. 
 
 Flouriflied, 1660. 
 
 He was a native of England, and probably a difciple of Loggan, from 
 whofe drawings he fometimes engraved. His works, the bell part of 
 which are portraits, do him no credit. He copied, on a fmaller fcale, the 
 battles of Alexander, from the prints, which Girard Audran engraved after 
 the piflures of Le Brun ; but thefe are very wretched performances. 
 
 SHERLOCK. 
 
 Flouriihed, 1760. 
 
 He was a native of England, and engraved feveral landfcapes from Pllle- 
 ment and other mafters. We have alfo fome portraits by him ; among 
 others, that of N. J. Bapt. Cirri. 
 
 WILLIAM SHERWIN. 
 
 Flourifhed, 1690. 
 
 He was an Englifliman, and the fon of a clergyman; but it does not appear 
 from whom he learned the art of defigning and engraving. He was a royal 
 engraver by patent, and the only perfon known to have had that honour; which, 
 however, his merit as an artift certainly could not have procured him. His 
 beft prints are frontifpieces, and other book-plates ; fom.e of which de- 
 ferve commendation. We have, according to Ames, about 16 portraits 
 by him; thofe which I have fcen are very ftifF, and in every refpedl in- 
 different performances. He engraved from his own defigns, \ht frontijpiece 
 and the greater part of the cuts for the edition oi God's Revenge againji Mur- 
 der, in folio, printed 1669; and fometimes ufed a monogram, compofed 
 of a W. and an S. joined together. Among his portraits are the following : 
 
 Charles II. a whole length, in folio, prefixed to Afhmole's Order of the 
 Garter. 
 
 Cbrijlopher Duke of Albemarle, in armour. 
 
 William Sermon, M. D. infcribed W. Sherwin ad viviim del. et Jculp, 
 i6y I. 
 
 Judge Pozvel, dated 171 1. 
 
 He alfo fcraped fome few mezzotintos ; but they are exceedingly bad. I 
 Ihali mention only the portrait of Monfieur Beverland, a very rare print. 
 
 SHERWOUTER. See SERWOUTER. 
 
 SIBELIUS. 
 
 k 
 
SIB [ 318 ] SIC 
 
 SIBELIUS. 
 
 Born, Died, 1785. 
 
 Mc was a native of Annfterdam, and learned the art of engraving in the 
 fchool of Houbraken. He refided in London feveral years, and died in 
 that city, where he had been principally employed by Sir Jofeph Banks, in 
 his great botanical work. We have alfo fome few portraits by him ; one 
 in particular, of Mrs. Rudd, after Dodd, dated 1775. 
 
 SIBENECENSIS, or SIBENICO. See BONIFACE. 
 
 JOHN SIBMACHER. 
 
 Flouriflied, 
 He etched, in a flight, incorreft ftyle, many of the plates of the Antique 
 Statues, &c. in folio, for Boiffard's colledtion. 
 
 CHRISTOPHER VAN SICHEM. 
 
 Flourifhed, 1600. 
 
 He was a native of Holland, and refided chiefly at Amfberdam. He en- 
 graved both on wood and on copper ; and if his genius had been equal to 
 his induftry and application, he would, without doubt, have been an artift 
 of the firft rank. But this was not the cafe ; for Sichem poflefled a very 
 fmall portion of tafte. The merit of his engravings on copper confifts 
 principally in the neatnefs : on wood, he executed fome portraits and other 
 fubjefis from Goltzius, which deferve commendation. The works of this 
 artift are exceedingly multifarious, and not at all fcarce. I fliall therefore 
 mention the following fets of prints only : 
 
 Iconica H<£refiarcharum ; confifting of a great number of fmall upright 
 plates of the principal reformers of the church., from his own defigns, pub- 
 liflied at Amfterdam, 1 609. 
 
 The whole length portraits, in folio, of the Earls of Holland and Zealand, 
 alfo from his own defigns. See his monogram, compofed of a C. a V. and 
 an S. joined together, on the plate at the end of the volume. 
 
 CORNELIUS VAN SICHEM. 
 
 Flourilhed, 1640. 
 
 He was of the fame family with the preceding artift ; and their works are 
 generally confounded together ; not only becaufe they both ufed the fame 
 mark or monogram, but alfo from the fimilarity there is between their 
 engravings. The prints however by Cornelius, on wood, are ftifFer than 
 thofe of Chriftopher, and heavier in the execution. On copper, the differ- 
 ence is not fo vifible. I ftiall mention by Cornelius the following engrav- 
 ings on wood : 
 
 A compilation of prints, confifting of upwards of 600 ; being fubjefts 
 
 from the Old and New 'Teftament, Figures of Jaints and holy perjonages. 
 
 4 'The 
 
SIC [ 3^9 ] S I L 
 
 The cardinal virtues, Sec. of various fizes, and from the defigns of differ- 
 ent painters. Many of them are copies from prints. See his mark on the 
 plate at the end of the volume. 
 
 KARL VAN SICHEM. 
 
 Flourilhed, 1600. 
 He was of the fame family with the foregoing artifts, and engraved o'^ 
 wood and copper. See the marks, attributed to him, upon the plate at 
 the end of the volume. 
 
 LIEUT. COLONEL DE SIEGEN. 
 Flourilhed, 164.3. 
 He was an officer in the fervice of the Landgrave of Hefie, and the firft 
 inventor of that fpecies of engraving, called mezzotinto. In the year 
 1643, according to Baron Heineken, he executed in that manner, a por- 
 trait of the Princefs Amelia Elizabeth of Hejfe. From this gentleman Prince 
 Rupert learned the fecret, and brought it with him to England, where it 
 has been carried to the fummit of perfeftion. 
 
 SILVESTRE DE RAVENNA. See RAVENNA. 
 
 ISRAEL SILVESTRE. 
 Born, 1621. Died, 1691. 
 
 This celebrated artift was born at Nanci in Lorraine. It does not ap- 
 pear from whom he learned the firft principles of defigning and engraving ; 
 but it is highly probable, that his inftruftor was his uncle Ifrael Henriet, 
 who was eftabliflied as an engraver and printfeller at Paris. With him he 
 had alfo an opportunity of feeing the works of Delia Bella and Callot, from 
 which he drew no fmall alTiftance. His genius inclined him to the de- 
 ligning of landfcapes and views, which he performed with great tafte, light- 
 nefs, and beauty of effcft. Thefe he enriched with figures, judicioufly 
 introduced, and drawn in a mafterly ftyle. His works, which are very 
 numerous, confifting of upwards of 700 prints, are executed with a fine 
 point, and in a neat, clear ftyle. The diftant parts of his landfcapes, in 
 particular, are very finely exprelTed, They are very flight, yet no part of 
 them is confufed j but the effeft is exceedingly agreeable to the eye. 
 
 Silveftrc's merit recommended him to the notice of Louis XIV. and he 
 was employed by that monarch to make drawings of the royal palaces, and 
 the places he had conquered ; which the artiPc performed greatly to the fa- 
 tisfadlion of his patron j and he was, on his return to Paris, appointed 
 drav.'ing mafter to the Dauphin, having a penfion allowed him, and 
 apartments in the Louvre. He was alfo elefted member of the Royal Aca- 
 demy of painting and fcujpture. 
 
 After the death of Ifrael Henriet his uncle, Silveftre, who was his heir at 
 law, poflelTed all his plates ; among which were the greater part of the works 
 
 of 
 
S I L [ 320 ] S I L 
 
 of Callot and Delia Bella, To thefe he added all that he could purchafe, 
 which thefe artifts had afterwards done. He went twice to Italy, where he 
 procured a confiderable number of drawings, many of which he engraved. 
 
 He died at Paris in the month of Oftober, a. d. 1691, aged 70 years, 
 leaving behind him a moft refpedtable charaiSter. The following are fome 
 of his principal performances : 
 
 The grand caroujal, or royal entertainment^ at Paris, 1662, confifting of 
 108 prints. He was afTifted by F. Chauveau, who engraved fome of thefe 
 plates. 
 
 The plea/ures of the Enchanted IJland ; confifting of nine prints, with a 
 vignette, &c. 
 
 Views of Paris, and of the Royal Palaces, &c. 
 
 yl large view of Rome, on four plates. 
 
 yi view of the Campo Facino, and of the Colijeum at Rome ; the laft is very 
 rare. 
 
 Views of Jeveral palaces in Italy, Sec. 
 
 ALEXANDER SILVESTRE. 
 
 Flourifhed, 1700. 
 
 He was the fon of Ifrael Silveftre, mentioned in the preceding article. 
 He etched feveral landfcapes, from the defign of Louis Silveftre, his bro- 
 ther ; but his engravings are not held in equal efteem with thofe of his 
 father. 
 
 NICHOLAS CHARLES SILVESTRE. 
 
 Born, 1700. Died, 1767. 
 
 He was the grandfon of Ifrael Silveftre, mentioned above. It appears 
 from Bafan, that he was drawing mafter to the King and the Royal Family 
 of France. He died a. d. 1767, aged 67 years. We have engraved by him 
 t e following plates : 
 
 Vbald and the Danifh Knight, fear ching for Rinaldo in the palace of Armida ; 
 a middling-fized plate, length-ways, from Le Moine. 
 
 A hunting Jubje5i, from Audray, the iame. 
 
 SUSANNAH SILVESTRE. 
 
 Flourifhed, 
 This lady was of the fame family with the preceding artifts. She en- 
 graved feveral portraits and heads from Vandyck. 
 
 BALTHASAR SILVIUS. 
 
 Flourifhed, 1555. 
 He was apparently a native of Germany. We have feveral prints by 
 him, which he executed with the graver only, in a coarfe, loofe ftyle. He 
 
 worked 
 
I 
 
 h 
 
 SIM [ 321 ] SIM 
 
 worked principally from his own compofuions, vvliich have but little merit 
 to recommend them. I fhall mention only, Loi and his daughters, a mid- 
 dling- fized plate, length-ways, dated 1555. He fometimes marked his 
 plates with the initials B. S. 
 
 PETER SIMON. 
 
 Flouriflied, 1680. 
 
 Tliis artift was a native of France. It does not appear from whom he 
 learned the art of engraving; but it is probable, that he ftudied in the 
 fchool of Robert Nanteuil. Simon's beft works are portraits, which lie 
 often drew himfelf ; and many of them are as large as life. His ftyle 
 of engraving bears great refemblance to that of Nanteuil ; and though 
 his works are not equal to thofe of that celebrated mafter, they, how- 
 ever, pofiefs a very confiderable fhare of merit. His portraits are notfcarce. 
 I Ihall therefore only particularize the following : 
 
 Louis XIV. of France; a large whole (heet print. 
 
 Jacobus Cardinalis Rojpigliofius ; a half figure in an oval, furrounded by 
 an ornamental border; a very large whole Iheet print. Among his hiftorical 
 engravings may be reckoned, The martyrdom of St. Cojmus and St. Damien ^ 
 a middling -fized upright plate, from Salvator Rofa. 
 
 JOHN SIMON. 
 Born, Died, 1755. 
 
 He was born in Normandy, and probably learned the art of engraving in 
 his own country. On his coming into England, he appears to have quitted 
 the graver, and followed mezzotinto fcraping only ; in which he fucceeded 
 much better than in the other mode of engravino;. 
 
 He arrived in England fome time before the death of Smith ; and was 
 employed by Sir Godfrey Kneller, who, upon fome difference between 
 him and Smith, refufed to let that artift have any more of his pictures to 
 engrave. We have m-xny portraits by Simon ;. fome of which are fpoken 
 of with commendation ; but the far greater part of his works are very in- 
 different. I fhall mention the following portraits only by him : 
 
 Henry Rouvigny, Earl of Galloway; The Earl of Cadogan. Lord Cutts 
 in armoury holding a truncheon, i^c. 
 
 His prints with the graver are by no means worth particularizing. 
 
 JOHN SYMONDS. 
 
 Flouriihed, 1750. 
 He was a native of England, and copied fome of Le Blond's mezzotintos, 
 
 CHARLES SIMONEAU. 
 
 Born, 1639. Died, 1728. . 
 This ingenious artift was born at Orleans. He learned the principles 
 of drawing from Noel Coypel the painter; and the art of engraving from 
 VOL. II. T t William 
 
SIM [ 322 ] SIM 
 
 William Chateau. His firfl: plates were executed with the graver only, in a 
 ftyle founded upon that of Poily ; but he afterwards took up the point j and 
 the prints, which he produced by a union of both, are infinitely fuperior to 
 thofe, in which the point was not ufed. He drew correftly j and his beft 
 plates are finifhed in a neat, and pleafing ftyle. 
 
 His works are very numerous. I Ihall only mention the few following 
 prints : 
 
 The Virgin and Child; a middling-fized upright plate, from Nicholas 
 Pouflin. 
 
 yf hcly family, with Elizabeth and St. John ; the fame, from Raphael, for 
 the Crozat cabinet. 
 
 The adoration of the Jljepherds ; a large plate, length-ways, from Annibale 
 Carracci. 
 
 Chrift dijcoiirfing with the woman of Samaria ; the fame, from the fame 
 painter. 
 
 The triumph of Galathea ; a large plate, length-ways, from Anthony 
 Coypel. 
 
 Venus curing the wound of Mneas ; the fame, from Cliarles de la Fofle. 
 
 The voyage of the ^leen Mary de Medici s to Pont de Ce ; a middling- fized 
 plate, from Ruben?, for the Luxembourg gallery. 
 
 The conqueji of Franche- Comte, reprefented by emblematical figures ; a 
 large plate, length-ways, arched at the top, from Le Brun. This is gene- 
 rally confidered as the beft print by this great artift. 
 
 We have alfo feveral very excellent portraits by him, and a variety of 
 Other fubjeds, from different matters. 
 
 LOUIS S I M O N E A U. 
 
 Born, 1660. Died, 1727. 
 
 This artift was the younger brother of Charles Simoneau, mentioned 
 above. He feems to have founded his ftyle of engraving upon the works 
 of the Audrans. He united the point with the graver, and gave a pleafing 
 variety to his prints, by a judicious manner of treating the back-grounds, 
 the flelli, and the draperies. He drew correftly, and marked the extre- 
 mities of his figures in a very judicious manner. I Ihall mention the fol- 
 lowing engravings only by this artift : 
 
 Lot with his two daughters ; a middling-fized plate, length-ways, from 
 A. Coypel. 
 
 Sufannah and the two Elders ; the fame, from the fame painter. 
 
 Chrift inftruBing Mary and Martha ; the fame, from the fame. 
 
 Ibe afcenfion of the Virgin to Heaven-, a large upright print on two plates, 
 from the ceiling painted by Le Brun, in the chapel of St. Sulpice. 
 
 The ceiling of the Sallon de I'Aurore, in the garden de Sceaux ; on four 
 plates, from the fame painter. 
 
 PHILIP 
 
SIM r 323 ] SIR 
 
 PHILIP SIMONEAU. 
 
 Flourifhed, 1700. 
 
 He was the Ton of Charles Simoneau mentioned above ; and was inftru(^- 
 cd by his fathrr in the art of engraving ; but he either difliked the purfuit 
 of the arts, or his genius was inadequate to it ; for he never made any con- 
 fiderable progrefs. I fliall notice by him the following print only : 
 
 The three goddejfes preparing for the judgment of Paris ; a middlino--fized 
 plate, length-ways. The back-ground is freely etched j but the figures are 
 very indifferently executed. 
 
 JOHN BAPTIST SIMONET. 
 
 Flouriflied, 1760. 
 
 A modern French engraver, by whom we have feveral neat vignettes for 
 an edition of Ovid's Metamorphofes in quarto. 
 
 WILLIAM SIMPSON, or SYMPSON. 
 Flourifhed, 1635. 
 
 He was a native of England, and engraved for the bookfellers ; among 
 other things by him, are the prints for ^larles' Emblems^ very indiffer- 
 ently executed. 
 
 JOSEPH SIMPSON, or SYMPSON the Elder, 
 
 Flourifhed, 17 10. 
 His firft employment was to engrave the names of the publicans, coats 
 of arms, and other embellifhments on pewter pots ; but having fome incli- 
 nation for drawing, he got admittance into the academy, and ftudied the hu- 
 man figure. He was afterwards employed by Tillemans, and engraved for 
 him a plate of Newmarket^ to which his name is affixed. 
 
 JOSEPH SIMPSON, or SYMPSON, the Younger. 
 
 Born, Died, 1736. 
 
 He was fon of the preceding artifl ; and, it feems, his father had formed 
 very confiderable expedations from the firft fpecimens of his abilities ; but 
 he died young, before he had attained to any great degree of excellence. I 
 have feen very few of this artifl's works ; but thofe, which have fallen un- 
 der my confideration, are fuch as do not feem, by any means, to juflify the 
 hope the father is faid to have entertained concerning him. I fhall men- 
 tion only, a holy family, with St. John, St. SebaJliaUy and feveral angels, from 
 P. Filippo Laurij a middling-fized upright-plate, dated 1728. 
 
 GIOVANNI ANDREA SIRANL 
 Born, 16 1 6. Died, 1670. 
 This hiflorical painter was a native of Bologna. He was a difclple of 
 
 T t 2 Guido, 
 
SIR [324] SLA 
 
 Guido, and mirated his flyle. We have fome fine maflerly etchings by his 
 liand, from his own compofitions ; among others, Jpollo fleaing the faiyr 
 Marjyas ; a fmall upright plate, in an oval. His etchings are fometimes 
 marked with the initials, G. A. S. and I. A. S. 
 
 ELIZABETTA SIRANI. 
 Born, 1638, Died, 1664. 
 She was the daughter of G. A. Sirani, mentioned in the preceding article, 
 and was born at Bologna. She learned the principles of defign and paint- 
 \no from her father. Her pidlures are fpoken of with the warmeft com- 
 mendations. She excelled in hiftorical fubjefts, and copied the flyle of her 
 father. We have many etchings by her hand. They are executed in a 
 fljcrht, but fpirited ftyle, and the extremities are finely marked. Among them 
 are the following: J holy family, reprefented in aland/cape-, a large plate, 
 leno-th-ways, from a compofition of her own, The virgin, Jeated in the 
 clouds, holding a rojary, with the infant Chriji flanding by her fide ; a fmall 
 upright plate, the fame. The virgin feated, iveeping, accompanied by angels, 
 andfurrcunded '■juith the emblems of Chrift's paffon ; a fmall upright plate, 
 the fame. J holy family ; a fmall upright plate, from Raphael. She fome- 
 times marked her etchings -with the initials, E. S. F. and, according to 
 profeflfor Chrift, with the following, S. F. I. which he interprets Sirani 
 Figli-vola inventrice. 
 
 PHILIP SIRCENS. 
 
 Flourilhed, 
 According to Florent le Comte, this artiftwas an engraver, and worked 
 from the defigns of Michael Angelo. 1 am not acquainted with his prints. 
 
 WILLIAM SKILLMAN. 
 Flourilhed, 1665. 
 He appears to have been a native of England. He engraved the Facade 
 if Alhermarle Houfe, and a view of the banquetting houfe. 
 
 SLABBAERT. 
 
 Flourilhed, 1660. 
 This name is affixed to a portrait of Paulus Perre, Syndic. Mediobourg. el 
 Legat. Belg. in /inglia, 
 
 T. SLATER. 
 
 Flourifhed, i6jo. 
 He engraved the portrait of George Webbe, Bipop of Limerick. 
 
 SLITEZER: 
 
S L I [ 325 J SMI 
 
 S L I T E Z E R. 
 
 Flourilhcd, 
 
 He engraved large whole fheet views of Scotland, in a ftyle greatly re- 
 fembling that of Michael Burghers. 
 
 P. S L U Y T E R. 
 
 Flourifhed, 1700. 
 
 He was a native of Hollandj and a very indifferent engraver. His 
 •works are chiefly frontiffieces, and other book plates, for the publications 
 of P. Vander, Aa, and others of the fame ftamp. 
 
 JOHN SMITH. 
 
 Flourifhed, 1700. 
 
 We have very little account of the life of this eminent artift. It appears, 
 that he ferved his apprenticefhip with one Tillet, a painter, in Moor fields. 
 As foon as he was out of his time, he applied to Beclcet, the mezzotinto-fcra- 
 per, and learned from him tlmtmode of engraving. He was afterwards further 
 inftru6led by Vander Vaart, and his produftions meeting with the appro- 
 bation of Sir Godfrey Kneller, he was taken into the houfe of that painter, 
 and worked principally from his pidtures. Under the direction of this ar- 
 tift, he could not fail of improving himfelf. Some time before the death 
 of Smith, a difagreement took place between him and his patron. Sir God- 
 frey, which occafioned a total feparation. 
 
 Mr. Groffe has obligingly favoured me with the following remarkable 
 anecdote, concerning this extraordinary artift. " Smith the mezzotinCo- 
 " fcraper had a blue paper book, in which he had pafted many proofs of his 
 " works, really taken to obferve the progrefs of the plates. Some time after 
 " he had left ofFfcraping, he was much followed by the colledlors for thefe 
 " proofs. He affected great hauteur, and ufed to give audience to them, 
 " fitting on his clofe-ftool. He required much entreaty, as well as an ad- 
 «' vanced price, to part with a print from this b>ook. The marks of blue 
 " paper, flicking to the corners of a print, was confideredas an undeniable 
 " proof of the goodnefs of the impreffion. Smith finding how readily, 
 " and at what high prices the prints went off", procured fome ordinary im- 
 " preffions, which he trimmed clofe, and ftuck into the blue book, from 
 " whence they were purchafed as proofs. This particular I had from 
 " MefT. Groffe and Roffiere t both of them had been humble fuitors to that 
 
 s;reat man. 
 
 Smith was certainly the beft mezzotinto fcraper, which had appeared at 
 that time ; his prints are foft and clear, and the fpirit of the paintings 
 he copied is admirably preferved. I fliall mention the few following 
 only : 
 
 'Tbe duke cf Schcmberg, on horfeback -, a half llieet print, after Kneller. 
 
 James 
 
SMI [ 3^6 ] S N Y 
 
 James duke of 2'ork, leaning upon an anchor; a large half Iheet print from 
 the fame painter. 
 
 •The earl of Pembroke ; a half Iheet print, after the fame. 
 
 ^leen Mary the Second, ivith a high head drejs ; a half fheet print. 
 
 The dutchejs of Rutland; the fame, fromKneller. 
 
 'The countefs of Salifbury ; the fame, from the fame. 
 
 The dutchefs of Grafton ; the fame, from the fame. 
 
 A fet of half fheet prints, reprefenting the loves of the gods, from 
 Titian. 
 
 Venus ftanding in afbell, from Correggio; ahalffiieet print. 
 
 A holy family, from Carlo Maratti j the fame, dated 1707. 
 
 The only print, engraved in ftrokes by him, is faid to be a reprefentation of 
 animals, a half Iheet fize. 
 
 JACOB SMITH. 
 
 Flouriflied, 1730. 
 We have fome very indifferent engravings by him. I fhall mention 
 only the portraits of Sir Ij'aac Newton and Sir Hans Shane, from his own 
 defio-ns. They are executed with the graver, in a fingular manner, with 
 one fpiral line, begun in the middle, and continued to the border of the 
 plate. By the ornaments, with which thefe heads are furrounded, I fufpeft 
 he was properly a writing engraver. 
 
 GABRIEL SMITH. 
 Born, Died, 1783. 
 
 He was a native of England, and having learned the firfl principles of 
 encrraving at London, he went to Paris, where he refided fome time. His 
 abilities as an artifl were very confined, fo that he made little or no im- 
 provement, during his ftay in that city : except that he learned the method 
 of engraving in imitation of chalk drawings, and with the afTiftance of Mr. 
 Ryland, began to pradtice it in England. Among his early performances may 
 be reckoned, the pajfions, copied from Audran's engravings, after Le Brun ; 
 and fome academy figures, from Boucher; which all together formed a large 
 drawino- book, in folio. In the latter part of his life he confined himfelf 
 almofl entirely to etching, in the chalk ftyle, for Mr. Ryland and other 
 artifts ; and he was very fuccefsful in his works of this kind. 
 
 HENRY SNYERS. 
 Flourilhed, 
 If this artift was not a native of Antwerp, he refided principally in that 
 city. It is not certain from whom he learned the art of engraving ; but he 
 imitated the flyle of Scheltius a Bolfwert with much fuccefs. He drew 
 corredly ; and his prints retain much of the fpirit and exprefllon of the 
 pidures he copied. Wc have by him, 
 
 2 Sam/on 
 
SOI [ 327 ] SOL 
 
 Sawjon delivered by Dallilah to the Philijlines j a large plate, length-ways, 
 from Vandyck. 
 
 The virgin Jeated upon aftep,Jiirrounded with feveraljaints -, a large upright 
 plate, from Rubens. The firft imprefTions of this plate are very rare. The 
 fecond are to be diftinguiflied from them by the darknefs of the fbadows, which 
 are increafed to make the effeft of the light parts of the print more powerful. 
 
 The fathers of the Church; a large plate, lengtli-ways, from the fame 
 painter. 
 
 The death of St. Francis d'Jffize ; a large upright plate, from the fame. 
 
 He alfo engraved from Titian and other mafters ; and we have fome 
 few portraits by him. 
 
 PHILIP SOIUS. 
 
 Flourifhed, 1568. 
 He engraved, from his own defigns, a fet of half length figures, in folio> 
 o( the Popes, from the year 104 to the year 1568, confifting of twenty-eight 
 prints, exclufive of the frontifpiece. They are executed in a ftiff, flight 
 ftyle, with the graver only J and were publilhed at Rome, 1568. 
 
 G. C. S O I T Z. 
 
 Flouriflied, 1673. 
 He engraved fome of the portraits for a book in quarto, entitled, Templum 
 Honoris, by Theodore Spizalio, publilhed at Vienna, a. d. 1673. They 
 are very indifferently executed. 
 
 VIRGIL SOLIS. 
 
 Flourifhed, 1550. 
 
 He was a native of Nuremberg ; and, according to the ufual cuftom of 
 that time, engraved on wood and on copper, and principally from his own 
 compofitions. It does not appear from whom he learned the art of en- 
 graving. His early works on copper refemble thofe of Beham ; but when 
 he enf^raved from the defigns of Raphael, and other Italian mafters, he 
 adopted a more open and fpirited ftyle. His prints on wood bear great 
 refemblance to thofe of Joft Ammon ; not only with refpett to the exe- 
 cution, but to the compofitions alfo. 
 
 Vircril Solis was a man of ability. His prints are often judicioufly 
 compofed ; and many very excellent figures are to be found in them. He 
 wanted, however, correftnefs of outline, to have rendered the form of the 
 naked parts of the human figure more agreeable. 
 
 Mr, Evelyn, in his Sculptura, fpeaking of this artift, informs us, that for 
 
 " imitating the vile pofturtsof Aretin, he had his eyes put out by the fentence 
 
 of the maglftrate." If this ftory be true, thefe imitations, I prefume, were 
 
 copies from the defigns of Julio Romano, which were firft engraved by 
 
 Marc Antonio, and had nearly coit him his life. The poet Aretin wrote 
 
 the verfes, which were added at the bottom of the plates. 
 
 Virgil 
 
SOL [ 328 ] S O M 
 
 Viro-il Soils, on account of the fmallnefs of his engravings, is ranked 
 among the little imafters. His prints on copper and on wood are exceed- 
 ingly numei-ous, amounting to upwards of eight hundred. I fhall fpecify the 
 following only, in a general way. 
 
 A variety of fmall engravings, length-ways, reprefenting huntingfubjeSJs, 
 dated 1541, &c. on copper. Vnfes, and onmmetits for goldfmiths, &c. 
 of various fizes, the fame. 
 
 T'Z'^ marriage of Cupid and PJyche ; the ajfemhly of the gods ; mount Par- 
 vaffus ; and feveral other fubjeits, from Raphael, the fame. 
 
 The bath of the anahabtijis ; a fmall plate, length-ways, copied from Aid, 
 engraver, the fame. 
 
 Alfo feme few etchings ; but thefe are the worft part of his works. 
 
 Several fmall fets of hiforical prints, from the Bible, on wood and on 
 copper. 
 
 "The Metamorphofes of Ovid, confilling of 170 fmall engravings, length- 
 ways, on wood, dated 1563. 
 
 A fet of fmall prints on wood, for the Emblems of Nicholas Reufner, 
 printed atFrancfort, 1581. 
 
 A fet of fmall prints on wood, for the Emblems of Andrea Alciatus, 
 printed at Francfort, 15S1. 
 
 See the marks ufed by this mafter, copied on the plate at the end of the 
 volume. 
 
 GIOVANNI GIOSEFFO DAL SOLE. 
 Born, 1654. Died, 17 19. 
 He was a native of Bologna, and a painter of fome eminence. He re- 
 ceived his firll inftruftions in the art of painting from his father ; and after- 
 wards became the difciple of Lorenzo Pafinelli. He fucceeded in hif- 
 torical fubjefts and landfcapes. He died at Bologna, a. d. 1719, aged 65 
 years. "We have feveral etchings by him from his own compofitions, and 
 among them the following : ' Jupiter and Juno prefenting a floield to Mars -, a 
 middling-fized plate, length-ways, from a ceiling, painted by PafTinelli, for 
 General MontecuUi. St. Francois Xavier preaching to the Indians; a large 
 upright plate, from the fame mafter. 
 
 ARTHUR SOLY. 
 
 Flourifhed, 1683. 
 
 An indifferent engraver, who was employed by Robert White. We 
 have fome few /'or/rrti/j by him, particularly his ow«j dated i68jj and 
 thofe of Richard Baxter, and Tobias Crifp. 
 
 MATTHIAS VAN SOMER. 
 
 Flouriflied, 1600. 
 
 According to profeffor Chrift, he engraved a fet of landfcapes, which he 
 marked with die initials, M. V. S. He was probably a native of Holland. 
 
 Mathias 
 
S O M [ 329 ] S O M 
 
 • Mathias Van Sommeren is a name affixed to a fmall portrait of John 
 Erneft, in an oval, executed with the graver, in a neat, ftifF ftyle, and dated 
 1666, According to M. Heineken, thefe are both one perfon. 
 
 JOHN VAN SOMER. 
 Flourifhed, 1675. 
 
 He was, I believe, a native of Holland, and probably related to the 
 preceding artift. He engraved in mezzotinto feveral fubjetts from the paint- 
 ers of the Low Countries ; but they are fo indifferently done, as hardly to 
 merit a particular defcription. I Ihall mention the two following only: 
 
 A Dutch concert ; a fmall upright plate, from Teniers ; and a converjation, 
 from Terburgh. We have alfo many portraits by him ; and, among them, 
 that of the Dutchefs of Mazarine, in an oval, a fmall upright plate, pub- 
 lifhed by John Lloyd. His monogram, compofed of an 1. a V. and an S. 
 is copied on the plate at the end of the volume. 
 
 PAUL VAN SOMER. 
 Born, Died, 1694. 
 
 He was of the fame family perhaps with the preceding artifts. It ap- 
 pears, that he refided fome time at Paris, where he executed feveral en- 
 gravings. After which he came into England, and fettled at London. By 
 his publications we find, that he lived in Newport Street, near Leicefter 
 Fields. He etched, engraved, and fcraped in mezzotinto ; but his works 
 in either ftyle do him no great credit. I (hall mention the following prints 
 only by him : 
 
 Tobit burying the dead ; a large upright plate, from Sebaftian Bourdon ; 
 nightly etched, and retouched with the graver. 
 
 Mojes found in the ark of bulrujhes ; and the baptifm of Chrifi ; two 
 middling-fized plates, length-ways, from Nicholas PoufTin. In thefe he 
 has attempted to imitate the ftyle of Pefne ; but very unfucccfsfully. 
 
 The adoration of the fhepherds, from a defign of his own, very flightly 
 etched. 
 
 Nil placet. Sec. or, the fable of the old man and his ajs^ from Griffier ; a 
 fet of fix middling-fized plates, length-ways, flightly etched. 
 
 A fmall drawing-book. A fet of ornaments, and feveral frontifpieces. In 
 mezzotinto we have fome portraits by him ; and, among them, that of the 
 Count efs of Meath, after Mignard. 
 
 PETER VAN SOMPEL, or SOMPELEN. 
 
 Flouriftied, 1640. 
 
 He was a native of Antwerp, and a difciple of Peter Soutman, whofe 
 ftyle of engraving he imitated with great fuccefs. He worked in a very neat 
 manner J but his prints, though in general very flight, have the appearance 
 of labour. It is to be wilhed, that the outlines of his naked figures had 
 
 vot. II. U u been 
 
SON [ 330 ] SOU 
 
 been correctly drawn, and the extremities marked with more precifion. 
 However, the engravings by this artift are by no means devoid of merit. I 
 Ihall fpecify the following only : 
 
 Chriji with the two dijciples at Emmaus ; a middling-fized plate, nearly 
 fquare, from Rubens. Swanenburg engraved the fame fubjeft. 
 
 A crucijixmi ; a large upright place, arched at the top, from the fame 
 mafter. 
 
 Juno and Ixion ; a fmall plate, length-ways, from the fame. 
 
 Several portraits, from Vandyck and other painters, &c. 
 
 A. D E SON. 
 Flouriflied, 1628. 
 
 An artift of great merit. He copied the flyle of Callot with fuccefs. 
 We have feveral etchings by him from the defigns of Callot, and alfo from 
 his own compofitions. I fhall mention the following only : 
 
 A kto( icmW land/capes, length-ways, enriched with buildings and figures, 
 executed with great Ipirit. 
 
 ne 'village fair ; a middling-fized plate, length-ways, from Callot. Its 
 companion, reprefenting a Jireet, with a coach in the back-ground^ and Je^ 
 viral women, one of which holds a bafket of flowers in the front, 
 
 MICHEL SORELLS. 
 
 Flouriflied, 1760. 
 
 A modern Italian engraver, who executed part of the plates for the Flo- 
 rentine Mufeum. 
 
 GIOVANNI BATISTA SORITO. 
 
 Flouriflied, 1621. 
 
 He is mentioned as an engraver in the Index to the Abecedario. I am 
 not acquainted with his works. 
 
 DOMINI Q^U E S O R N I Q^U E. 
 
 Flouriflied, 1750. 
 
 He was a native of France. His engravings fhow him to have been a 
 man of abilities. He handled the graver with much facility j and if he had 
 let the etching predominate more in the landfcapes and the fore-grounds, his 
 prints would have appeared to much greater advantage, in point of effe£t. 
 He engraved many little vignettes, and other book-plates, which he finiflied 
 very neatly, and feveral portraits -, alfo a large print, length-ways, from 
 Correggio, reprefenting Diana and her nymphs repofmg -, and the pleajures 
 of the public houje, a middling-fized upright plate, from Teniers. 
 
 PETER SOUBEYRAN. 
 
 Flouriflied, 1760. 
 He was a native of Geneva, where he was appointed direiflor of the 
 
 Academy 
 
sou [ 33^ 1 SOU 
 
 Academy for Defign. We have engraved by him, the fair maid of the 
 village, a large upright plate, from Boucher. He alfo engraved from 
 Bouchardon, and other French painters. 
 
 PETER SOUTMAN. 
 
 Flourifhed, 1640. k- 
 
 He was a native of Haerlem, and became the difciple of Rubens. He 
 painted hiftorical fubjefts and portraits with fuccefs, and was employed in 
 Flanders, Germany, and Poland. This artift. amufed himfelf much with 
 the point; and we have a very confiderable numb^-r of etchings by him, 
 as well from his own compofitions, as from tliofe of Rubens. They are 
 executed with great fpirit. 'He feems to have aimed at giving a ftriking 
 effedl, by keeping all the mafies of light broad and clear ; but by carrying 
 this idea too far, almoft all of his prints have a flight, unflnifhed appear- 
 ance, though the engraving is in itfelf fufficiently neat. There is the ftyle 
 of the mafter in the treatment of the heads, and other extremities of his 
 figures J though fometimes they are rather heavy. With refpect to the 
 naked parts of the human figure, they are certainly very incorreft ; but he 
 drew greatly in the manner of Rubens, whofe ftyle he feemed carefully 
 to imitate. I (hall mention the following prints only by this artift, all of 
 which are defervedly held in high eftimation. 
 
 T^he fall of the angels; a large upright plate, from Rubens. The firft 
 impreffions are before the addrefs of the younger Bouttat was added to the 
 plate. 
 
 The miraculous draught of ffies -, a fmall plate, length-ways, from the 
 fame painter. 
 
 The laft fupper ; a very long print on two plates, from a drawing made 
 by Rubens, after the painting by Leonard da Vinci at Milan. 
 
 St. Francis kneeling before a crucifix ; a fmall upright plate, from Michael 
 Angelo Caravaggio. 
 
 Chrift dead at the tomb., and the attendant woman cloftng his eyes ; a mid- 
 dling-fized plate, length-ways, from Rubens. The firfl impreffions arc 
 before the fliadows were flrengthened by Wltdoeck. 
 
 The triumph of Venus ; a large plate, length-ways, from the fame painter. 
 
 Hunting the boar ; a very large print, length-ways, two plates, from the 
 fame, dated 1742. 
 
 Four other large hunting fubjefts, length-ways, namely, i. The hunting of 
 the lion and the lionefs.- 2. The hunting of the wolf. 3. The hunting of the 
 boar, diff"erent from that mentioned above. 4. The hunting of the crocodile 
 and hippopotamus. 
 
 He alfo engraved a great number of large portraits of the illuftrious p.er- 
 fonages in the Low Countries, after various painters. In thefe works he 
 was greatly affifted by his difciples, Suyderhoef, Louis, and Van Sompel. 
 
 U u 2 S P A G- 
 
SPA f 332 ] S P I 
 
 S P A G N O L E T T O. See R I B E R A. 
 
 ALESSANDRO SPEECH I. 
 
 Flourifhed, 1699. 
 
 An Italian artift, who engraved a fct of views of the palaces and public 
 buildings at Rome. They are large plates, length-ways, and executed with 
 great freedom and fpirit. The fmall figures, which he has introduced, are 
 ilrong proofs of the goodnefs of his tafte. Thefe views were publifhed by 
 Domenico de Roffi, a. d. 1699. 
 
 VITUS RODOLPH SPECTLE, or SPECKIN". 
 
 Flourifhed, 1540. ■ 
 
 He was a native of Strafburg, and an engraver on wood. We have by 
 him the cuts for Fuchftus's Herbal^ in folio : among them, is a whole length 
 portrait of the author. The portraits of Henry Fullmaurer and Albert Meher, 
 who defigiied the figures, and the engraver's own portrait. The whole work 
 is executed in a magnificent ftyle ; and the prints are the largeft of the kind 
 that have appeared, and do great credit to the artift. 
 
 A. SPECULUS. 
 
 Flourifhed, 1696. 
 
 I apprehend he was not a regular engraver. We have by him a very bad 
 etching, reprefenting a machine to free the horfcs from a carriage, when 
 they are inclined to run away. It is infcribed. A. Speculusjculp. Romat 
 1696. 
 
 JEROM SPERLING. 
 Flourifhed, 1730. 
 
 A native of Germany. He engraved part of the plates for a collecftion 
 of views of all the churches in the city of Vienna, which were publiflied by 
 J. A. PefFel, a. d. 1724. Alfo part of the plates, taken from the marble 
 ftatues preferved in the gallery of the King of Poland, at Drefden, in large 
 folio, publiflied 1733. 
 
 John Henry Sperling is mentioned by M. Heineken, as an engraver ; 
 and Catherine Sperling, his wife, as a painter and an engraver. It is 
 probable that they were of the fame family with the preceding artifl. 
 
 FRANCOIS SPIERRE. 
 
 Born, 1643. Died, 1681. 
 
 This excellent artift was a native of France. He was born at Nanci, and 
 placed as a difciple with Francois de Poilly, from whom he learned the prin- 
 ciples of drawing and engraving. After he quitted the fchool of Poilly, he 
 went to Italy, where he refided a confiderable time. On his return to 
 France, he died at Marfeilles, then pnly 22 years of age. Spierre did not 
 
 immediately 
 
S P I [ 333 1 S P I 
 
 immediately imitate the ftyle of his tutor, though he worked entirely with 
 the graver j which inftrument he handled with great facility. He gave more 
 play to the ftrokes; and produced an cffeft more foft and pidlurefque, 
 though not fo clear and brilliant. The works of this mafter are not very 
 extenfive ; and fine imprefTions of the moll eftimable bear a ereat price. I 
 fhall mention the following: 
 
 An allegorical compofition, reprefenting the faculties of the foul and the 
 human tmderftanding, from a defign of his own j a middling-fized plate, 
 length-ways. 
 
 The Virgin giving the hreajl to the infant Chriji ; in a circle, a middlino-- 
 fized plate, from Correggio. This admirable print is very rare. The firft 
 imprefTions of it are before the drapery was inferted to cover the nudity of the 
 infant, and the little trees to the left of the Virf^in, 
 
 The Virgin and Child with St. Catherine ; a middling-fized plate, nearly 
 fquare, from Pietro da Cortona. 
 
 St. John preaching in the wildernefs -, a finall upright plate, from Bernini. 
 
 The miracle of the loaves and fijhes; its companion, from the fame mafter. 
 
 Chriji on the crojs, Ju/pended over a fea of blood, which runs from his 
 •wounds \ a middling-fized upright plate, from the fame. The firft impreftions 
 of this fingular performance are before the heads of the cherubs were 
 added at the top, near the Deity. It is executed with fihgle ftrokes only, 
 without any fecond ftrokes laid acrofs therrr, in the ftyle of Melan. 
 
 He engraved alfo from Domenichino, Ciro Ferri, F. Mola, and other 
 painters. 
 
 J. S P I L A. 
 
 Flouriflied, 
 To a flight painter's etching I found the name, J. Spila Hug. fee, 
 
 JOHN S P I L B E R G. 
 
 Flouriflied, 1683. 
 
 He publifhed views of Alhermarle Houfe, and the Banquetting HoufjS at 
 White Hall, faid to be engraved by himfelf. 
 
 J. S P I L M A N. 
 
 Flourilhed, 
 
 He engraved his own portrait, from C. v. Noord ; alfo that of H. Tilly,, 
 from the fame painter. 
 
 J. S P I L S B U R Y. 
 
 Flourilhed, 1760. 
 
 This ingenious man kept a print fhop in RuflTel Court. He obtained the 
 firft premium for an engraving in mezzotinto, from the Society for the En- 
 couragement of tKe Arts and Sciences at London. He fcraped a great 
 
 number 
 
S P I [ 334 ] S P R 
 
 number of fmall plates and portraits, from Sir Joftiua Reynolds and other 
 palntv-TS, in mezzotinto. I fhall mention only by this artift, theheaas of two 
 monks reading in the Jame book; a fmall upright plate, from Rubens. 
 
 J. S P I R A I N X. 
 
 Flouriflied, 1635. 
 A name affixed to fome h3.d frontifpieces and other book-plates : it fhould 
 perhaps have been written Spirinx. 
 
 L. SPIRINX. 
 
 Flouriflied, 1650. 
 
 He was probably of the fame family with the preceding engraver. I 
 fhould have fuppofed them to have been the fame perfon, but the initial of the 
 baptifinal name is different. He engraved frontijpieces and otl'.er plates for 
 the bookfcllers, dated from 1641 to 1664. They are as bad as thofe of Spi- 
 rainx ; but, I think, if any thing, rather neater. We have {ome portraits 
 by this engraver. I fliall mention that only of Petrus de la Mothe, dated 
 1663. 
 
 GABRIEL SPITZEL. 
 Flouriflied, 
 
 He was a native of Germany, and is mentioned by M. Heineken, as 
 a painter and an engraver. I am not acquainted with his works. 
 
 ROBERT SPOFFORTH- 
 
 Flourifhed, 1707. 
 
 I fhould apprehend from the ftyle of his engraving, that he was a pupil of 
 Griblin. In the year 1707, he refided in London j as we find from the fol- 
 lowing infcription upon the portrait of George the Firjl : " Engraved by Rt. 
 " SpofForth, near the Broad Place, Black Friars," whare he might probably 
 keep a fhop. We have feveral other ^cr/r«/Vi and trifling fubjefts by him 
 in the fliop-bill way. They are fuch, as do him little credit. 
 
 CHARLES SPOONER. 
 
 Flouriflied, 1752. 
 
 He was, I believe, a native of England ; but it appears from feveral of 
 his prints, that he refided a conflderable time at Dublin. We have by him 
 feveral ^or/raZ/j in mezzotinto, from Sir Jofliua Reynolds, and other pain- 
 ters. I fliall mention only Thomas Prior, a half-length, from John Van 
 Noft, dated 1752. 
 
 BARTHOLOMEW SPRANGER, or SPRANGHER. 
 
 Born, 1546. Died, 1623. 
 
 He was born at Antwerp ; and after having learned the principles 0' 
 
 drawing 
 
S P R [ 335 r S T A 
 
 drawing and painting in his own country, he went to Paris, and from 
 thence to Italy. He painted hiftorical fubjefts and landfcapes with great 
 fuccefs. From Rome he went to Vienna, and entered into the fervice of 
 the Emperors Maximilian and Rodolphus II. By the latter he was ennobled 
 in the prefence of his whole court ; and a chain of gold was put round his 
 neck by the Emperor's own hand. We have Ibme few etchings by this 
 artift, which are very flightly executed j but they manifeft the hand of the 
 mafter. Among them is the following : 
 
 A fingle figure bound to a tree, which bears the refemblance of an academical 
 ftudy } a fmall upright plate. The letters of his name are reverfed upon 
 the print. 
 
 J. VANDER SPRIETT. 
 
 Flourifhed, 
 
 This name is affixed as the painter, engraver, and publifher, to a very 
 
 bad mezzotinto portrait of Tiraothy Crufo. This print is very rare, which 
 
 is the only reafon that can pofilbly give it a claim for admittance into any 
 
 colleftion. 
 
 JOHN SPRINGENKLEE. See the Article KALDUNG. 
 
 P. S P R U Y T. 
 
 Flourifhed, 1760. 
 
 A modern painter, and a native of Antwerp. He etched feveral plates ; 
 among which are the following : 
 
 Sujannah and the two Elders ; a middling-fized upright plate, length- 
 ways, from Rubens. 
 
 Ihe rape of Orithia ; a middling-fized upright plate, from the fame 
 painter. 
 
 The continence of Scipio 5 a fmall plate, length-ways, the fame. 
 
 DIRICIC VANDER STAREN, or VAN STERN. 
 
 Flourifhed, 1540. 
 
 He was, I prefume, a native of Holland. He is ranked in the clafs of 
 little mafters ; and his compofitions prove him to have been a man of genius. 
 His figures are apt to be fhort and heavy ; and his back-grounds are often 
 too much crowded with architecture, and ornaments of that kind. He un- 
 derflood the human figure; and the naked parts of it are frequently well 
 marked. He ufed both the point and the graver in the execution of his 
 plates ; ' which are, in general, very neatly finifhed. He marked his 
 prints with the initials D. and V. divided by a flar, in the manner exprelTed 
 upon the plate at the end of the volume. He ufually added the day of 
 the month, in which the plates were finiflied. His engravings are rather 
 numerous. They are daced from 1520 to 1550. I fhall mention the few 
 following only, from his own defigns : 
 
 5 Tht! 
 
S T E * [ 33^ ] S T E 
 
 - Tve deluge -, a middling-fized plate, length-ways. 
 
 "The temptation of Chriji, in which the Devil is reprejented with pointed fioes; 
 a fmall upright plate. 
 
 Chrijl walking on the water ; the fame. 
 
 Peter attempting to come to Chrijl, and finking in the water ; the fame. 
 
 'The miraculous draught of fifoes -, a fmall upright plate, nearly fquare. 
 , Several land/capes, and a variety of other fubjedls. 
 
 P. S T E E. 
 
 FlourKhed. 
 A name affixed to a portrait of Mifs Salethea Dawkens. 
 
 FRANCIS VANDER STEEN. 
 Flourifhed, 1660. 
 He was a native of Antwerp, and is fpoken of as a painter. It appears 
 that he was employed by the Archduke Leopold, who affigned him a 
 penfion. He engraved a confiderable number of prints j but in a ftylc 
 which does him very little credit. Many of the plates for the collefbion 
 of prints, known by the name of Teniers's gallery, are by him. I fhall men- 
 tion alfo tht martyrdom of eleven thoufand Virgins i a large upright print, on 
 four plates, from a drawing by Van Hoy, after the original pifture by 
 Albert Durer, in the imperial colledlion. 
 
 BENETTO STEFAN I. 
 
 Flourifhed, 
 
 He probably worked in the fchool of Marc Antonio. His ftyle of cn- 
 gravino- greatly refembles that of ^nea Vico. His name is affixed to a 
 middling-fized plate, length-ways, reprefenting the l>attle of the Lapitha, 
 copied from a print by Marc Antonio. 
 
 GIOVANNI STEFANINI. 
 
 Flourifhed, 1760. 
 A modern painter, born at Florence. He etched, according to Bafan, 
 the purification of the Virgin ; a fmall upright plate, from Bartholomew 
 Spranger. 
 
 PIETRO STEFANONI. 
 
 Flourifhed, 
 
 We have feveral etchings by this artifl, very llightly, and fometimes in- 
 correftly made, from defigns of the Carraccii, intended as a book of in- 
 -ftruftions for drawing. The fet confifts of forty plates, which he ufually 
 marked with the initials P. S. F. 
 
 GIACOMO 
 
S T E I 337 1 S T E 
 
 GIACOMO ANTONIO S T E F A N O N I. 
 
 Flourifhedj 1630. 
 
 He was a native of Bologna, and a painter. We have, among others, 
 the following etchings by him : 
 
 "The Fir gin with the infant Chrifi, St. John, and two angels ; a fmall up- 
 right plate, from Lodovico Carracci. 
 
 'The viurder of the Innocents -, a middling-fized upright plate, from Guido. 
 
 D. S T E I D N E R. 
 
 Flouriflied, 
 
 We. have a variety oi devotional JuhjeEls by this engraver, which, however? 
 are not worth fpecifying. 
 
 J A CLU ES STELLA. 
 Born, 1596. Died, 1641. 
 He was born at Lyons; but his father, Francis Stella, was a Fleming by na- 
 tion. Jaques Stella learned the firft principles of drawing from his father, 
 who died at the time he reached his ninth year. At the age of twenty he 
 went to Italy, and was employed by Cofmo di Medicis, Duke of Florence; 
 after which he fpent eleven years at Rome ; and on his return to France, 
 entered into the fervice of the King, who alTigned him a handfome penfion, 
 and apartments in the Louvre, which prevented a journey he had intended 
 into Spain. Soon afterwards he was honoured with the order of St. Michael, 
 and fettled at Paris. His too clofe application to bufinefs hurt his con- 
 ftitution, and finally put an end to his hfe, in the fifty-firft year of his age. 
 He painted hiflorical JubjeEls, portraits, and landfcapes, very fuccefsfully. 
 Stella amufed himfelf with the point and the graver. We have feveral 
 plates etched by him, from his own compofitions : among them is the cere- 
 monies of doing homage to the Great Duke of Tufcany, on St. John's Day ; a 
 large plate, length-ways, dedicated to the Em.peror Ferdinand II. dated 
 1621. 
 
 CLAUDINE BOUSONNET STELLA. 
 
 Born, Died, 1697. 
 
 She was a native of France, and niece to Jaques Stella, mentioned in the 
 preceding article. From him fhe learned the principles of drawing and 
 painting ; but fhe applied herfelf chiefly to engraving ; and was very fuc- 
 cefsful in her attempts. The prints, which we have by her, prove the 
 ftrength of her genius, and the foundnefs of her judgment. If they be not 
 executed with that precifion and neatnefs, which are found in fome of the 
 beft French mafters, they polTefs fuch beauties as abundantly over-balance 
 all defefts of that nature. The naked parts of the human figure are ex- 
 ceedingly well drawn ; and the charafters of the heads are finely exprefled. 
 She delineated the other extremities with great tafte and corrednefs. The 
 following are among her moft eftimable performances : 
 
 VOL. II. X X Mofes 
 
S T E [ 338 J S T E 
 
 Mojes found in the bulrujhes j a large plate, length-ways, on two plates, 
 from Nicholas PoufTin. 
 
 Mofes ftriking the rock ; a large plate, length-ways, from the fame. 
 
 A holy family, ivith Elizabeth and St. John. Joleph is reprefented feated 
 on the lleps, holding his compafles j the fame, from the fame. 
 
 'The crucifixion of Chrijl, called the Great Calvary ; the fame, from the fame. 
 
 St. Peter and St. John curing the lame man at the gate of the temple ; the 
 fame, from the fame. 
 
 A fet of fifty fmall plates, length-ways, reprefenting children at flay, 
 from her uncle, Jaques Stella ; and another fet of the fame fubjeds, con- 
 fifting of fixteen plates, from the fame mafter. 
 
 Francoise Bousonnette Stella, fifter to the lady above mentioned. 
 She is faid to have affifted her greatly in her engravings. Francoife Stella 
 died, 1676. It does not appear that her name was feparately affixed to any 
 plates. 
 
 ANTOINETTI BOUSONNET STELLA. 
 
 Flourifhed, 1760. 
 
 This lady was fifter to Claudine Boufonnet Stella, and not much infe- 
 rior to her in point of abilities as an engraver. She made more ufe of the 
 point than her fifter, and etched in a very powerful ftyle. She harmonized 
 the roughnefs, left by the aqua-fortis, with the graver, in fuch a manner, 
 as to produce a pleafing efted. She drew correftly, efpecially the extre- 
 mities of the human figure ; which iTie exprefled with great tafte. The 
 following, among other engravings, are by her. 
 
 Remus and Romulus fuckled by a wolf; a middling-fized plate, length-ways, 
 from Anthony Boufonnet Stella, her brother. 
 
 The entry of the emperor Sigifmond into Mantua ; a long frieze, from 
 Julio Romano. 
 
 JACOB STELTZER. 
 
 Flouriftied, 1720. 
 
 He engraved part of the plates for the collection of large folio prints, taken 
 from the antique marbles, preferved in the royal gallery at Drefden, pub- 
 liftied, A. D. 1733. 
 
 STEMSIUS. See SEMPELIUS. 
 
 PETER STENT. 
 
 Flouriftied, 1630. 
 
 He refided in London, and was a printfellcr. From the extenfivenefs 
 
 of his publications, it appears, that his bufinefs was very great for the time. 
 
 It is thought that he fometimes engraved; and feveral portraits are atui- 
 
 2 buted 
 
S T E [ 339 ] S T I 
 
 buted to him ; one, in particular, namely, that of Aidrew Willet, which is 
 marked with the letters, P. S. 
 
 HENRY STENWICK. 
 
 Flourifhed, 1570. 
 
 He engraved fome of the plates for a work, entitled, TherJrum Oriels JVr- 
 rarum, by Abraham Ortelius. 
 
 STEPHANONI. See STEFANONI. 
 
 S T E P H A N U S. See L A U L N E. 
 
 JOHN STEVENS, or STEPHANUS. 
 
 Flourifhed, 1585. 
 
 According toprofeffor Chrift, he was a native of Strafburgh, and the fon 
 of Charles Stevens. His plates are chiefly flight etchings, executed almofl 
 entirely with dots ; and frequently are little more than outlines. This has led 
 profeflTor Chrift to fay of his engravings, that they are frappes a coups de 
 marteau dans le ciiivre ; that is, ftruck with the blows of a hammer into the 
 copper. But in this inftance he is certainly miftaken. Stevens engraved 
 from his own compofitions ; and they prove him to have been a man of 
 genius. He ufually marked his plates with the initials, I. and S. to which 
 he fometimes added the date. 
 
 PETER STEVENS, or STEPHANI. 
 
 Flouriflied, 
 He was a native of Malines, and engraved feveral portraits; among 
 others, that of the late king of Prujjia, from Da PlaflTe. 
 
 M. G. S T E U D E N E R. 
 
 Flourifhed, 
 We have feveral flight, incorredl etchings by this artift, from his own 
 defigns. They reprefent the loves of the gods and goddejfes, and other 
 fubjefts, taken from the ancient mythology. They do not, however, do 
 him much credit. 
 
 TOBIAS STIMMER. 
 
 Flourifhed, 1590. 
 This artift was born at Schaffliaufen. He was a painter of fome emi- 
 nence, and refided chiefly at Strafburgh, where he was employed by the 
 Marquis of Baden. He alfo engraved on wood, from defigns of his own. 
 
 X X 2 His 
 
/ 
 
 S T I [ 340 ] S T O 
 
 His greateft work is a fet of prints for the Bible. Some of thefe appeared as 
 early as 1586 ; and the whole was publifhed at Strafburgh, a. d. 1590, with 
 this title, Nov/e 'Tobia Stimmeri Jacrorum Bibliorum figurte, verfibus Latinis et 
 Gerrnanicis expcftt£. The compofitions of thefe prints, which are very 
 final), are by Stimmer ; but he was affifted in the engraving by his brother, 
 and fcveral other artifts, whofe marks are affixed to fome of the engravings. 
 Stimmer underftood the human figure very well, and compofed with great 
 talle ; of this the reader will be convinced, when he is informed, that Ru- 
 bens himfelf declared, he had ftudied thefe prints with attention, and 
 derived much inftruftion from them. Sandrart mentions this circum- 
 ftance, and calls the book. " a treajury of Jcience for the art of fainting.'" 
 Thefe engravings are very neatly executed. See the marks, which this ar- 
 till ufually put upon his prints, at the end of the volume. 
 
 CHRISTOPHER STIMMER. 
 
 Flouriflicd, 1590. 
 
 He was brother to Tobias Stimmer, and engraved neatly on wood. He 
 affifted his brother, and worked principally from his defigns, The marks 
 which he ufed are copied on the plate of monograms at the end of 
 the volume. 
 
 IGNATIUS VANDER STOCK. 
 
 Flourifhed, 
 
 This artifl: was, I prefume, a native of Holland, and flourifhed during 
 the laft century. He was a landfcape painter, and, as far as one can judge 
 from his etchings, a man of no mean abilities. We have by him feveral 
 very flight, but fpirited etchings of land/cafes, from his own painting, 
 and another fet, from the defigns of Foquier. They are middling-fizcd 
 plates, length-ways. 
 
 ANDREA STOCK, or STOG. 
 
 Flourifhed, 1625. 
 
 He was a native of Holland, and refldcd chiefly at Antwerp. I believe 
 he was a pupil of Jaques de Gheyn the elder; at leaft, he imitated his fliyle 
 of engraving, and fometimes with fuccefs. We have by him feveral 
 engravings for a work, entitled. Academic de L'efpeey by Tbibault, pub- 
 liflied at Antwerp; to them he affixes this infcription, Andreas Stockius 
 Hag£ Comitisjciilf. I Ihall mention befldes, 
 
 T^he twelve months; niiddling-fized plates, length-ways, from John 
 Wildens. 
 
 Eight land/capes ; fmall plates, length-ways, from Paul Brill. 
 
 Abraham offering up his fon Ifaac \ a middling-flzed upright plate, from 
 Rubens. The befl: impreffions are before the name of Hondius was affixed 
 to the plate. 
 
 h\{Q{tvzxz\ portraits, and among them that of yf/^^r/Dw/vr, dated 1629. 
 
 H. 
 
S T O [ 34X ] S T O 
 
 H. Stock is a name affixed to the portrait of Robert earl of Salijburyy 
 in an oval. 
 
 LAURENCE STOER. 
 
 Flourifhedj 1567. 
 
 According to profefTor Chrift, he was a native of Augfburg, and a 
 painter. He is fpoken of with commendation ; and by him we have feveral 
 engravings on wood, marked with an L. and an S. joined together. See 
 the plate of monograms at the end of the volume. 
 
 J. S T O L K E R. 
 
 Flouriflied, 
 
 He was an engraver in mezzotinto. His name is affixed to a portrait of 
 Jaqiies de Majfcher, the painter, from J. Ravenftein. 
 
 STOLZ, or STOLZHIRS, or STOLZIUS. 
 
 Flourifhed, 
 
 Florent le Comte, and the author of the Abecedario have attributed the 
 prints marked with an M. furmounted by a fpecies of figure refembling a 4, 
 to this mafter. They are rude engravings on copper, and bear every ap- 
 pearance of antiquity ; but I own I cannot poffibly conceive, how the mo- 
 nogram can be fuppofed in the leafl to refer to the name. By this notion 
 the works of this engraver are confounded with thofe of one who marked his 
 plates with an F. and an S. who was evidently a diiFerent artift. See the 
 article Stofs. The monogram, attributed to Stolz, is copied on the plate 
 at the end of the volume. 
 
 JOHN STONE. 
 
 Born, Died, 1653. 
 He was a pupil of Crofs the engraver, from whom he learned the prin- 
 ciples of drawing. He acquired confiderable fame by the copies which 
 he made of feveral of the moft capital paintings in England. He drew and 
 engraved one of the plates for Dugdak's Hiftory of JVarwickJhire. I know of 
 no other print by him. 
 
 D. STOOP. 
 
 Flouriflied, 1650. 
 
 His baptifmal name, I prefume, was Dirick or Theodore. He was a 
 native of Holland, and painted battles. We have a fet of twelve fmall 
 plates, lengthways, etched by him, in a very fpirited and mafterly manner, 
 
 from 
 
S T O [ 342 J S T O 
 
 from his own defigns, reprefenting hor/es, and men on hor/eback, with </<?^x 
 and other animals; they are dated, 165 1. 
 
 RODERIGO STOOP. 
 
 Born, Died, 1686. , 
 According to the author of the Eflay towards an Englifli School of Paint- 
 ers, the baptifmal name of this artift was Peter ; but he always placed the 
 nitial letter R. before his family name. He is fiiid to have been the brother 
 of Dirick Stoop mentioned above, and a native of Holland. He painted 
 battieb, huntings, and fea ports, very fuccefsfully. He came into England 
 with Qneen Catherine, and refided in this kingdom till the time of his 
 death, which happened about the year 1686. He etched feveral plates 
 from his own compofitions, and from thofe of Barlow. They are, in ge- 
 neral, executed with great fpirit, in a ftyle which does him much credit. 
 Among them may be reckoned, a fet of eight plates, reprefenting views of 
 Lijhon, dedicated to Queen Catherine. Alfo eight large plates, length- 
 ways, reprefenting the procejfion of ^een Catherine from Portfmouth to Hamp- 
 ton-Court, dated 1662. Several of the plates {or Ogilbfs jEfop, after the 
 defigns of Barlow, Thefe are very flight and hafty performances. 
 
 DANIEL STOOPENDAAL. 
 Flourilhed, 1710. 
 
 He was a native of Holland, and an engraver of fome merit. In his 
 beft prints he feems to have attempted to imitate the ftyle of Cornelius Vif- 
 cher ; but his powers were not equal to the tafk. We have by him a fet of 
 twelve fmall plates, length-ways, reprefenting 7?o-«;vj and animals, dated 
 1651. The firft impreffions are before the plates were numbered. And a 
 fet of fixty views, entitled, Les Delices da Diemer-Meer, engraved from his 
 own defigns. To thefe may be added, feveral plates of banditti, and others 
 from Peter de Lair, called Bambochio. He alfo engraved fome of the 
 prints for Clarke's pompous edition of Cejai's Commentaries, publifhed at 
 London, in two volumes, folio, a. d. 1712. 
 
 J. C. S T O R E R. 
 
 Flourilhed, 
 He was a painter, and etched feveral hiftorical fubjefts, from his own 
 compofitions. 
 
 FRANCIS STOSS. 
 
 Flourifhed, 1460. 
 
 This very ancient engraver was certainly a native of Germany. His prints 
 have all the appearance of antiquity ; and, for my own part, I have no 
 doubt, but that he was prior to either Martin Schoen, or Ifrael Van Me- 
 
 cheln. 
 
S T R [ 343 ] S T R 
 
 cheln. Indeed I have already, in the eflay at the beginning of the firft vo-- 
 lume of this work, given it as my opinion, that he was the tutor of Mar- 
 tin Schoen, from the refemblance which appears in the ftyle of engraving 
 adopted by both : though it muft be confefled, that Martin Schoen im- 
 proved it prodigioufly. We have by this mafter a fet of fmall upright 
 plates, containing the life and pajfion of Chrift, which were copied by Mar- 
 tin Schoen. I have fecn only two of tliefe curious engravings. In the 
 colleiflion of Dr. Monro is a fmall upright plate, reprefenting the Virgin 
 Mary fianding ; fbe holds the infant Chriji with her left arm ; and in her 
 right hand a flower, which he is reaching for ; without any back-ground. 
 The rudenefs of the execution of this plate, and the badnefs of the printing, 
 gives great reafon to conclude, that it was one of his firft attempts. See 
 his mark, compofed of an F. and an S, divided by a fort of ornament, 
 fomething different from that ufed by Martin Schoen. 
 
 Florent le Comte and other authors have confounded this artift with one 
 who marked his plates with an M. furmounted by a fort of figure, refem- 
 bling a 4. But whatever the names of thefe artifts really might be, it is 
 evident, that they were different perfons ; and Francis Stofs is certainly by 
 far the more ancient. See the article Stoltz. 
 
 VESPASIANO STRADA. 
 
 Flourifhed, 1600. 
 
 He was the fon of a Spanifh painter, and was born at Rome, during the 
 refidence of his father in that city. Vefpafiano was alfo himfelf a painter; 
 but died young, being only thirty-fix years of age. He etched feveral plates 
 from his own compofitions, which prove him to have been a man of genius. 
 They are executed in a flight, hafty ftyle ; but the hand of the mafter is 
 eafily to be difcovered in them. The following are by him : 
 
 Chrift fl: own to the Jews ; half figures, a middling-fized plate, length- 
 ways. 
 
 The fame fubjeft repeated, finaller, and the contrary way. 
 
 Chriji crowned with thorns ; a fmall plate, three quarter figures. 
 
 A holy family with St. John; a fmall upright plate. 
 
 The Virgin Mary fianding on a defcent,fupfoyted by two angels ; a fmall up- 
 right plate. He often marked his plates in this manner, VES. ST. I. FK. 
 and V. S. F. and V. S. I. F. 
 
 ROBERT STREATER. 
 
 Born, 1624. Died, 1680. 
 
 He was the fon of a painter, and born in London. He ftudied under Du 
 Moulin ; and his works are fpoken of with the warmeft commendation by 
 Graham, the author of the Effay towards an Engliffi School of Painters, 
 publiflied at the end of the Lives of the Painters by Du Piles. He calls 
 him " the greateft and moft univerfal painter that England ever bred," and 
 
 " the 
 
S T R [ 34+ ] S T U 
 
 *< the moft complete drafifman of his time." His chief excellence lay in 
 landfcapes and architeflure ; but he did not confine himfelf to thofe 
 branches of the art only. Sandcrfon, another author, compliments him 
 very highly ; but the moft extravagant encomium is paid him by Robert 
 Whitehall, in his Poetic Defcription of the Paintings, on the ceiling of the 
 theatre at Oxford, which he conludes with thefe lints, 
 
 *' That future ages muft confefs they owe 
 " To Streater, more than Michael Angelo." 
 
 Such of his works as now remain do by no means juftify the praifes, 
 which his friends have fo profufely beftowed upon him. 
 
 At the Reftoration he was appointed ferjeant painter to the King. In the 
 latter part of his life he was afflifted with the ftone ; and being determined 
 to fuffer the operation of cutting, the King fent to Paris for a furgeon to 
 perform it, but he died foon after it was done, a. d. 1680, aged 56. He 
 amufed himfelf with the point ; but his etchings are very indifferent. The 
 following are by him : 
 
 'The battle of Nafehy ; a large two flieet print, length-ways. 
 
 Several archite5lal flates, from J. Dinante, &c. 
 
 FERDINAND STRING A. 
 
 Flouriflied, 1750. 
 
 Part of the plates for the Antiquities of HerculaneuDi, publifhed by 
 royal authority at Naples, are by him. 
 
 WILLIAM STUKELY. 
 Flourilhed, 1740. 
 A celebrated antiquary, who has publiflied fcveral very curious and 
 interefting works. They are too well known to need any repetition here. 
 This ingenious gentleman drew the greater part of the defigns for the plates 
 with which they are embellifhed, and etched a confiderable number of them 
 with his own hand ; particularly thofe for a work, entitled, Itiiierarium 
 Curiojum, in folio. 
 
 JOHN sturt: 
 
 Born, 1658. Died, 1730. 
 He was a native of London, born April 6, 1658. At the age of feventeen 
 he became the pupil of Robert White. His prints are exceedingly numerous. 
 They prove him to have been a very induftrious man, but of no great ge- 
 nius. Indeed, the chief of his excellence lay in the engraving of letters, and 
 the minutenefs with which they were executed. His beft work is the 
 book of the Common Prayer, engraved, as Mr. Walpole informs us, on 
 filver plates. The top of every page is ornamented with a fmall hiftorical 
 vignette. Prefixed is the buft of George the Firfl, in a circle ; and, facing 
 it, the Trince and Princejs of fFaks. The outlines of the King's face are 
 
 exprefled 
 
SWA [ 345 ] SUE 
 
 cxprefled by writing, fo fmall, as hardly to be read without a magnifying 
 glafs. They contain the Lord's Prayer, the Ten Commandments, prayers 
 for the Royal Family, and the twenty-firft pfalm. This book is in large 
 odavo, and was publilhed at London by fubfcription, 1717. To this he 
 afterwards added a Companion to the Altar, the fame fize, and executed 
 in the fame manner. 
 
 Notwithftanding all his induftry, for his engravings are exceedingly nu- 
 merous, he was in very low circumllances towards the latter part of his 
 life; at that time he had a place offered him in the Charter-houfe, which 
 he refufed. He died, a. d. 1730, aged 72. 
 
 S U A N E B U R G. See S W A N E B U R G. 
 
 SUANEFELD. See SWANEFELD. 
 
 S U A V I U S. See S C H W A B E. 
 
 PETER SUBLEYRAS. 
 Born, 1699. Died, 
 
 He was a native of France, born at Ufez. He was the difciple of 
 Anthony Rivalz. Upon leaving the fchool of this matter, he went to Paris, 
 and having attained the firft prize of the Royal Academy, he was fent to 
 Rome, where he eftablifhed himfelf, and died in that city, a. d. 1749, 
 aged 50. His works prove him to have been a man of genius. He com- 
 pofed with great facility ; his figures are correftly drawn, and the attitudes 
 in which they are placed, judicioufly chofen. We have the following fpi- 
 rited etchings by him, from his own defigns : 
 
 'The brazen Jerpent ; a fmall plate, length-ways. 
 
 Mary Magdalen ivajloing the feet of Chrifi ; a large plate, length-ways. 
 
 The martyrdom of St. Peter ; a middling-fized upright plate, &c. 
 
 S U E R T S. See S W E R T S. 
 
 EUSTACHE LE SUEUR. 
 Born, 1617. Died, 1655. 
 
 This artift was a native of Paris. He was the difciple of Simon Vouet, 
 and excelled his mafter in hiftorical painting. The French are juftly 
 very proud of this painter, and toaft not a little at his having attained to 
 fuch an extraordinary degree of excellence, without leaving his native 
 country to vifit Italy, according to the ufual cuftom of the painters of that 
 time. The reputation of Le Sueur is fo generally known, that it is entirely 
 needlefs in this place to fay any thing further upon that head. I fhall 
 only add, that by way of eminence, he was diftinguilhed by the flattering 
 appellation of the French Raphael. We know of but one etching by him/ 
 ivhich is a fmall plate, length-ways, reprefenting a holy family, half figures. 
 
 VOL. II. Y y PETER 
 
SUE [ 346 ] SUE 
 
 PETER LE SUEUR, called the Elder. 
 Born, 1636. Died, 17 16. 
 
 This artift was a native of Rouen, and a very celebrated engraver on 
 wood. He was the difciple of Du Bellay, and greatly furpaffed his matter 
 in point of merit. " Nothing can be finer or more fpirited," fays Papillon, 
 " than the engravings by this artift." That author mentions, in particular, 
 a fio-ure oi Judith, from Goltzius, dated 1670. His mark is compofed of a 
 P. an L-. and an S. joined together. See the plate at the end of the volume. 
 He died at Rouen, a. d. 17 16. 
 
 Peter le Sueur, called the Younger, was the fon of the preceding artift. 
 He was born at Rouen, a. d. 1663, and died September 17, 1698. He 
 learned the art of defigning and engraving on wood from his father. He 
 drew with fome accuracy, and his works are executed in a very delicate man- 
 ner. Papillon mentions by him an emblematical print, called Alpha and 
 Omega, in which is reprefented the verity of the Catholic Religion by a 
 naked figure, and idolatry concealed by a veil. He alfo engraved fome 
 bible prints, and other devotional fubjcdls. He fometimes marked his plates 
 with the initials, P. L. S. 
 
 Vincent le Sueur. He was the fon of the Elder Le Sueur, and bro- 
 ther to Peter Le Sueur the Younger. He was born at Rouen, a. d. 1668. 
 After having learned the firft principles of engraving on wood from his fa- 
 ther, he was fent to Paris, and placed with John Papillon, father to the 
 author of that name. He acquired great reputation at Paris j and his 
 works are much commended by Papillon, who adds, however, that the de- 
 fefts in them arife from want of correftnefs in the outlines ; for he had not 
 paid fufficient attention to drawing. The /cldier's fareivel, dated 1702, is 
 fpoken of by that author as a fine ^ecimen of Le Sueur's abilities. He en- 
 graved many prints in chiaro-fcuro. A middling-fized upright print of 
 this kind I have feen, reprefenting Mercury and Prometheus, from P. Fari- 
 natti, on three feparate blocks. He often marked his plates with the ini- 
 
 tials, V. L. S. 
 
 Peter le Sueur, another fon of the elder Le Sueur, mentioned above, 
 by a fecond marriage, was alfo an engraver on wood ; but his works are of 
 no great note. He died, a. d. 1750. 
 
 Elizabeth le Sueur, daughter of the laft mentioned artift, engraved 
 very delicately on wood. 
 
 NICOLAS LE SUEUR. 
 
 Born, 1 69 1. Died, 1764. ^ 
 He was the fon of the younger Peter Le Sueur. He was born at Paris, 
 1690, and died in the fame city, a. d. 1764. He was alfo an engraver on 
 wood, and furpaffed all the preceding artifts of his family. In the col- 
 kftion of prints, entitled the Crozat cabinet, are many fine fpecimens of 
 his works. 
 
 L E 
 
S U I [ 347 ] S U R 
 
 LE SUISSE. 
 Flouriflied, 
 
 The name of an excellent engraver on wood, cited by Papillon, who 
 executed, among other things, a large print, reprefenting the 'Turkijh army 
 arranged in order of battle ; at the bottom of which is infcribed a very 
 flattering eulogium in praife of the artift. 
 
 JOHN SUIZER. 
 
 Flourifhed, 1650. 
 An engraver of portraits, and other plates for books. We have by him, 
 among other things, a head of Felix Wj/ffius, an ecclefiajiic, dated 1655. 
 
 LUKE SULIVAN. 
 
 Flourifhed, 1750. 
 
 He was a native of Ireland, and is faid to have been the fon of one of 
 the grooms of the Duke of Beaufort. His firft employment was in the 
 ftables ; but fliewing ftrong marks of a genius for drawing, he was placed 
 as an apprentice with Major. He engraved the march to Finchley Common, 
 from Hogarth, for which he received only one hundred pounds. Hogarth 
 drew his portrait in the charafter of the angel, in the print of Paul before 
 Felix, in the Dutch tafte. 
 
 Sulivan afterwards applied himfelf to miniature painting, and met with 
 great fuccefs ; but being much addifted to women, his chief pradlice lay 
 among the girls of the town. And indeed he refided almoft entirely at ta- 
 verns and brothels. This courfe of life brought on a decline, of which he 
 died. He was an excellent draftfman, particularly in landfcapes. Among 
 other things, we have by him, the temptation of St. Anthony, a middling- 
 fized plate, length-ways, from Teniers. Various views of gardens, land' 
 Jcapes, &c. 
 
 LOUIS SURRUGUE. 
 
 Flouriflied, 1720. ,.' 
 
 He was a native of France, refided at Paris, and learned from Bernard 
 Picart the principles of drawing and engraving. He was a member of the 
 Royal Academy of Painting and Sculpture at Paris ; and his works prove 
 him to have been a man of genius. His ftyle of engraving is very com- 
 mendable ; in it he has united the point and the graver very fuccefsfully j 
 and had his drawing been as correft, as the efFeft of his prints is pleafing, he 
 might have ranked among the firft mafters of France. We have by him, 
 
 Abraham offering up Ifaac, from Andrea Del Sarto; a middling-fized up- 
 right plate, for the colledtion of prints from the pidtures in the Drefden 
 gallery. 
 
 Chrijl curing the ten leprous men -, a middling-fized plate, length-ways, 
 from Jerome Genga. 
 
 Y y 2 Venus 
 
S U Y [ 348 ] S U Y 
 
 Venus giving the hreajt to the Loves j a fmall upright plate, from Rubens. 
 This fubjeftj with a Imall difFcrence, was engraved by C. Gall and H. 
 Watlet. 
 
 He alfo engraved fronn Raphael, Pietro da Cortona, Le Sueur, Le Brun, 
 Coypel, and other mailers. 
 
 Peter Louis Surrugue, the fon of the artift above-mentioned, was alfo 
 an engraver. He worked in a ftyle, fomething refembling that of his fa- 
 ther j but his prints are by no means equal to his. I Ihall mention only by 
 him, 
 
 'The nativity of Chrift ; a large upright plate, called the night of CorreggiOy 
 for the Drefden gallery. 
 
 The Virgin and Child, accompanied by St. Jerome and two other faint s, from 
 Guido, the fame. 
 
 The judgment of Paris ; a middling-fized plate, length-ways, from 
 Gokzius, &c. 
 
 JONAS SUYDERHOEF. 
 
 Flourifhed, 1640. 
 
 This extraordinary artift was a native of Holland. He learned the prin- 
 ciples of drawing and engraving from Peter Soutman, and purfued the ftyle 
 of engraving which that mafter had adopted j but he far furpaffed him in 
 the foftnefs and beauty of finifliing. His plates are very neat, and yet we 
 find in them great force of colour, and he harmonized tiie light with the 
 fhadows, fo as to produce a pifturefque and pleafing effeft. The naked parts 
 of the figures are not fo correftly drawn, as might be wiflied ; nor are the 
 extremities fo happily exprefted j but thefe defeds are by no means very ftrik- 
 ing in his beft prints, which are juftly held in the higheft eftimation by the 
 experienced coUedtors. The portraits by this great mafter, of which he en- 
 o-raved a very coniiderable number, are exceedingly beautiful ; but fine 
 imprelTions of them are rarely to be met with. The following engravings 
 are by Suyderhoef, and may be reckoned among his beft : 
 
 The fall of the unrighteous; a large upright print on two plates, from 
 Rubens. 
 
 The Virgin Mary, with the infant Chrifi embracing her \ a fmall upright 
 plate from the fame painter. Bolfwert alfo engraved this fubjefl, with fame 
 fmall alterations, efpecially in the legs of the infant. 
 
 A bacchanal; a fmall plate, length-ways, from the fame. 
 
 A drunken Bacchus, Jupported by a Satyr, and a Moor ; a fmall upright 
 plate,, half- figures, from the fame. 
 
 The chace of the lions; a large plate, length-ways, from the fame. 
 
 The conclufion af the peace at Munfler i containing the portraits of all the 
 Plenipotentiaries; a large plate, length-ways, from Terburg. This print 
 was copied on a fmaller fcale by J. de Decker. 
 
 A quarrel of Dutch peafants ; a middling-fized plate, length-ways, from 
 the fame. 
 
 A quarrel of Butch peafants ; a large upright plate, from Adrian Van 
 Oftade, containing many figures. 
 
SWA [ 3^9 ] S W E 
 
 ^he Dutch I'all; the {ame, {rom the hme. . ^ , , , , 
 
 The four Burgomafters of Amjierdam ; a middhng-fized plate, length- ways, 
 
 from Theodore Keyfer. ,r j i tt i u i o„^ 
 
 Many ^v^efortraits of various fizes, from Vandyck, Franck Hals, and ^ 
 
 odier mafters. . .... toi i.- 
 
 He fometimes marked his plates with the initials, I. S. but his prints are 
 
 eafily diftinguiflied. 
 
 WILLIAM VAN SWANENBURG, or SWANENBURCH. 
 
 Flouriflied, 1618. ■ 
 He was a native of Holland; and his ftyle of engraving is bold and free, 
 like that which was ufually praftifed by the fcholars of Henry Goltzius. 
 He worked with the graver only ; and his prints prove the great command 
 he had of that inllrument ; but his drawing is defeftive and mannered ; the 
 extremities of the figures efpecially are not corredly marked. The follow- 
 
 inpr prints are by him : . , „. r j i 1 i, c ^ 
 
 Lot end his tzvo daughters; a middlmg-fized plate, length-ways, fron:i 
 
 "cS at Emmaus, with his tivo dijciples, after the fame matter ; a mid- 
 dlina-fized upright plate. Van Sompelen engraved the iame fubjeft. 
 fhe fix penitents; a fmall upright plate, from A. Bloemart. 
 He alfo engraved from Uytenwael and other mailers. 
 
 HERMAN VAN SWANEVELT, or SWANEFELD, called tht 
 HERMIT OF ITALY. 
 
 Born, 1620. Died, 1680.4.^ 
 He was a native of Flanders, and is faid to have been at firft the dif- 
 ciple of Gerard Douw. He went, however, to Italy in his youth and en- 
 tered the fchool of Claude Lorraine, from whofe inftruftions, and his own 
 incelTant ftudies of nature, he became an admirable painter of landlcapes. 
 He acquired the cognomen of the Hermit, from the ftudious and retired life 
 which he lived. He amufed himfelf with the point ; and his etchings, though 
 ni-ht, are executed in a bold, free, and mafterly ftyle, fomething refem- 
 blfn- that of Waterloo; but the mechanical part is neater and more deter- 
 mined He has enriched thefe compofitions with foall hgures, defigned 
 in a very fpirited manner. We have by him, from his own defigns, 
 
 A fet of fix large /^K^-r^;-^^, length-ways. 
 
 A fet of four landjcapes, lengtli-ways, limller than the above. 
 
 A fet of four landjcafes, large upright plates. 
 . Forty hndjcapes; middling-fized plates, both upright and length ways. 
 
 S\y^ty land/caps ; fmall plates, fome upright, and lome length-ways. 
 
 J. S W E L I N C K. 
 
 Flourifhed, 1620.. 
 He was a native of Amfterdam, and worked with the graver only, m^.-^ 
 
S W E [ 350 ] S Y L 
 
 very neat ftyle,, refembling that of the Wierix's. We have a fet of emble- 
 matical plates by hhin, in quarto, from A. V. Venne. 
 
 MICHAEL SWERTS, or SWEERTS. 
 Flourifhed, 
 
 He was a native of the Low Countries, and flourifhed during the lafl cen- 
 tury. He was a painter, and frequently etched from his own pidures. 
 We have by him, among other prints, the following: 
 
 Chrijl dead, Jufforted by the virgins, accompanied by St. John and Mary 
 Magdalen ; a middling-fized plate, length-ways. 
 
 A manjeated in a chair, fmoking, and a boy Jianding by him ; a fmall up- 
 right plate. 
 
 His oivn portrait, the fame. 
 
 The portraits o( John van Brojtchont, ?Lnd of Herman Sa/tle^ven, -pilnters, 
 the fame. 
 
 WILLIAM SWIDDE. 
 
 Flourifhed, 1690. 
 
 A very ingenious artift, who defigned and engraved land/capes in a very 
 pleafing ftyle. His plates are exceedingly numerous, and chiefly from his 
 own defigns. 
 
 The larger part of a work, entitled, Suecia Antiqtia at Hodierna, in folio, 
 containing views of the principal buildings, &cc. in Sweden, are by him. 
 
 Alfo a fet of fmall land/capes, length-ways, from C. Van Dalen, &c. 
 
 He often marked his engravings with the initials, W. S. only. 
 
 CHRISTOPHER SWITZER. 
 
 Flourifhed, 1610. 
 This artifV, who was probably a German, was an engraver on wood, and 
 an ingenious man. He refided, however, in England, and was employed 
 by that induftrious antiquary John Speed, for whom he cut the coins and 
 great /eals of England, which appear in his hiftory of Great-Britain. Ver- 
 tue mentions another fet of the broad feals of England, cut on wood, and 
 preferved in the Harleian library, which he fuppofes were the works of this 
 artift, and the originals from which Hollar copied thofe publiflied by Sand- 
 ford. Mr. Evelin fpeaks of him, and of his fon, who was then living, in 
 the following words: " We have likewife Switzer for cutting in wood, the 
 *' fon of a father, who difcovered his dexterity in the Herbals, fet forth by 
 " Mr. Parkinfon, Lobel, and divers other works, with due commendation."- 
 The honourable Mr. Walpole alfo informs us, that the works of this artift 
 have been confounded with thofe of his fon, who was, fays that gentleman, 
 of both his names. 
 
 SYLVELT, fee 2YLVELT. 
 ^ EVERT 
 
S I J [ 35X 1 TAN 
 
 EVERT SIJMONS. 
 
 Flourifhed, 1620. 
 He engraved the map of Denmark for John Speed's colledion of maps, in 
 large folio, publiflied at London. It is infcribed Evert Sijmon's Z. Ha- 
 merz-veldt jfculp. 
 
 SYMPSON, fee SIMPSON. 
 
 S Y S A N G. 
 
 Flourifhed, 1746. 
 
 He engraved a confiderable number of portraits, in a neat, clear ftyle, 
 for a work, entitled Portraits Hijioriq^ues des Hommes illujlres de Danne^ 
 mark, publilhed, 1746. 
 
 PHILIP SYTICUS. 
 
 Flourifhed, 
 
 To a large upright crucifixion, with the Virgin, S^t. John, and two Angels 
 
 in the clouds, from Michael Angelo, engraved in a neat, clear flyle, re- 
 
 fembling that of Cornelius Cort, is this name affixed, Pbilippus Syticus. 
 
 fecit. I have no doubt, but that this artifl is the fame with P. Sericcus^ 
 
 the name by fome accident being mif-fpelt. See the article Sericcus, 
 
 T. 
 
 GIOVANNI MARIA TAMBURINQ. 
 Flourifhed, 1630. 
 
 HE was a native of Bologna, and the difciple of Pietro Pacini. He 
 painted in oil and in frefco, and imitated the ftyle of hismafler. Pro- 
 fefTor Chrifl attributes to him the etchings in the manner of Tempefla,, 
 marked Gio. Ma. T. 
 
 PETER TANGE. 
 
 Born, Died, 1760. 
 
 He was a native of Holland, and refidtd at Amfterdam, where he died. 
 
 He was a very induflrious man ; for we have a prodigious number of 
 
 engravings by his hand, confifting chiefly of portraits, vignettes, and other 
 
 hok-plates. The following may be reckoned among his belt works : 
 
 4 A dead. 
 
TAR [ 352 ] TAR 
 
 A dead Chrifl; a middling-fized upright plate, from Francefco Salviati. 
 
 The co.rd'flayers ; a fmall plate, length-ways, from Michael Angelo 
 Carravagio. 
 
 'Tavquin and Lucretia; a middling-fized plate, length-ways, from Luca 
 Giordano. 
 
 The chaftity of Jcfeph, from Carlo Cignani, half figures j all of which 
 are for the colledtion of prints, engraved after the piftures in the Dref- 
 den Gallery. 
 
 NICHOLAS HENRY TARDIEU. 
 Born, 1674. Died, 1749. c.^ 
 
 He was a native of France, and died at Paris, a. d. 1749, being at that 
 time a member of the Royal Academy of Painting and Sculpture. Tardieu 
 was a very able artift. He drew well, though in a mannered ftyle. And 
 forwarded his plates very greatly in the etching, which he worked 
 upon and finifhed with the graver, in a manner that demonftrates the 
 goodnefs of his tafte. There is much colour in his prints ; but from a 
 rough nefs, which appears about them, they are not fo pleafing to the 
 common eye, when viewed near ; but at a diftance they have, in general, 
 a fine effeft. His engravings are not uncommon. I fhall mention the 
 following only : 
 
 The conteft betivcen Achilles and Agamemnon j a large plate, length-ways, 
 from Ant. Coypel. 
 
 The farting of HeSlor and Andromache, its companion, from the fame 
 painter. 
 
 Apollo and Daphne, the fame, from the fame. 
 
 Several plates for the Crozat cabinet. He alfo engraved from Le Brun, 
 Watteau, and other matters. 
 
 His wife, Elizabeth Claire, whofe maiden name was Tournay, alfo 
 engraved feveral plates ; and, among them, 
 
 The concert; a middling-fized upright plate, from J. F. de Troy. 
 
 The miiflard merchant ; the fame, after Charles Hutin, &c. 
 
 J A Q^U ES NICHOLAS TARDIEU. 
 
 Flourifhed, 1760. 
 
 He was the fon of Nicholas Henry Tardieu, mentioned in the preceding 
 article, and alfo a member of the Royal Academy. His works in the hif- 
 torical line are not equal to thofe of his father in boldnefs and fpirir, 
 though neater in point of execution. We have feveral eftimable portraits 
 by this artift. 
 
 I fhall particularize the few following engravings only : 
 
 Chrifi healing the fick man at the Fool of Bethejda ; a large plate, length- 
 ways, from Reftout the elder. 
 
 Chrifi appearing to the Virgin ; a large upright plate, from Guido, for the 
 colledion of prints from the piftures in the Drefden Gallery. 
 
 The 
 
TAR [ 353 1 T A S 
 
 The portrait of the king of France, a whole length j a large upright plate, 
 from M. Vanloo. 
 
 The portrait of the queen vf France ; a middling-fized upright plate, 
 from Nattier. 
 
 He alfo engraved from Le Brun, Largiliere, Rigaud, Bon de BouUogne, 
 Teniers, Boucher, and other mafters. 
 
 Louise Tardieu, his wife, whofe maiden name was Du Vivier, is 
 alfo faid to have engraved. 
 
 t>' 
 
 PETER FRANCIS TARDIEU. 
 
 Flourifhed, 1760. 
 
 He was coufin german to the preceding artift, and refided at Paris. Wc 
 have many engravings by him ; among which are the following : 
 
 The Judgment of Paris -, a large plate, length-ways, from Rubens. 
 Lommelin alfo engraved from the fame pifture. 
 
 Perfeus and Andromeda, from the fame painter. Thefe prints are from 
 the piftures in the coUeftion of the Count de Bruhl ; the fame. 
 
 Several of the plates for Le Fontaine's Failles, in folio, from Oudry. 
 
 A variety o( vignettes, &c. from feveral mafters. 
 
 Mary Ann, the wife of this artift, whofe maiden name was Rousselet, 
 engraved alfo. Several of the plates in Buffon's Natural Hijiory are by her. 
 
 G. T A S N I E R E. 
 
 Flourifhed, 1670. 
 
 He refided at Turin, according to Bafan, where he died, about the com- 
 mencement of the prefent century. He worked with the graver only ; and his 
 performances are ftronger proofs of his induftry, than of his tafte. He en- 
 graved many plates from the pidlurcs of Dominico Piola, a Genoefe painter j 
 and nearly all thofe whicli belong to a folio volume, entitled, la Venaria reale 
 Palazzo di piacere, i£c. or a Defcription of the hunting Palace, belonging to 
 the Duke of Savoy, confifting of hunting fubjeds, and portraits of the nobi- 
 lity, &c. from the pidures of John Miel, publiftied at Turin, a. d. 1672. 
 
 PETER JOSEPH TASSART. 
 
 Flouriflied, 1760. 
 
 He is fpoken of as a painter by Bafan, who informs us, that he refided 
 at Bruflels, where he etched 
 
 The woman taken in adultery, half figures, a fmall plate, length-ways, 
 from Rubens. 
 
 The Virgin and Child, viith Elizabeth and St. John; a fiiiall upright plate, 
 from the fame painter. 
 
 The martyrdom of St. Laurence -, a middling-fized upriglit plate, from 
 the fame. 
 
 The partingof Venus and Adonis ; a middling-fized upright plate, length- 
 ways, from the fame. 
 
 VOL. II. Z z AGOS- 
 
T A S [ 354 ] T E M 
 
 AGOSTINO TASSI. 
 
 Born, 1580. Died, 
 
 He was a native of Bologna, and a difciple of Paul Brill. He excelled 
 
 in painting lanSJcnfes and Jea views. We have fome few etchings by him, 
 
 executed in a very flight ftyle. They are fmall plates, length-ways, and re- 
 
 prefent views at Jea, tempejis and a Jljtpwreck. 
 
 V. T A T O R A C. 
 
 Flourilhed, 1530. 
 
 He was, according to Papillon, a native of Paris, and a very indifFerent en- 
 graver on wood. He executed, according to that author, one hundred and 
 fifty cuts for Ovid's Met amorpkqfes in oftavOj publiflied 1537 j and an anmat- 
 ciation for a prayer-hooky dated, 1530. 
 
 MELCHIOR TAVERNIER. 
 
 Flouriflied, 1630. 
 He was an engraver and copper-plate printer to the king of France, as he 
 himfelf informs us, by the inscriptions upon his prints. He refided at Paris, 
 and was a publilher, as well as an artift. His chief works as an engraver are 
 portraits ; but we have fome ornaments, and other trifling fubjefts alfo by 
 him, from his own inventions. They do not, however, confer any great 
 honour upon him as an artift. To a large upright print, reprefenting the 
 ftatiie of Henry the Fourth of France., on horjehack, is this infcription, Melchior 
 Tavernier a Paris, graveur and imprimeir du Roy, pour les tailles-douces demeu- 
 rant I'ljle du Palais, fur le ^ay a I'efpy d'or, 1 6 27 . 
 
 RICHARD TAURINI. 
 
 Flouriflied, 
 
 According to Papillon, he was a flcilful engraver on wood, and the dif- 
 ciple of Albert Durer. I am not acquainted with his works. 
 
 TELMAN VAN WES EL. See WESEL. 
 
 GIOVANNI TEMINI. 
 Flouriflied, 
 
 This name, with the v/ord fecit added to it, is affixed to a portrait of Carh 
 Gonzales, duke of Mantua -, a middling-fized upright oval plate, flightly 
 etched, and retouched with the graver. 
 
 ANTHONY TEMPEST A. 
 Born, 1555. Died, 1630. 
 He was a native of Florence, and the difciple of John Stradan. Few 
 painters ever poITeflTed greater fertility of invention than Tempefta. He un- 
 
 derllood 
 
T E M [35s] TEN 
 
 derftood the human figure, and drew corredlly ; but in a mannered ftyle, 
 which often wanted elegance. He fucceeded well in hiftorical fubjefts and 
 landfcapes; but he had a peculiar genius for battles, cavalcades, huntings, 
 and for defigning all forts of animals. It is faid, that he did not regard 
 fo much the delicacy of colouring, as the lively expreffion of thofe things, 
 which he reprefented. His ordinary refidcnce was at Rome, where, in his 
 younger days, he had performed feveral works, by the order of Pope Gregory 
 XIII. in the apartments of the Vatican. His ftyle of etching is bold'and 
 free; the lights are kept broad upon the fingle figures; but they want 
 maffing to produce a general efFecl. Many fine parts occur in his defio-ns, 
 and groups of figures, compofed with much grandeur. But his draperies 
 are feldom well chofen; and the heads of his female figures are not fo 
 beautiful as might be wiflied ; which defeft, together with a dark, coarfe 
 appearance, too frequently prevalent in his etchings, renders them un- 
 pleafing to the common eye. Artifts, however, in general, know that the 
 works of Tempefta are well worthy of a very clofe examination. 
 
 The number of etchings by Tempefta, according to Florent le Comte, 
 amount to upwards of 1800, exclufive of a very great number, eno-raved 
 by other mafters from his defigns. As they are by no means uncommon, I 
 {hall fpecify the few following only, in a general way ; 
 
 A fet of middling-fized plates, length-ways, taken from the Old Tefta- 
 ment, and commonly known by the appellation of 'Tempejla's Bible. 
 
 The hijiory of the /even twin bothers ; a fet of forty Imall plates, length- 
 ways. 
 
 A fet of 150 prints, taken from Ovid's Metamorphofes ; finall plates, 
 length-ways. 
 
 A variety of other different fets of /'o;^^^, and other rt;;/;Wj, huntings, ca- 
 valcades, ornaments, &c. 
 
 See the marks, adopted by this mafter, copied on the plate at the end 
 of the volume. 
 
 DOMENICO TEMPEST A. 
 Born, 1652. Died, 
 A Florentine artift. He was the difciple oC Robert Nanteuil, and of 
 Girard Edelinck. After having vifited moft kingdoms in Europe, he re- 
 turned to his own country, and was employed by Cofmo, the Great Duke 
 of Florence. We have by him a fet of portraits oi the Electors Palatine. 
 
 PETER T E M P E S T A. See M O L Y N. 
 
 DAVID TENIERS the Younger. 
 
 Born, 1610. Died, 1694. 
 
 This celebrated painter was a native of Antwerp. He was the fon of 
 
 David Teniers the elder, and learned the firft principles of painting from 
 
 him ; after which he became the difciple of Adrian Brouwer, and com- 
 
 Z z 2 pleted 
 
T E R [ dS^- ] T E S 
 
 pleted his ftudies in the fchool of Rubens. His excellence lay in painting 
 landfcapes, converfations, and fubjefts taken from low life. And the vaft 
 prices which are given for his piftures are a fufficient proof of the high efti- 
 mation they are held in, which, however, is by no means fuperior to their 
 merit. 
 
 He etched, for his amufement, a confiderable number of plates, from 
 his own conipofitions. Thefe etchings, generally ipeaking, are by no 
 means equal to what might have been expedled from the hand of fo great 
 a mafter. The following are by him : 
 
 The village entertainment ; a fmall plate, length- ways. 
 
 The temptation of St. Anthony ; a fmall upright plate. 
 
 Dutch peajants Jhooting at a mark; a fmall plate, length-ways. 
 
 Three heads, apparently portraits, namely, an old man with an hour glafs, 
 an old man playing on a flute, and a lady holding a flower ; fmall upright plates. 
 
 The injlde of a cottage, with a dead calf hanging up, and a man with a wo- 
 man ftanding by the fide of it ; a fmall plate, length-ways. 
 
 His mark is compofed of a D. with a T. inclofed in it. See the plate of 
 monograms at the end of the volume. 
 
 According to M. Heineken, David Teniers the elder etched fome plates. 
 It is probable he might; but I am at a lofs how to diftinguilh them from 
 thofe of the fon. 
 
 H. TERASSON. 
 
 Flouriflied, 
 
 He refiHed in London, and engraved fome plates of inJeSts very neatly -, 
 but in a ftifF ftyle. 
 
 AUGUSTIN TERWESTEN. 
 Born, 1649. Died, 171 1. 
 He was born at the Hague ; and, fhewing an early difpofition for the 
 arts, became the difciple of Wieling ; but completed his ftudies in Italy. 
 He died at Berlin, a. d, 17 ir, aged 62. He painted hiftorical fubjeftsand 
 landfcapes with great fuccefs. We have fome few etchings by this artift, 
 from his own compofitions. 
 
 FRANCESCO TERZI. 
 
 Flourifhed, 
 He was a native of Bergamo. We have, engraved by him, a fet of 
 portraits of the Princes of the Houje of Aujlria. 
 
 PIETRO TESTA. 
 Born, 161 1. Died, 1650. 
 He was born at Lucca ; and from his youth manifefted a violent incli- 
 nation for the arts. In order to fee the works of the great mafters at 
 Rome, he travelled thither in a pilgrim's habit j and employed himfelf 
 
 affiduoufly 
 
T E S [ 357 ] T E S 
 
 affiduouny in drawing from the antiqfe Jiatues, hajfo relievos, and ruins., which 
 he found in that city, and ftudying after the mod celebrated piftures. But, 
 from the want of being properly known, his dcfigns were but little attended 
 to ; and he was reduced to a moft mifcrable fituation, having fcarcely where- 
 withal to cover his nakednefs. Sandrart difcovcred him drawing among the 
 ruins, and compafTionating his diftrefs, took him to his houfe, and gave him 
 both food and clothes. Nor did he ftop here ; for he employed him to draw 
 feveral things in the Juftinian gallery, and alio recommended him to other 
 miafters. He was, itfeems, of a wild difpofition,andhada great diflike to com- 
 pany J fo that even his patron could feldom have much converfarion with 
 him. With all the talents, which Tefta pofleired, he could not fuccecd in 
 painting ; his colouring was bad ; and his outlines were hard and difgufting. 
 As a defigner and an engraver, he is worthy of the higheft commendation. 
 
 He drew with great tafte, and marked the extremities of his figures in a 
 very mafterly manner. The charafters of his heads are finely exprefled, 
 and the female faces are often very beautiful. When the extravagance of 
 his fancy did not hurry him beyond the bounds of nature, his outlines are 
 correft and elegant. The draperies of his female figures efpecially are flow- 
 ing and eafy, and lb contrived as to Ihow the form of the naked parts very 
 diftindlly. ItmufI: be owned, that, though many parts of his compofitiors 
 are fine, and many of his figures graceful and elegant, yet thefe beauties 
 are often obfcured by the introduftion of ill chofen and awkward attitudes, 
 by which the eye is offended. He feems to have paid little or no attention 
 to the management of the chiaro-fcuro. His lights are fcattered, without 
 forming any great mafl"es; of courfe his prints can have little or no effedir. 
 With refpect to his ftyle of etching, it is free and mafterly, bearing fome 
 refemblance to that of A. Tempetlaj but confiderably improved. The 
 works of Pietro Tefta fhould be carefully examined by all young artifts ; 
 for they will be fure to find fufRcient reward for their labour. They have 
 all the fire of the matter in them, and prove the force of his imaorination, 
 and the fertility of his genius. 
 
 This great artift was drowned by accident, as is generally reported, 
 reaching for his hat, which the wind had blown into the Titer, as he fat 
 drawing upon the banks of that river ; he unfortunately fell in, and could 
 not regain the fliore. Some have faid, that he drowned himlelf purpofely, 
 finding that his works did not meet witii that reward, which they fo juftly 
 deferved. 
 
 The mark, which this artift often ufed, is copied on the plate at the end 
 cf the volume. The following are by him, engraved from his own de- 
 figns : 
 
 'The adoration of the wife men ; a middling-fized upright platei 
 
 The bijfjops interceding for a cejjation of the plague ; a fmall upright plate, 
 
 The martyrdom of St. Erafmus ; the fame. 
 
 jichilles dragging the body of He £1 or round the tvalls of Troy j a middlino-- 
 fized plate, length-ways. 
 
 The four fea/ons of the year, with the twdve figns of the zodiae i, large 
 plates, length-ways : thefe are very fine. 
 
 Several large bacchanals^ and allegorical Jubjeifs, &c. 
 
 GIOVANNI 
 
T E S [ 358 ] T H A 
 
 GIOVANNI CESAR E TESTA. 
 
 Flouriflied, 1650. 
 He was the nephew of Pietro Tefta, mentioned in the preceding article. 
 He imitated the (lyle of etching, adopted by his uncle, with great fuccefs ; 
 and engraved many of his defigns. We have alfo by him a fine etching, 
 reprefenting the death of Si. Jerome ; a large upright plate, from the famous 
 picture of Dominichino, which was alfo engraved by Farjat and Jacomo 
 Frey. 
 
 GIOVANNI BATISTA TESTANA. 
 
 Flouriflied, 1670. 
 This artift appears to have been a native of Rome, where he chiefly re- 
 fided, and engraved feveral plates from the piftures of the mailers of the 
 Roman fcliool. 
 
 GIOSEFFO TESTANA. 
 
 Flouriflied, 1690. 
 He was probably a relation of the artift above-mentioned. He is faid 
 to have been a native of Genoa. We have feveral engravings by him, 
 particularly portraits ; among which may be reckoned part of the plates 
 for a work, entitled. Effigies of the Cardinals now living, publiflied. ac 
 Rome, 1680. 
 
 LOUIS TESTELIN. 
 Born, 1615. Died, 1655. 
 
 He was born at Paris, where he principally refided ; and in that city he 
 died, A. D. 1655, aged 40 years. He was the difciple of Simon Vouet, 
 and is fpoken of as a painter with much commendation. The following 
 etchings are by him : 
 
 "The IJraelites receiving the manna j a middling-fized plate, length-ways, 
 from N. Pouflin. 
 
 A fet of fmall plates, reprefenting children flaying, from his own com- 
 pofitions ; and feveral vignettes, for a book written by his brother Henry 
 Teftelin, entitled. Sentiments of the mofl Jkilful Painters upon the Practice of 
 Painting. 
 
 JOHN CHRISTOPHER TEUCHER. 
 
 Flouriflied, 1750. 
 
 This artifl: was a native of Germany ; but he refided chiefly in France, 
 where he engraved a plate, called the Virgin of the Rofe, from Parmigiano, 
 for the colle£tion of prints, from the pidtures in the Drefden gallery. 
 
 ROBERT THACKER. 
 
 Flouriflied, 1670. 
 
 By this artifl:, who calls himfelf defigner to the king, we have a large 
 print, engraved on four plates, K^XQkni\ri^t\it cathedral church at Saliflury. 
 
 5 JACOB 
 
THE [ 359 1 T H I 
 
 JACOB GOTTLIEB THELOTT. 
 
 Flourished, 1730. 
 
 He engraved part of the plates for a work, entitled, Reprejentation des 
 Animaux de la Menagerie de Prince Eugene, publifhed 1734; or, the Repre- 
 jentation of the Animals in the Menagery of Prince Eugene., confifting of 
 birds, beafts, &c. They are large plates., length-ways, executed entirely 
 with the graver, in a neat, but ftiffllyle. His name is alio affixed to fe- 
 ytxzS. portraits, and among others, to that of Guiao Pattin, M. D. of Paris. 
 
 THEODORE. 
 
 Flouriflied, 1670. 
 
 He was the difciple of Francefco Mill or Millee, and excelled in painting 
 of landfcapes. We have the following etchings by him, from the defigns of 
 his tutor, namely, fix large landfcapes, length-ways ; thirty middling- 
 fized landfcapes, length-ways ; fix landfcapes in circles. 
 
 A. THEODORE. 
 
 Flouriflied, 1636. 
 
 The name of this artift is affixed, as the defigner and engraver, to a 
 middling-fized plate, length-ways, reprefenting a procejjion in Holland, 
 etched and retouched with the graver, in a ftyle bearing fome refemblance 
 to that of Hollar. The figures, though not well defigned, are, by no means, 
 badly executed. It is dated, 1636. 
 
 BENOIT THISBOUST. 
 Flourifhed, 1679. 
 
 A native of France, and an engraver of no great note. He worked with 
 the graver only, in a flight, open ftyle, fomething refembling that of 
 Mellan ; but his prints are defeftive in tafte, or corredlnefs of drawincr. 
 We have by him the life of St. Turribius, contained on thirty-four very 
 fmall upright plates, exclufive of the frontifpiece, from J. Bapt. Gaetano. 
 They are publiffied at Rome, a. d. 1679, with this title. Vita beati Ttcr- 
 ribii, Archiepifcopi Limani in Indiis. 
 
 ALEXANDER THIELE. 
 
 Flourilhed, 1726. 
 
 He appears to have been a landfcape painter, but of no great eminence, 
 as far as one can judge from his etchings. They are executed in a very 
 flight, heavy ftyle ; and confift of views in Saxony, engraved from drawings 
 made by himfelf. They are middling-fized plates, length-ways, and dated 
 1726. 
 
 BARON DE THIERS. 
 Flourifhed, 1760. 
 
 This nobleman, according to Bafan, was a great lover of the arts, and 
 
 for 
 
T H I I 360 ] T H O 
 
 for his amufement, he etched fome few plates of land/capes, and /mall Jub- 
 jeSls, from Boucher. 
 
 MOSES THIM. 
 Flourifhed, 16 13. 
 
 This engraver refided at Wittenberg, and at Altenburg, as the infcrip- 
 tions upon his prints feem to indicate. He marked his engravings with the 
 initials, M. T. fometimes feparate, and fometimes joined together, in the 
 manner cxpreffed upon the plate at the end of the volume ; and ufually 
 added the date, 1613. 
 
 CHRISTIAN RAYMOND THOMAN. 
 
 Flourifhed, 1730. 
 
 He engraved fcveral of tlie plates for the colleftion of prints, from the 
 antique marbles, preferved in the Royal Gallery at Drefden. 
 
 JOHN THOMAS. 
 Flouriflied, 
 
 A Flemifli painter of the laft century. He etched feveral plates in a 
 fpirited, bold ftyle j and, among them, may be reckoned the following : 
 
 yl/atyr attempting to force a Jljepberde/s i a fmall upright plate, without the 
 name of the painter, or of the engraver. A fubjeft [compofed of ftx figures, 
 three men and three women j one of the former is playing upon die bagpipes; a 
 middling-fized plate, length-ways. Certain perfons, fays Bafan, have at- 
 tributed the invention of thefe two prints to Rubens j but, without the leaft 
 foundation. 
 
 PHILIP THOMASSIN. 
 
 Flouriflied, 1600. 
 
 This artifi: was a native of France; but he refided the greater part of his 
 life at Rome, where lie died. Thomaflin, it feems, was not without his 
 domeftic troubles. He had married a handfome wife, of whom he appears 
 to have been lealous ; for when Callot was with him to learn the manage- 
 ment of the graver, he was difpleafed at liberties which pafli'd between 
 him and the lady, and for that caufe, quarrelled with his fcholar, who there- 
 upon quitted his houfe. 
 
 Tlioaialfin fcems to have formed his manner of engraving upon the works 
 of Cornelius Cort, or Cherubin Albert ; and indeed it is very poflible, 
 that lie might actually ftudy under the directions of the latter. He worked 
 •with the graver only, in a flight but clear and firm ilyle. There is, how- 
 ever, a ftifi^nefs in the execution, which, being rendered more vifible by 
 the total want of elfcft in his prints, gives them a harfli, unfiniflied ap- 
 pearance. His drawing is rather mannered, than abfolutely incorrect ; 
 and the heads, with the orher extremities of his figures, are fcldom finely 
 
 mar !•:£(]. 
 
T H O [ 361 ] T H 'O 
 
 marked. He engraved a great number of prints, and, among them, the 
 following : 
 
 J nativity ; a middling-fized upright plate, from Ventura Salembeni. 
 
 The ivij'e men's offering; a large upright plate, arched at tlie top, from F. 
 Zuccheri. 
 
 The frejentation of Chrijl in the temple; a large upright plate, after F. 
 
 Barroccio. 
 
 An allegorical JubjeSl., relating to the redemption of mankind ; the fame, from 
 G. Vafari, 
 
 The Mufes dancing; a large print, length-ways, on two plates, from 
 Baldafiare Peruzzi. 
 
 He alfo engraved from F. Salviati, J. Bafan, Raphael, Andrea del Sarto, 
 and a variety of other mailers. 
 
 SIMON THOMASSIN. 
 Flourifhed, 1680. 
 
 This artift was a native of France, and a defcendant of the fame family 
 with the Philip Thomanin, mentioned in the preceding article. He learned 
 the principles of drawing and engraving in his own country, and was after- 
 wards fent to Rome, and ftudied in the academy, founded by the French 
 King for the ufc of young artifts, who went for improvement from France 
 to Italy. He worked with the graver alone ; and his flyle of engraving is 
 exceedingly neat and clear, but too equally lb, by which means the beauty 
 of the effeiSt is diminifhed, and his prints acquire a heavy laboured appear- 
 ance, indicating the efforts of patience rather than the animated exertions of 
 an exalted genius. His drawing is executed in a mannered ftyle, though, 
 upon the whole, it is not incorreft; bu: the extremities of the figures are 
 not marked with that lightnefs and freedom, which diftinguifli the hand of 
 a great mafter. We have by him. 
 
 The transfiguration of Chrift ; a large upright plate, from Raphael, dated 
 1680. C. Cort, N. Dorigny, and feveral other artifts, engraved from this 
 pifture. 
 
 A fet of medals of great ferfvnages in France; in folio, dated 1696. In 
 the infcriptions upon thefe plates he ftyles himfelf. Sculptor Regis. 
 
 The ftatues and other fcuiptures, which ornament the palace and the gar- 
 dens at Verfailles. 
 
 Alfo a confiderable number of portraits, many of them exceedingly well 
 engraved. 
 
 HENRY SIMON THOMASSIN. 
 
 Born, 1688. Died, 1741. 
 
 He was the fon of Simon Thomaffin, mentioned in the preceding article, 
 and was born at Paris. Bafan fays of him, that he furpaifed his father in 
 the art of engraving ; but I am not altogether of his opinion. The works 
 of the fon Icem to me to be full as rough and unharmonious, as thofc of 
 the father are neat and laboured. With refpeft to corredtnefs of outline, 
 or knowledge of the human figure, the fon certainly is not luperior to the 
 
 VOL. II. 3 A father. 
 
T H O [ 362 ] T H O 
 
 father. He died at Paris, a. d. 1741, aged ^2' I ^^all mention the fol- 
 lowing engravings only by this artift : 
 
 The Jong of the Virgin ; a large upright plate, from Jouvenet. 
 
 Coriolanus overcome by the Jolicitations of his wife and family ; a large plate, 
 length-ways, from Le FofTe. 
 
 T'he feft at Marjeilles j a very large plate, length-ways, from J. F. de 
 Troy. 
 
 Naked women Jurprifed by Jatyrs j a large plate, length-ways, from L. 
 Sylveftre. 
 
 ^neas and Dido ; the fame, from Anthony Coypel. 
 
 He alfo engraved feveral plates for the Crozat cabinet j fome portraits, 
 and a variety of other fubjefts, from different painters. 
 
 R. THOMPSON. 
 
 Born, Died, 1693. 
 
 He was a printfeller in London, and publifhed a confiderable number of 
 portraits in mezzotinto ; fome of which are fuppofed to have been executed 
 by himfelf ; they are, however, very indifferent. 
 
 SIR JAMES THORNHILL. 
 Born, 1676. Died, 1732. 
 
 He was a native of Derbyfhire, and a very celebrated painter of hiftory, 
 architefture, and portraits. His beft performances are in the hoipital at 
 Greenwich, the palace of Hampton Court, and the cupola of St. Paul's 
 Cathedral. 
 
 Thefe are abundantly fufEcient to convince pofterity of the extenfivenefs 
 of his genius, and the goodnefs of his tafte. He was honoured with 
 knighthood by Queen Ann, and afterwards eledted Member of the Houfe 
 of Commons. We have feveral bold, but flight etchings by this mafter -, 
 and, among them, Jdam and Eve, a middling-fized plate, length-ways. 
 
 JOHN JAMES THOURNEYZER. 
 
 Flouriftied, 1680. 
 
 This artift was a native of Bafil in Switzerland. He worked with the 
 graver only, in a manner bearing fome refemblance to that of F. de Poilly ; 
 but the imitation is not very fuccefsfully made. We have feveral fron- 
 tifpieces by this engraver, and a confiderable number of portraits j among 
 which may be reckoned, Louis the XIFth, when young, Jupported by Mi- 
 nerva and Apollo ; a fmall plate in quarto. He alfo executed feveral of the 
 plates for the publication, by Catherine Patin, of engravings from feleft 
 piftures, in folio, publifhed 1691. See his mark, compofed of an H. and 
 a T. in the plate at the end of the volume. The H, I fuppofe, ftanding 
 for Hans or John ; for he often figned his plates in this manner, H. "Thour- 
 neyzer, omitting entirely the initial for his fecond baptifmal name. 
 
 JOHN 
 
T H U [ 3h ] TIE 
 
 JOHN THUFEL, or TEUFEL. 
 
 Flourifliedj 1570. 
 He was a native of Saxony, and an engraver on wood. According to 
 profeflbr Chrift, he marked his plates with the initials, I. T. F. the F. as 
 ufual Handing for /m/. 
 
 THEODORE VAN THULDEN, or TULDEN. 
 
 Born, 1607. Died, 1676. 
 
 He was a native of Bois leDuc, and became thedifciple of Rubens, whofe 
 ftyle of painting he imitated j and was confidered as one of the beft artifts 
 of that fchool. Rubens was fo much pleafed with his performances, that 
 he employed him as an afliftant, in the grand undertaking of the Luxem- 
 bourg gallery. He painted large and fmall piftures with equal fuccefs ; 
 and his works are fpoken of with great commendation. He etched a con- 
 fiderable number of plates, in a clear, determined, but flight ftyle. With 
 refpeft to his drawing, it is far from being correft, and fo mannered, that 
 we may eafily trace the fame hand, though working from very different 
 mafters. The following etchings are by him : 
 
 The life of St. John of Matba, on twenty-four fmall plates, from the 
 pidures painted by himfelf, in the choir of the church of the Mathurins at 
 Paris, publiflied 1633. 
 
 The hijtory of Ulyjfes, on 58 fmall plates, length-ways, from the pictures 
 of Primariccio at Fontainbleau, pubhfhed 1640. 
 
 The defcription of the entry of Ferdinandy the Cardinal infant ^ into the town 
 of Antwerp, from Rubens, on feveral plates. 
 
 He ufually marked his plates with the initials, T. v. T. 
 
 TIBALDI. See PELLEGRINO. 
 
 V. VAN T I E N E. N. 
 
 Flourifhed. 
 
 A very indifferent artift, by whom we have fome few etchings not worth 
 particularizing. 
 
 GIOVANNI BATISTA TIEPOLO. 
 
 Flouriflied, 1750. 
 
 He was a native of Venice, and an hiftorical painter of fome eminence. 
 We have feveral etchings by him, executed in a very fuperior ftyle, exceed- 
 ingly neat, and with great tafte, corredlnefs, and fpirit. I fhall mention the 
 following : 
 
 The wife men's offering; a middling-fized upright plate, from his own 
 compofition. This is generally efteemed as his chefd'ceuvre. 
 
 A fet oi fancy fubjeSfs ; confifting of twenty- four plates, in quarto, from 
 the fame. 
 
 Another fet Qi fancy fuhjeHs, confifting of ten plates, fmaller than 
 the foregoing, 
 
 3 A 2 GIO- 
 
TIE [ 364 ] TIN 
 
 GIOVANNI DOMENICO TIEPOLO. 
 
 Flouriflied, 1760. 
 
 He was the fon of the arcift, mentioned in the preceding article, and 
 he learned from his father the principles of drawing and painting. He alfo 
 amufed hinifelf with the point, as fuccefsfully as his father had done, and 
 imitated, in fome degree, the ftyleof Caftiglione. We have by him, 
 
 A fet of twenty-feven fmall plates, length- ways, rcprelenting the flight of 
 the holy family into Egypt, from his own defigns. 
 
 A fet of tiventy-fix heads ; the fame, from the fame. 
 
 The hijlory of Cbrijl' s faffion ; on fourteen fmall upright plates, from the 
 fame. 
 
 St\e\d\ devotional fubjeols, from the defigns of his father. 
 
 Lorenzo Ttepolo, brother to the foregoing artift, was alfo a painter, 
 and etched from the defigns of his father. 
 
 JOHN CHARLES VAN TILL. 
 
 Flourilhed, 1644. 
 
 A very indifferent engraver of portraits and book-plates. His name is 
 affixed to a flight, incorredt etching of Ferdinand Talientfchgcr, repre- 
 Jented as a hujl crowned by Minerva, from M. Merian. He figns his name 
 in this manner, John Carl, van Till, and adds the date, 1644. 
 
 JOHN BAPTIST TILLART. 
 
 Flourifhed, 1760. 
 A modern French engraver, who refided at Paris, and etched fevcral 
 plates of national dreffes, reprefenting the Savoyards and Ruffians, from St. 
 Aubin, Le Prince, &c. 
 
 A. M. T I N G H I U S. 
 
 Flourifhed, 1760. 
 He engraved the great temptation of St. Anthony, by Callot ; from the 
 original drawing by thatmafter. 
 
 L O R E N Z O T I N T I. 
 
 Flouriflied, 1650. 
 
 He was a. native of Bologna, and an engraver. We have many prints 
 by him ; and, among- them, the reprefentations of the pompous funeral of 
 Francis I. duke of Modena. He alfo engraved from the pidlures of the- 
 celebrated mafters of the Bologna fchool, and from thofe of Elizabeth 
 Sirani. 
 
 TINTORET. See ROBUST I. 
 
 ANTONIO 
 
T I S [ 365 J TOR 
 
 ANTONIO TISCHLER. 
 
 Flourilhed, 1750. 
 He engraved feveral of the plates for the coUedion of prints, taken from 
 the pidurcs in the cabinet of Count de Bruhl. 
 
 TITIAN. See V E C E L L I. 
 
 POMPILIO TITO. 
 
 Flouriflied, 1685. 
 
 This engraver refided at Rome, and marked his plates, accordino- to 
 profcflbr Chrift, with the initials, P. T. with the date, 1685. 
 
 J. T O B I N. 
 
 Flourilhed, 1770. 
 He was a native of England, and etched feveral fmall plates 0? land/capes; 
 from H. Grim. We have alfo fome few fmall tinted plates by him, from 
 Both, Oftade, and other painters. 
 
 PIETRO TODESCHI. 
 
 Flourifhed, 
 
 The name of an obfcure and very indifferent engraver. It is afBxed to 
 feveral Jea views, fmall plates, length-ways, executed chiefly with thc- 
 
 graver. 
 
 T O L O S A N O. See BARON. 
 
 LUCA TOMOLIUS. 
 
 Flouriflied, 
 
 A name affixed to a fmall upright portrait of F. Lalius Contefino, executed 
 entirely with the graver, in- a ftiff, coarfe flyle. 
 
 W. H. T O M S. 
 
 Flourifhed, 1740. 
 An engraver of architefture and perfpedive views. He refided in Lon- 
 don. We have, however, feveral other fubjefts by him ; alfo fome book- 
 plates, and a h\v portraits, among which may be reckoned the portrait of 
 Sir Philip Percival, after Vandyck. 
 
 FLAMMINIO TORRE. 
 Born, 1621. Died, 1661. 
 
 He was a native of Bologna. He learned the firfl principles of hiflorical 
 painting from Cavedone, and completed his ftudies in the fchool of Guido. 
 
 His 
 
TOR [ 3^6 ] T O U 
 
 His greateft excellence was in copying the piftures of the mod celebrated 
 mafters ; which he did in fuch an exafb manner, as to render it nearly impofTi- 
 ble to diflinguifh the copy from the original. He etched feveral plates, 
 and, among them, the following : 
 
 The Vii-g'm and child, accompanied by St. Francis and St. Jerom, a middlin"-- 
 fized upright plate, from Lodovico Carracci. "The patron faints of the 
 town of Bologna j a large upright plate, from Guido. Pan conquered by 
 Love; a fmall upright plate, from Agoftino Carracci. 
 
 FRANCOIS TORTEBAT. 
 
 Flourifhed, 1660. . 
 He was a native of France, and fon-in-law to Simon Vouet, the painter. 
 He etched feveral plates in a rough, flight ftyle, refembling that of Mi- 
 chael Dorigny ; but his drawing has not fo much of the mannerift. There 
 is great fpirit in the etchings of Tortebat, and frequently a very good 
 cffedt. The following are by him : The anatomical figures of John de Cal- 
 car. St. Louis carried into heaven by angels ; a middling-fized upright plate, 
 from Vouet. He alfo engraved from Annibale Carracci and other mafters. 
 
 J. TORTOREL. 
 
 Flourifhed, 1570. 
 
 He was a native of France, and engraved on wood and on copper. He 
 affifted J. Perriffim in the execution of a fet of twenty-four large plates, 
 length- ways, re-pre{^ntmg the war of the Huguenots. They are very coarfely 
 engraved ; but not without fome fpirit. Thofe by Tortorel are not altoge- 
 ther fo well, as thofe by Perriflim. 
 
 T. TOSS. 
 
 Flourifhed, 
 This name is afBxed to a free, fpirited etching, rcprefenting the adoration 
 of the fhepherds, from C. Hochfield j a fmall upright plate. 
 
 ELIZABETH CLAIRE TOURNAY, the wife of TARDIEl^; 
 See the article T ARDIEU. 
 
 TOURNHEIZER. Sec THOURNEYZER. 
 
 ROBERT TOURNIER. 
 
 Born, 1676. Died, 1752. 
 
 This artift was a native of Caen. He refided at Paris, and engraved a 
 
 confiderable number of prints. Several of the plates for the architedtal 
 
 work, by Antoine Defgodetz, entitled, Les Edifices Antiques de Rome, are 
 
 2 by 
 
T R A [ 367 ] T R E 
 
 by him. He alfo engraved a fet of vafes, from Charles Errard, and fevc- 
 ral madonas, from Guido. 
 
 FRANCO TRAMAZINO. 
 
 Flouriflied, 
 He engraved, according to Florent le Comte, a folemn entry into the 
 city of Rome, which that author fpeaks of as afcarce print. 
 
 PETER CHARLES TREMOLLIERE. 
 Born, 1703. Died, 1739. 
 He was a native of Cholet in Poi£tou, He was the difciple of John 
 Baptift Vanloo, from whofe fchool he went to Italy, and completed his 
 ftudies from the works of the moft celebrated painters. The French authors 
 fpeak of this artift with the warmed commendations, affirming that he 
 poflefled every requifite to form the great mailer. He invented with great 
 facility, and \mited grandeur with elegance, in his compofitions. He alfo 
 drew correftly, and manifefted his tafte, by a judicious choice of graceful 
 attitudes for his dcfigns. He died in the flower of his age, at the time 
 great expeftations were formed in his favour. He etched feveral plates of 
 ftudies, from Wateau, and defigned to have engraved a fet of prints, from 
 his own piftures of the/even facraments ; but was prevented by death, when 
 only two of them were finifhed. 
 
 ANTONIO DA TRENT O. 
 
 Flourilhed, 1550. 
 
 He was a native of Italy, and became the difciple of Parmigiano, from 
 whom, according to fome authors, he learned the art of engraving on 
 wood, in the manner diftinguifhed by the appellation of chiaro-fcuro. It 
 is very certain, that he engraved feveral of the defigns. of Parmigiano j but 
 it is more probable, that he learned the art from Ugo de Carpi, to whom the 
 firft invention of it is generally attributed. I havefpoken at large of this 
 fpecies of engraving, in the Effay on the Rife and Progrefs of Engraving 
 on Wood, at the beginning of the prefent volume. Trento was a man of 
 abilities. There is great fpirit in his prints ; but they are extremely flight. 
 He commonly ufed three feparate blocks for one print. Upon the firft 
 he cut the outlines ; the fecond was for the dark fliadows j and the laft 
 for the lighter tint. The following are by him : 
 
 The beheading of St. Peter and St. Paul -, a large print, length-ways, from 
 Parmigiano. The Tiburtinian Sybil Jhowing the Virgin Mary, with the infant 
 Chrift in her lap, to the Emperor Auguftus ; the fame. P/yche faluted by the 
 people with the honours of divinity j an octagon print, from the fame. 
 
 TRE- 
 
T R E [ 368 ] T R O 
 
 TREVETHAN. 
 
 Flourifhed, 
 
 He is mentioned by Sanderfon as an engraver ; but his works are not 
 fpecified. He is perhaps the lame artift with the following. 
 
 WILLIAM TREVILLIAN. 
 
 Flourilhed, 1650. 
 This name is affixed to a portrait of Oliver Cromwell's ■poHer, 
 
 MARTIN TREU. 
 Flourilhed, 1540. 
 He was a native of Germany, and may properly be ranked among the 
 little mafters. He was contemporary with John Sebald Beham and Heniy 
 Aldegrever ; and, according to the ufual cuftom of that time, worked 
 from his own defigns. His prints prove him to have been a man of genius. 
 His compofitions are little, if any thing, inferior to thofe of his two con- 
 temporaries ; but they are not executed with that clearnefs and precifion, 
 with refpeft to the engraving, nor fo corredlly drawn. He appears to have 
 ftudied with attention the works of Lucas of Leyden, and, in fome de- 
 gree, to have frequently imitated them. He ufually marked his plates with 
 an M. and a T. joined together, in the manner expreffed upon the plate 
 of monograms, at the end of the volume. Sometimes he infcribed them 
 with the initials, M. T. feparate from each other, and commonly added 
 the date. I fhall mention only by him, a fet of fix fmall plates, length- 
 ways, which may properly be called the progre/s cf the prodigal, dated from 
 1541 to 1543. Thefe defigns might probably give the firll hint to Hogarth . 
 of the rake's progrejs : the hero of both lets out with a plentiful fortune, and 
 perifiies miferably at laft. Tzvo figures playing on mufical inftruments ; a 
 fmall upright plate, with a variety of other fubjefbs moral and emblema- 
 tical, ornaments, &c. 
 
 ANTONIO DE TRICIS. 
 
 Flourilhed, 
 
 The name of this painter is affixed to a flight, incorreft etching, from a 
 compofition of his own. 
 
 T R I N G H A M. 
 
 Flourifhed, 1750. 
 He engraved the portrait of the Reverend Samuel Clarke, and feveral hok- 
 plates, &c. 
 
 TRONCHON. 
 
 Flouriflied, 1760. 
 A modern French engraver, by whom we have feveral prints, from N. 
 Coypel and otlier mafters. 
 
 HANS, 
 
T R O [ 369 ] T R O 
 
 HANS, or JOHN TROSCHEL. 
 
 Flourifhed, 1620. 
 
 He was a native of Nuremberg, and the difciple of Peter Iflelburg. 
 When he quitted his mafter he went to Italy, and lludied under Francefco 
 Villamene. The advantages, which he had the opportunity of receiving 
 by his journey, from the inftrudtion of that great mafter, do not appear to 
 have been attended with fuccefs. We fee in the works of Trofchel, a la- 
 boured neatnefs, but great deficiency of tafte and correftnefs of drawing. 
 We have by him, many emblematical fubjeSfs, from various Italian painters ; 
 2\io frontifpieces and other book-flates, with feveral portraits . I fhall men- 
 tion only, the portrait of Fortunius Licetus, Philo/oph. a fmall upright 
 plate. He is faid to have frequently marked his engravings with an H. 
 and a T. joined together, in the manner exprefTed upon the plate of mo- 
 nograms at the end of the volume ; but the little land/capes, marked with 
 this monogram, mentioned by profeflbr Chrift, do not appear to be in his 
 ftyle of engraving. 
 
 P. TROSCHEL. 
 
 Flouriflied, 1650. 
 
 He was a native of Nuremberg, and probably of the fame family with 
 the preceding artift. He feems to have worked entirely for the bookfellers. 
 I have feen {cvevaX frontijpieces by him, executed with the graver only; but 
 they have no kind of merit to recommend them to the public notice. He 
 often marked his plates with the initials, P. T. without writing his name at 
 length. 
 
 Jaques Troschel is mentioned as an engraver by profeflbr Chrift, who 
 gives us the initials I. T. F. for his mark. He was probably a relation of 
 the two laft mentioned enp-ravers. 
 
 D 
 
 ANDREA TROST. 
 
 Flourifhed, 1680. 
 
 He was a native of Carniola, and an engraver. He marked his plates, 
 according to profeflbr Chrift, with a monogram, compofed of an A. and a 
 T. joined together. See the plate of monograms at the end of the volume. 
 
 C. Trost, a name affixed to feveral portraits, and, among others, to 
 the following: 
 
 Renter Adrianz -, a fmall upright plate. Charlotte Janz, the fame. 
 
 ANTHONY TROUVAIN. 
 
 Flouriflied, 1700. 
 
 A native of France. He handled the graver with great fuccefs, and 
 worked in a very neat, and fometimes a pleafing ftyle. We have by him. 
 The Salutation of the Virgin Mary., a large plate, length-ways, from Carlo 
 Vanloo. The marriage of the ^een Mary of Medicis to Henry the Fourth, 
 
 VOL. II. J B and 
 
T R O [ 370 ] T U S 
 
 and the minority of Louis XIII. from the pictures, by Rubens, in the Lux- 
 embourg gallery. Silenus drunken, furpH/ed hy two Jhepherds ; a middling- 
 fized print, length-ways, from Anthony Coypel. This plate was etched 
 by Chateau. We have alfo many portraits by Trouvainj feveral of which 
 are worthy of the collector's notice. 
 
 JOHN VAN TROYEN. 
 
 Flouriflied, 1660. 
 
 He was a native of the Low Countries. We have by him feveral coarfe, 
 incorrefl etchings, very (lightly executed, from the pifftures of the Italian 
 matters, colIe(5l:ed by David Teniers. This coUeftion of prints is ufually 
 known by the name of the gallery of Teniers. 
 
 T R U C H I. 
 
 Flourifhed, 1730. 
 
 He was a native of France ; but refided latterly in England, where he 
 died fome years fince. He aflifted Benoit in engraving a fet of twelve mid- 
 dling-fized plates, length- ways ; the fubjefts of which were taken from the 
 novel of Pamela, by Higmore. 
 
 D. TSCHERNINGK. 
 Flouriflied, 1639. 
 By this engraver we have feveral frontijpieces, and other book-plates, exe- 
 cuted entirely with the graver, in a ftyle that does him no fort of credit. 
 John Tscherning, another engraver, probably of the fame family, by 
 whom we have feveral neat portraits, from Andrew Tfcherning. They 
 Tnanifdft, however, his induftry, rather than his tafte, 
 
 IL TODESCO 
 
 Flourifhed, 
 
 Or, as he is called in French, le Tiidejque, of whom the authors, both 
 French and Italian, fpeak fo vaguely, was, I prefume, one of the very ancient 
 German engravers, whofe monogram is unknown. Some indeed have 
 confounded the artift, to wliom they give this name, with Ifrael van Me- 
 chcln and Martin Schoen. 
 
 T U L D E N. See T H U L D E N. 
 
 M. T U S C H E R. 
 
 Flourifhed, 1743. 
 He was a painter, and, as far as one can judge from a fingle etching, a 
 'TOan of no mean abilities. I have fecn by him a theatrical Jcene, from a 
 
 compolition 
 
TUT I 371 ] T Y S 
 
 compofition of his own, flightly etched, but in a very fpirited ftyle : it 
 
 is datedj 174^. 
 
 B ARTOLOMEO TUTIANI. 
 
 Flourifhed, 
 He is faid to have been an engraver on wood, who marked his prints 
 with the Gothic nnonogram, copied upon the plate at the end of the volume. 
 
 MARTIN TYROFF. 
 Flourifhed, 
 He was a native of Nuremberg, and engraved a confiderable number of 
 portraits, which he executed in a very neat manner. I Ihall mention only 
 that of Charles a Lime, architeiSt to the king of Sweden. 
 
 T Y R R A L„ 
 
 Flourifhed, 1580. 
 
 He is mentioned as an engraver by Ames, and other authors -, but I 
 am not acquainted with any of his works. 
 
 MICHAEL TYSON. 
 
 Flourifhed, 1770. 
 This gentleman was educated for the church, and was fellow of Bennec 
 College, Cambridge. He amufed himfelf with the pencil, and with the 
 point. We have feveral etchings by his hand, particularly the portrait of 
 ulrchbificp Parker, an half figure, in an oval, odlavo, taken from an illumi- 
 nation, by T. Berg, in a manufcript preferved in the library of Bennet Col- 
 lege. This bears fo ftrong a refcmblance, in every particular, to the por- 
 trait of that prelate, engraved by Remigius Hogenbergh, that there is great- 
 reafon to fuppofe they were both engraved from the fame painting. The 
 portrait of Sir William Faulet, a very fmall upright plate, from an old 
 pifture ; the painter of which is unknown. Jane Shore, from an original 
 pidure at King's College, Cambridge, a fmall half Iheet in quarto, &c. 
 
 3 B 2 j. VAN- 
 
V A A [ 372 ] V A I 
 
 V. 
 
 J. VANDER VAART. 
 Born, 1647. Died, 17 21. 
 
 A Native ofHarleim. He learned the principles of painting from the 
 elder Wyck ; but did not confine himfelf to landfcapes. He painted 
 portraits and ftill life, with great fuccefs, and particularly excelled in the re- 
 prefentation oi partridges and dead game. He came into England, a. d. 1674, 
 and was employed by WifTing to paint draperies. It is faid, that, in old De- 
 vonfhire houfe, he painted a violin againfl; a door, which deceived every body 
 He refided in Covent-Garden, where he died of a fever, a. d. 1721, aged. 
 74, and was buried in the right ifleof St. Paul's church in thatparifh. He 
 was a man of very amiable character. 
 
 We have fome few mezzotintos by this artift, confifting o^ portraits, partly 
 done from his own paintings, and partly from thofe of WilTing, [ fhall 
 mention one of the latter only, namely, Charles the Second of England, in an 
 oval, a half fheet print. Vander Vaart's portraits have little to recom- 
 mend them. It is, however, fome addition to his honour, that he taught 
 John Smith the art of fcraping in mezzotinto. 
 
 V A E N I U S. See VEEN. 
 
 ANN MARY VAJANI. 
 
 Flouriflied, 1650. 
 
 This lady engraved, at Rome, part of the plates for the Jujlinian gallery y 
 publifhed in that city, in two large folio volumes. 
 
 WALLERANT V A I L L A N T. 
 
 Born, 1623. Died, 1677. 
 He was a native of Lifle, and the difciple of Erafmus Quellin. He ap- 
 plied himfelf chiefly to portrait painting, and met with very great encou- 
 ragement ; for having painted the portrait of the Emperor Leopold very 
 fuccefsfully, his bufinefs increafed fo rapidly, that he gained a plentiful 
 income. He accompanied the Marefchal de Grammont into France, where 
 in four years he completed his fortune. It appears, that he was in Eng- 
 land, and came with Prince Rupert, from whom he learned the art of 
 fcraping in mezzotinto. He made fome confiderable improvement in it; 
 but at laft the grounds of his plates were indifferently laid, and the lights 
 
 uneven. 
 
V A I [ 373 ] V A L 
 
 uneven, efpecially when they were much fcraped. Vaillant died at Am- 
 fterdam, a. d. 1677, aged 54 years. We have by him feveral half fheet 
 prints, namely, his own portrait -, that of his ot//^ 5 a curious print of his 
 family ; and the head of Frobenius the printer, from Holbein. Ba- 
 fan alfo attributes to him many other plates : z%, the temptation of St. An- 
 thony ^ a finall upripjht plate, from Procaccini ; the prodigal Jon, from Ge- 
 rards ; Judith, and Jad, from Laireffe, &c. He engraved from a variety 
 of other painters. 
 
 BERNARD VAILLANT. 
 Born, 1625. 
 This artift was born at RyfTel, and was brother to Wallerant Vaillant, men- 
 tioned in the preceding article. He painted portraits in crayons, by which he 
 acquired confiderable reputation. We have feveral portraits by him, in 
 mezzotinto ; and, among them, the following : Paul Dufoul, from W. 
 Vaillant. John Lingelbach the painter, from Schwartz, &c. Profeflbr 
 Chrift attributes alfo to him the mezzotinto prints, marked with thefe 
 initials, B. V. F. 
 
 D U V A L. 
 
 Flourifhed, 1650. 
 
 He was a native of France, and an engraver on wood. Papillon fpeaks 
 of him with very great commendation, for the neatnefs and delicacy of his 
 work : affirming that his reputation was fo extenfive, that he was ftrongly fo- 
 licited by the connoifleurs of Germany, Italy, England, Scotland, Ireland, 
 Flanders, and Holland, to vifit thofe kingdoms, but without fuccefs. To this 
 extravagant elogium he adds, " I believe, that Duval could not draw ; for he 
 fcarcely ever engraved, but from the defigns of Jaques Stella, and Noel 
 Cochin." The fame author fpeaks of twenty prints by this mafter, for the mi- 
 raculous hiflory o? Notre Bame de Liejfe, which are highly efteemed. 
 
 Marc Duval, apparently another artift of the fame family. This 
 name is affixed to a fmall plate, length-ways, reprefenting the woman taken 
 in adultery, three quarter figures, from his own defign. It is executed en- 
 entirely with the graver, in a neat, but dry and taftelefs ftyle. The expreffion 
 of the heads is tolerably well preferved ; but the other extremities are 
 heavy and bad. The letters of the name, together with the initial F. for 
 fecit, are reverfed upon the plate. 
 
 GERARD VALCK. 
 
 Flouriflied, 1680. 
 
 He was a native of Holland, and firft lived fervant with Blooteling ; but 
 
 he aften,vards married his filter, and appears to have been in partnerfliip with 
 
 him. He came with his brother-in-law into England, a"nd returned with 
 
 him again. He worked fome time for David Loggan ^ and he alfo. af- 
 
 fifted 
 
V A L C 374 ] V A L 
 
 fifted Peter Schenck in publifliing the large Dutch Atlas, in two volumes, 
 folio, 1683. 
 
 He engraved and fcraped in mezzotinto; but his works in both ftylcs are 
 by no means valuables either with refpeft to the drawing or the execution. 
 Bethjheba at the hath, a middling-fized upright plate, from B. Graat, is by 
 him. We have alfo many portraits j and, among them, that of the Dutchejj 
 of Mazarin is looked upon as his beft. 
 
 PETER VALCK, or VALK. 
 
 Flouriflied, 
 
 He was probably of the fame family with the preceding artift. We have 
 by him, 'fme and Truth ; a middling- fized upright plate, copied from a print 
 by Philip Galle, and rather larger than the original. He imitated the ftyle 
 of Galle, and not unfuccefsfully. 
 
 JOHN VALDOR. 
 
 Flourifhed, 1620. 
 
 He was a native of Liege ; but he refided chiefly in France, and probably 
 was the difciple of Thomas de Leu. Valdor does not appear to have been 
 a man of fuperior genius. He wanted that animation, which is neceflary 
 to form the great artift ; inftead of which, he fubftituted a painful, laborious 
 attention to the neatnefs and precifion of the mechanical part of his plates ; 
 and in this point of view he has fucceedcd wonderfully. I have feen a finall 
 upright plate by him, reprefenting the head of St. Ignatius, the face of 
 which is fo neatly executed, that the dots, which blend the lights with the 
 fhadows, are hardly perceptible to the naked eye. We have feveral 
 devotional Jubjelfs by him j figures of faints -, and a part of the plates for a 
 book, entitled, //;<? Triumph of Louis the juji, printed at Paris, i6j8; all 
 of them from his own compofitions. 
 
 Le Comte mentions fome landfcapes by this artift, in the ftyle of Hollar. 
 All the works I have feen by Valdor are executed with the grav r only. 
 I rather fufpedt fome miftake in this pafl'age, becaufe he afterwaids fpeaks 
 of this artift again, and fays, Valdor a fait quelques paifages dans f on gout, 
 in his own tafte, or rather ftyle, and this may poffibly be true. 
 
 GIACOMO VALESIO, or VALEGGIUS. 
 
 Flouriftied, 1574. 
 
 He was a native of Verona, as the infcriptions upon his prints inform us. 
 He worked with the graver only, in a ftyle greatly refembling that of Cor- 
 nelius Cort ; but not very fuccefsfully. The outlines of his figures are 
 exceedingly incorreft, and the extremities are badly marked. I have 
 feen by him, St. Michael overcoming the evil fpirits ; a middling-fized up- 
 right plate, from Paolo Veronefe, dated 1574. 
 
 FRAN- 
 
V A L [ 375 J V A L 
 
 FRANCESCO VALESIO or VALEGGIUS. 
 
 Flourifhedj 1620. 
 
 He was probably of the fame family with the preceding artift. Le Comtc 
 fpeaks of him as a painter. It is certain that he engraved much from his 
 own compofitionsj but, as far as one can judge by his prints, he does not 
 appear to have been endowed with fuperior talents. He worked with the 
 graver only, in a neat, but ftiff ftyle. His plates are not, however, en- 
 tirely devoid of merit. He engraved many frontifpieces and book-plates. 
 The greateft work I have feen by him is, afet of hermits, for a book, en- 
 titled, Illujiriutn jinachoretarum Elogia, written by Jacobus Cavacius, a 
 Benedidline monk. It is in quarto, and was publifhed at Venice, 1612. 
 If the date on ih.c frontifpiece to the works of Spigelius, in folio, publifhed 
 at Amfterdam, be genuine, and affixed by this artift in 1645, he continued 
 to engrave a long time. The anatomical figures in this book appear to be 
 all executed by the fame perfon, who figns his name, Francf. Valefius ; 
 but I do not believe, that they are the work of Francefco Valefio mentioned 
 above ; becaufe they are very iaadly engraved, and greatly inferior to the/^^r- 
 mits above-mentioned, to which the coUedtor iS referred. Le Gomte calls 
 him Giovanni Francefco Valefio, in one place, and informs us, that he engrav- 
 ed kvcra] portraits, and alfo worked from the defigns of Peter Faccini, &c. 
 
 GIOVANNI LUIGI VALESIO. 
 
 Flourifhed, 
 
 This artift is faid to have been a native of Bologna, and a pupil of the 
 Carracci. He etched feveral plates from his own compofitions, in acoarfe, 
 dark ftyle : among them are the following : the Virgin, with the infant Chrift 
 Jeated upon her lap ; a fmall upright plate. Venus threatening Cupid ; and 
 Venus chajlizing Cupid, its companion; two fm.all upright plates. He en- 
 o-raved alfo many emblematical and allegorical defigns, frontifpieces for 
 books, and other ornamental plates ; fome of which he marked with a mo- 
 nogram, compofed of an L. a V. an A. and a fmall o ; or a V. and an L. 
 with the fmall o. only. Papillon fays, he engraved on wood. It is cer- 
 tain, that there are feveral wood cuts, marked with the fame monogram ; 
 but it is doubtful, whether they are by Valefio or not. 
 
 WILLIAM VALET, or VALLET. 
 Flourifhed, 1680. 
 He was a native of France ; and, having learned the principles of draw- 
 ing and engraving in his c.vn country, probably in the fchool of Francois 
 Poilly, he went to Italy, and refided fome time at Rome to complete his 
 ftudies. He afterwards returned to France, where he died. He worked 
 with the graver only ; and his ftyle refembles that of Poilly, in fome de- 
 gree; but his prints are deficient in every requifite, when compared with 
 thofe of that great mafter. The following are by him : 
 
 4 J holy 
 
V A L t 376 ] V A L 
 
 A holy family, a middling-fized upright plate, from Raphael. Pitau 
 engraved the fame piiflure. 
 
 yl holy family y from Guido; a middling-fized plate, nearly fquare. C. 
 Bloemart alfo engraved from this pifture. 
 
 The -wife men's offering, fromN. PoufTm ; a large plate, length-ways. 
 
 The affumpticn of the Virgin ; a fmall upright plate, from J. Mille, en- 
 graved whilft he refided at Rome, 
 
 He engraved alfo from Titian, Romanelli, Dominichino, A. Carracci, 
 and other painters. We have befides feveral portraits by him, fome of 
 them from drawings, made by himfelf, from the life, and otherwife. 
 
 WARNER VAN VALKERT. 
 Flourifhed, 1610. 
 
 He was a native of Holland, and a painter. He etched feveral plates 
 from his own defigns. They are executed in a bold, fpirited ftyle ; but 
 very incorredjy drawn. The two following are by him : The good Samari- 
 tan ; a middling-fized plate, length-ways. Venus fleeping, Jurfrifed by two 
 Jatyrs ; the fame, dated 16 12. 
 
 Bafan, in the Supplement to his Diftionary of Engravers, mentions 
 WiLLEM Van Walkert ; making a change in the firft letter of the family 
 name. He etched, fays that author, from his own compofitions j parti- 
 cularly a fmall plate, length-ways, dated 16 12, reprefenting an old man and 
 woman, Jcated at a table, with a figure of Death, who gives his hand to the 
 old man. I apprehend there is fome millake with refpeft to the latter name; 
 and that they are both the fame artift. 
 
 ALESSANDRO VALLvEO 
 
 Flouriflied, 16 10. 
 To an indifferent emblematical figure of Rhetoric, attempted in the ftyle 
 of Cornelius Cort, is this infcription affixed, Alexandra Vallao Barroducceo 
 Jculpt. et excuffi. This may perhaps be one of the figures, which Alexander 
 Vallee, fo called by Florent le Comte, is faid to have engraved, with eigh- 
 teen others, reprefenting the decorations and rejoicings made at Aietz, at the 
 time of the entry of Henry of France. The reft were executed by Abra- 
 ham Faber, andpublifhed 1610. 
 
 SIMON VALLEE. 
 
 Flouriflied, 1720. 
 
 He was a native of France, and a difciple of the elder Drevet. He did 
 not immediately follow the ftyle of his mafter ; but united the point with 
 the graver in the execution of his plates, with no fmall fliare of tafte and 
 judgment. His drawing, in general, is not incorreft ; but the extremities 
 are fometimes rather heavy and undetermined. The following may be reck- 
 oned among his beft prints : 
 
 St. John 
 
V A L [ 377 1 VAN 
 
 St. John in the dejert ; a middling-fized upright plate, from Raphael. 
 
 "The reJiirreRion of Lazarus j the fame, from Jerom Mutian. 
 
 Chrijl carrying the crojs ; the fame, arched at top, from Andrea Sacchi. 
 
 The death of the Virgin ; a middling-fized upright plate, from Michael 
 Angelo Caravaggio. 
 
 Mojes found by Pharoah's daughter ; the fame, from Francefco Romanelli. 
 
 All thefe plates are for the coUeftion of prints, known by the name of the 
 Crozat cabinet. 
 
 The triumph of Venus ; the fame, from F. de Troy. He engraved alfb 
 from Caze, Rigaud, and other mafters. 
 
 John Vallee is faid alfo to have engraved many portraits. I am not 
 acquainted with his works. 
 
 The chevalier DE VALLORY. 
 
 Flouriflied, 1760. 
 
 This gentleman was a lover of the arts ; and for his amufement he etched 
 feveral land/capes, and o\\\zi Jmall JubjeSis , from Boucher. 
 
 VAN. 
 
 Van, Von, Van De, Vanden, and Vander, are only articles pre- 
 pofed to the Dutch, Flemilh, and German names ; and are equivalent to 
 De, Du, de la, in the French. Therefore, when a name is preceded by 
 any of thefe articles, it muft be referred to, under its proper initial letter, as. 
 Van Dyck under Dyck., Vanden Borcht under Borcht, Vander 
 Banck under Banck., &c. 
 
 FRANCESCO VANNI. 
 
 Born, 1653. Died, 16 10. 
 
 He was a native of Siena, and a very celebrated hiftorical painter. He 
 was firft the fcholar of Salimbini, afterwards of Pafiarotti, and, at lafV, of 
 Giovanni de Vecchia. By the inftruftions of thefe mafters, and his own 
 ftudies, he arrived at a very high degree of perfeilion. We have by him 
 three fmall etchings. The fpirit, beauty, and correftnefs of drawing, which 
 appear in thefe admirable prints, make us lament, that his amufements 
 with the point were not more extenfive. They are as follows : The ecjlatic vi- 
 fton of St. Francis ; the faint is reprefented as a half figure, and an angel ap- 
 pears in the clouds, playing upon a violin ; a frnall upright plate. Agoftino 
 Carracci engraved from this defign, with fome variations. The beautiful 
 drawing, which is found in this print, canaot be too much admired. Saint 
 Catherine of Siena receiving the Stigmatics i a very fmall upright plate. The 
 Virgin, a half figure, looking at the infant Chrift, who is deeping before her j 
 the fame. Peter de Jode engraved frcmthis defign. 
 
 VOL. II. 3 C G I O- 
 
VAN [ 378 J V A U 
 
 GIOVANNI BATISTA VANNI. 
 Born, Died, 1660. 
 
 He was a native of Pifa, and fcudied painting under feveral mafters. He 
 died at Florence, 1660. We have the following etchings by him, which 
 are executed in a flight, fpirited ftyle ; but the outlines of his figures are 
 very incorrect, and the heads, with the other extremities, paffed over too 
 haftily ; fo that much of the expreffion and beauty of the mafters he worked, 
 from is totally loft. I fliall mention the following only : The cupola of 
 the cathedral at Parma, painted by Correggio. The marriage of Cana in 
 Galilee; a large print, length-ways, on two plates, from Paolo Veronefe. 
 This is, in my opinion, his mafter-piece, and really has great merit : it is 
 dated, 1637. 
 
 JOHN VARDY. 
 
 Flouriflied, 1749. 
 An EnglilTi artift, by whom we have a very neat, fpirited print, repre- 
 fenting the Gothic-hall, at Hampton-Court. 
 
 GAETANO VASCELLINI. 
 Flourifhed, 
 A native of Italy, and a very indifferent engraver of portraits. 
 
 FILIPPO VASCONI. 
 
 Flourifhed, 
 
 He engraved many plates of views in and about Venice, in large folio, 
 publifhed 1720. 
 
 VANDER VAST. 
 
 Flourifhed, 
 
 A name afKxed to fome fpirited etchings of land/capes, which prove him 
 to have been a man of genius. 
 
 J. C. L E V A S S E U R-V 
 Flourifhed, 1760. 
 A modern French engraver, by -whom vfe^\\!i\e the continence ofScifio; a 
 largeplate, length-ways, from le Moine. The triumph of Venus ; from the 
 fame, from Boucher. He alfo engraved from A. Kraufe, Mettay, Dietricy, 
 and other mafters. 
 
 ROBERT VAUGHAN. 
 
 Flourifhed, 1650. 
 
 He was a native of England, and one of thofe indifferent engravers, 
 whofe labours were confined to the ornamenting (if fuch a word may be pro- 
 perly u fed upon the occafion) of books. We know little of his life j but 
 Vertue informs us, from Alhmole's manufcript, that, during the inter- 
 regnum, he cn';ixd,vcA z T^nm o{ Charles the Second ; to which he added fo 
 offenfive an infcription, that anaccufation was preferred againft him for it, 
 a after 
 
V A U [ 579 ]. U D E 
 
 after the reftoration ; but of what confequence it was to Vaughan, we are 
 not told. I fhall fpecify the few following only by this engraver: 
 The prints for Norton's Ordinal. The portrait of Sir John JVynn of G-ive- 
 dur ; a large whole fheet print. Edward 'Terry , Reftor of Greenford ; faid 
 to be the bed by Vaughan, with a date, which is 1655. He engraved alfo 
 feveral plates of monuments and other antiquities. 
 
 There is a print of Robert Devereux, Earl of Elfex, general of the par- 
 liament, which Ames mentions as by J. Vaughan. The honourable Mr. 
 Walpole fuppofes this may have been an error of the prefs ; if not, he adds, 
 that it might have been the brother of Robert Vaughan. It is probably a 
 miftake ; unlefs defigned for a G. and then it might have been engraved by 
 the following artift, who frequently put his baptifmal name in Latin. 
 
 WILLIAM VAUGHAN. 
 
 Flouriflied, i66d. 
 
 He was probably a relation of Robert Vaughan, mentioned above; but 
 of what proximity, I have not been able to difcover. In point of merit, 
 there is but little difference between the two artifts. We have by this 
 engraver three prints for a fmall folio pamphlet, defcribing the Sufferings 
 of Sir William Dick of Braid, which are very Icarce. Alfo a fet of fmali 
 plates of animals, from Barlow, confiding of thirteen plates, exclufive of 
 the title, which runs thus, a Book of fuch Beafts, as are moft ufeful for draw- 
 ing, graving, or armes fainting and chajeing, defigned by F. Barlow, and 
 engraved by William Vaughan, 1664. 
 
 V A U CL U E R. 
 
 Flouriflied, 
 
 He was a native of France, and probably a goldfmith. He engraved, 
 from his own defigns, two or more fets of flowers and ornamental foliage^ 
 which he calls, livres de fleurs, propres pour orfeures et graveurs. They 
 are fmall upright plates, and very neatly executed, with the graver only. 
 
 VAUMANS. See WAUMANS. 
 LUCAS VAN UDEN. 
 Born, 1595. Died, 1660. 
 He was a native of Antwerp, and a very celebrated landfcape painter. 
 He ftudied affiduoufly from nature, and arrived at fuch a degree of per- 
 feftion, that Rubens admired his ftyle of colouring, and frequently em- 
 ployed him to paint the back-grounds to his piftures. Van Uden's paint- 
 ings are juftly held in very high eftimation. He amufed himfelf with the 
 point, and we have feveral etchings by him, in a fpirited and mafterly ftyle ; 
 and, among them, a fet o( landfcapes, fmall plates, length-ways, infcribed, 
 Lucas Van Udenpinx. inv. et fee. Thefe are his moft finiflied etchings. 
 
 Four fmall land/capes, length-ways, from Rubens. The firft impreftions 
 of thefe plates are before the name of Rubens was inferted. A landfcape, 
 from Titian, into which is introduced the parable of the good Samaritan ; a 
 
 3 C 2 middling 
 
V E A [ 380- ] V E C 
 
 middling-fized plate, length-ways. He fametimes marked his prints with 
 the initials, L. V. V. 
 
 J. L E V E A U, 
 
 Flouriflied, 1760. j_^ '■' 
 
 A modern French engraver, by whom we hiave many very neat plates, 
 which prove him to have been a man of genius. I fliall mention only the 
 following : Several fmall land/capes, from Vanderneer. The view of 
 Mont/errat, from Vernet ; a large plate, length-ways.. Tl'he cajcade of 
 Tivoli, and the view of Puzzoli, its companion; middling-fized plates, 
 length-ways, from Le Croix, &c. 
 
 TITIANO VECELLI. 
 Born, 1480. Died, 1576. . 
 This celebrated artift was one of the greateft painters that Italy ever pro- 
 duced. The beauty of his colouring is ftill admired by the judges of paint- 
 ing; and his piftures are propofed as the models for all young artifts to 
 form their tafte upon. The reputation of this great painter being fo ge- 
 nerally known, renders it unneceflary for me to fay any thing farther upon 
 that fubjeift. I fhall only add, that he is reported to have engraved both on 
 wood and on copper. It is difficult to underftand how many engravings 
 of both forts are attributed to him by Mr. Evelyn, who fpeaks in a very 
 vague manner upon the fubieift ; and Papillon makes no fcruple to write 
 with confidence, though without proof. The only engravings on copper, 
 which are afcribed to him by the beft judges of this matter, are feveral 
 large landfcapes, length-ways, from his own compofition, which are etched 
 in a very flight, but fpirited ftyle, and are evidently the works of a painter; 
 but, I think, the figures are not fufficiently well done ; at leafl:, they feem 
 not to be equal to what one might expeft from the hand of fo great a mafter. 
 One of the mod remarkable of thefe prints is that, in which fome cattle 
 are reprefented coming to a brook, with the fhepherd walking before them, 
 playing upon his flute. On wood, we have a large upright print, reprefenting 
 ^ holy family, ivith St. Qaiherine and two angels, called the marriage of St. 
 Catherine. It is executed in a flight, but mafterly ftyle ; and, at the bottom, 
 is this infcription, Titianus Vecellivs Inventor Lineavit. 
 
 The otlier engravings on wood, attributed to him, are the following : 
 'The triumph of Faith, reprefented by a procejion of the patriarchs, pro- 
 phets, evangelifts, apoflles, faints, martyrs, preceding and following our bleffed 
 Redeemer; a very long frieze, compofed of eight or ten prints, dated 1505. 
 The deftru^ion of Pharcah and his hojl in the Red Sea ; a very large print, 
 length-ways, compofed of fix parts. This is very rough, and rudely cut, 
 and by no means equal in merit to the triumph of Faith, which is a very 
 mafterly performance. Papillon mentions the deluge, a large print, length- 
 ways, in two fhcets, which he fpeaks of as a very correcft and admirable 
 ■engraving. I have feen this print, and the very prccifion, which appears 
 in the execution of the mechanical part, of which he boafts fo much, fcems 
 o'-i"-" beftowed 
 
 , 
 
V EC [ 381 1 V E E 
 
 tome to make moft againft its being by Titian, who would fcarcely have 
 beftowed fo much time and labour, as muft have been required to complete 
 it in foneat and regular a manner. 
 
 A large' monkey and two /mailer ones, reprejented in the pojition of the antique 
 Jlatue of the Laocoon and his two fans, encompajfed by two Jerpents ; a large 
 upright print. This, however, though a very fpirited engraving, has all 
 the appearance of being much more modern, than the other works attri- 
 buted to this great m after. 
 
 CESARE VECELLI. 
 
 Flourifhed, 1590. 
 
 He was a younger brother to the celebrated Titian, and probably the 
 engraver on wood of thofe prints, attributed to that artift. We have 
 by him a fet of oflavo prints, executed in a very fpirited and maf- 
 terly ftyle, from the defigns of Titian, reprefenting the ancient and modern 
 drejfes of various parts of the world, publifhed at Venice, 159O; but this 
 moft probably was not the firft edition. The title runs thus : ~De gli 
 Habiti ylntichi et Moderni di diverje parte del mondo, Libri due fatti da Cejare 
 Vecelljo. To the fecond edition, publiftied 1664, it is more fully expreffed 
 as follows : Raccolta di figure delineate da! gran Titiano, e da Ce/are Vecellio 
 Juo Fratello deligentemente intagliate. 
 
 MARTIN VAN VEEN, called MARTIN HEMSKERCK. 
 
 Born, 1498. Died, 1574. 
 
 He was born at a village, named Hemflcerck, in Holland, from whence 
 the appellation of Hemfkerck was given to him ; but his family name was 
 Veen. He learned the firft principles of drawing from John Lucas, and of 
 painting from John Schoreel. His firft application was attended with little 
 fuccefs, and his genius was clouded by an appearance of natural dulnefs, 
 which feemed to preclude all hope of his ever attaining to any reafonable 
 degree of perfeclion. However, by induftry and ftudy he maftered thofe 
 obftru£i:ions, and left behind him the charafter of a great maftcr. He 
 fometimes amufed himfelf with the point; but the etchings we have by him 
 are fuch as do him little credit. They are not only very indifferently exe- 
 cuted, but incorreftly drawn ; and the heads of the figures have neither 
 beauty, charafter, nor exprefllon to recommend them. They are fubjefts 
 taken from the fcripture. I fhall mention the following only:, 
 
 Judab and Thamar ; a fmall upright plate, from his own compofition. 
 
 The annunciation of the Virgin Mary ; the fame. 
 
 GILBERT VAN VEEN, or VENIUS. 
 Flouriftied, 158.0. 
 
 He was the brother of Otho Van Veen, or Venius, a celebrated painter 
 of hiftory and portraits, Otho was born at Leyden ; and it is probable, that 
 Oilbert was a native of the fame place. He worked with the graver only, 
 
 in 
 
V E E [ 382 ] V E L 
 
 in a ftyle greatly refembling that of Cornelius Cort. It is probable, that he 
 •went with his brother into Italy j for we have feveral engravings by him 
 from the Italian mafters. In 1612, he refided at Antwerp. His engrav- 
 ings are flight, but well drawn. The heads of his figures are well expref- 
 fed J and the other extremities marked in a ftyle that does him great 
 honour. He engraved a very confiderable number of plates, from the de- 
 figns of his brother, which are chiefly emblematical fubjefts, in circles, 
 namely, a fet of prints, entitled, the emblems of Horace, in quarto, publiflied 
 at Antwerp, 1612. The emblems of divitie and prophane love, the fame. The 
 life of Sir Thomas d'y^quinas, the fame ; all from the defigns of his brother 
 Otho. Among his detached prints may be reckoned the four fea/ons of the 
 year; middling-fized plates, length-ways, from Raphael, dated 1589. Tie 
 meeting of Ifaac and Rebecca, and their marriage-, confifting of five plates, 
 length-ways, from Balthafar Parucci. Thefalutation of the Virgin ; a large 
 upright plate, from Baroccio, who etched the fame fubjedt himfelf. We 
 have alfo feveral good portraits by this artift. 
 
 J. VEENHUYSEN. 
 
 Flourilhed, 1656. 
 
 He was a native of Holland, and refided at Amfterdam, where he en- 
 graved a fet oi views of the public buildings of that city, in fmall folio. They 
 are executed in a neat, flight ftyle, without much tafte. The fmall figures, 
 >yith which they are ornamented, are not entirely deftitute of merit. They 
 •were publiflied at Amfterdam, a. d. 1656, with defcriptions in French and 
 Dutch. 
 
 J. S. V E G E L. 
 
 Flouriflied, 
 An obfcure engraver of frontifpieces and other hook-plates, which he exe- 
 cuted in fo bad a ftyle, that they do, by no means, merit notice. 
 
 VEIROTTER. See WEIROTTER. 
 
 U G O. See C A R P I. 
 
 ESAIAS VANDER VELDT. 
 Born, 1590. Died, 
 
 He was a native of Holland, and excelled in painting battles and landfiapes. 
 We have by him fome few etchings of land/capes, from his own defigns. 
 He often marked his plates with the initials of his name only. See the 
 plate at the end of the volume. 
 
 JOHN VANDEN VELDT. 
 
 Flouriflied, 1620. 
 He was a native of Holland, and of the fame family with the preceding 
 artift. He painted landfcapes, battles, J^irmijhes, and fubjefts of that kind, 
 
 very 
 
V E L [ 383 ] V E L 
 
 very fuccefsfully ; but perhaps he is bed known by his excellent engravings, 
 of which we have a confiderable number. He worked in two different 
 kinds of ftyle, direftly oppofite to each other. The one was with the point ; 
 and his etchings, which are chiefly landfcapes, are bold and powerful; yet 
 very free and determined. The lights are kept broad and clear ; but per- 
 haps the (hadows may, in fome inftances, want ftrength ; however, the hand 
 of the flcilful mafter is evident in all of them ; and the fmall figures, 
 which are occafionally introduced, prove the goodnefs of his tafte, by the 
 fpirited manner, in which they are executed. His 6ther {lyle of working 
 was with the graver only, or with very little affiftance from the point. Thefe 
 prints are exceflively neat and laboured, refembling thofe of Count Goudt. 
 They confift chiefly o{ fcenes by candlelight, and fuch fubjeds as require 
 great depth of colour. Yet, with all the merit which they poflefs, they are 
 not equal to the etchings ; for whatever advantages may appear to be gained 
 in neatnefs and colour, are lofl: in want of fpirit, lightnefs, and free- 
 dom. I fhall mention the following prints by this great artifl: : and, firft, 
 his etchings. 
 
 The twelve months ; twelve large plates, length-ways, from his own de- 
 figns. 
 
 A fet of fix landfcapes with ruins ; middling-fized plates, length-ways, 
 the fame. 
 
 The four feajons ; large plates, length-ways, from Valck, dated 1617. 
 
 Thefe which follow are his more highly finilhed prints : 
 
 The good Samaritan ; a. fmall upright plate. 
 
 St. Francis kneeling, with a book and a Jkull before him ; the fame, from 
 W. Van Boons. 
 
 The mountebank expofing his medicines; without any painter's name j a 
 middling-fized upright plate, nearly fquare. 
 
 An old woman frying pancakes, with boys eating them ; a fmall upric^ht 
 plate. 
 
 The forcerefs ; a fmall plate, length-ways, which is eflreemed as his chef 
 d'ceuvre. 
 
 We have alfo feveral Rne portraits by him, /rem Franc, Hals, and other 
 painters. 
 
 ADRIAN VANDEN VELDT.. 
 Born, 1639. Dit-d, 1672. 
 He was the nephew of John Vanden Veldt, mentioned above, and was 
 born at Amfl:erdam. He became the difciple of Wynant's, and painted 
 landfcapes, ani:nals, and hifioricalJubjeSfs, with great fuccefs. His pictures 
 are very highly efteemed ; not only for the agreeablenefs of the compofi- 
 tions, but for the beauty and fweetnefs of the colouring. He amufed him- 
 felf with the point j and the following flight, but fpirited etchings are by 
 him : 
 Three fmall plates, length-ways, reprefenting cows feeding. 
 
 Another 
 
y E L [ 384 ] V E N 
 
 Another fet of ten plates, the fame, reprefenting cows and other domejiic 
 animals, with a bull at the title. Three plates of Jfjeep ; the fame. A re- 
 turn from hunting -, the fame. An inn ; the fame. A large land/cape -, 
 length-ways. 
 
 A fmall land/cape, length-ways» with hiftorical figures. This is much 
 more rare than the preceding. 
 
 JOHN VELDNER. 
 
 Flourifhed, 1480. 
 
 He was a native of Germany, and publifhed, a. d. 1483, an edition of 
 the book, entitled, Speculum Human<e Salvationis, tranflated into rhe Ger- 
 man language ; for which, it is fuppofed, he engraved on wood the rude 
 cuts, with which it is embellilhed. This book is fpoken of in the Effay on 
 the ancient engravings on wood, at the beginning of the prefent volume. 
 
 GIULIO CESARE VENENTI. 
 
 Flouriflied, 
 
 He was a native of Bologna, and a lover of the arts. For his amufe- 
 ment he etched feveral plates, from the piflures of various mailers. They 
 are executed in a very flight ftyle ; but are not without merit. I fliall 
 mention only the virgin of the rofe -, a fmall upright plate, from Parmigi- 
 ano. A landjcape, from An. Carracci ; a large plate, length -ways. See the 
 mark adopted by this mafter, compofed of a G. a C. and a V. on the 
 plate of monograms, at the end of the volume. 
 
 V E N E T I A N O. See MUSIS. 
 
 N I C O L L O V E N I E R. 
 
 Flourilhed, 
 
 He engraved a fet of twelve plates, reprefenting the months, from Bafan. 
 They are executed with the graver only ; but in a ftifF, cold ftyle. 
 
 V E N I U S. See V E E N. 
 
 GIOVANNI FRANCESCO VENTURINA. 
 
 Flouriflied, 1700. 
 
 He was a native of Italy, and refided at Rome. He engraved in a 
 neat, pleafing ftyle ; and we have a confiderable number of prints by him. 
 I ftiall mention only, Diana and her nymphs fporting, from Dominichino. 
 A fet of bird's eye views of palaces and gardens in and about Rome. A fet 
 of fountains, from Rofe of Tivoli, being a continuation of the foun- 
 tains in Rome, engraved by Falda. He alfo worked from Polydora Car- 
 ravaggio and other painters. 
 
 J- JA^ 
 
V E R [ 3S5 ] V E R 
 
 J. JACOBUS VER, or VERONESE. See CARAGLIO. 
 
 DARIUS VERAT. 
 
 Flouiifhed, 
 
 To a night, incorrefl: etching of two women, half lengths, one of which is 
 combing her hair, is this infcription affixed, Alex. Verat finx. Darius filhis 
 Jculp. It is a fmall upright plate. 
 
 P. V E R B E E C K. 
 
 Flouriflied, 1620. 
 
 He was a native of Holland, and engraved feveral plates, in a ftyle re- 
 fembling that of Rembrandt, many of which are, by no means, badly exe- 
 cuted. The following are by him: EJau felling his birth-right; a fmall 
 upright plate. A king feat ed upon his throne, with a man kneeling before him, 
 the fame. A fl^pherd feated at the foot sf a tree, a fmall plate, length-ways. 
 
 VAN BRUGGEN, or VANDER BRUGGEN. See BRUGGEN. 
 
 THEODORE VERCRUYS, or VERKRUYS. 
 
 Flouriflied, 1730. 
 
 This artifl was alfo called by the Italians Della Croce, He was a 
 native of Flanders ; but he refided a confiderable time in Italy, and par- 
 ticularly at Florence. He engraved feveral of the plates for the colleftlon 
 of prints, from the pidlures of the great duke of Florence. He afterwards 
 went to Rome, and was employed in that city. 
 
 Among other prints executed by him, while he remained there, was a 
 middling-fized upright plate oi St. Francis kneeling, from Carlo Maratti. 
 The manner of engraving, adopted by this artift, is fufficiently neat, but 
 it wants force. His drawing is not abfolutely incorreft ; but he did not 
 properly attend to the ftyle of the matters, whofe piftures he engraved after, 
 
 JOHN VERKOLIE. 
 
 Born, 1650. Died, 1693. 
 
 He was born at Amfterdam, and became the difciple of John Lievens. 
 tic pawled hi/loricalfubjeils, portraits, and converfationSjV/'nh fuccefs. His 
 portraits efpecially are much commended. He amufed himfelf with fcraping 
 in mezzotinto, an art then lately difcovered ; and the prints, which he pro- 
 duced, are much fuperior to what one would have expefted, at fo early a 
 period. He died at Delft, a. d. 1693, aged 43. The following mez- 
 zotintos are by him. 
 
 Venus and Adonis ; a middling-fized upright plate, companion to Cepha- 
 lus and Procris, engraved by Broedelet, from Gerard Hoet. 
 
 Diana and Califia ; the fame, from T. Netfcher, companion to a fhepherd 
 and jhepherdefs^ by G. Vakk, from C. Netfcher, 
 
 VOL. 11. 3 D The 
 
V E R I 3^^ ] V E R 
 
 TL' dutchefs of Mazarin, a fmall half Iheet, in an oval, from Lely, 
 dated 1680. 
 
 Several oihcr portraits, and different fubjefts, from various mailers. 
 
 NICHOLAS VERKOLIE. 
 Born, 1673. Died, 1746. 
 He was the fon of John Verkolie, mentioned above. He was born at 
 
 Delft, and inftruftcd by his father in the principles of drawing and paint- 
 ing. He fucceeded in hiftorical fubjefts and portraits. He was alfo famous 
 for his drawings in Indian Ink, which he finifhed with great accuracy. He 
 engraved in mezzotinto, having probably learned the fecret from his father j 
 and he furpafled him confiderably in the execution of his plates ; among 
 which are the following : 
 
 J holy family ; a middling-fized upright plate, from Adrian Vander Werff. 
 
 Diana and Endymion ; a. middling-fized upright plate, from Netfcher. 
 
 Bacchus and /Iriadne, its companion, from the fame. 
 
 An entertainment in a garden -, a middling-fized plate, length-ways, after 
 J. B. Wenins. This is confidered as his chef d'xuvre. 
 
 The portrait of John Peter Van Zaner, a connoijeur, holding a print in his 
 hand; a fmall upright plate, from A. Boonen. Some few impreflions were 
 taken from this plate, without the print, which is held by Van Zomerj but 
 thefe are exceedingly rare. 
 
 The portrait of Bernard Picart -, a half fheet print, from Nattier. 
 
 Several ot\ie:v portraits, and different fubjeds, from Girard Douw, Schalken, 
 Wouvermans, &c. 
 
 CORNELIUS VERMEULEN. 
 
 Flourifhed, 1690. 
 
 He was a native of Antwerp, at which city he principally refided. He 
 worked with the graver only ; and his prints are executed in a very neat and 
 clear ftyle. His portraits zre the beft part of his engravings ; for he did not 
 draw the human figure correftly enough to undertake hiftorical fubjefts, 
 with great fuccefs. I fliall fele£t the few following only, from the works of 
 Vermeulen, namely : 
 
 The ^leen Mary de Medicis efcaping from the city of Blois ; a middling- 
 fized upright plate, from a pi6ture by Rubens, painted in the Luxembourg 
 gallery. 
 
 The portrait of Mary de I'ajfts, the fame, after Vandyck. 
 
 The portrait of Vander Borcht, the painter j the fame, from H. Rigaud. 
 
 He alfo engraved from Largilliere, Dominichino, Vander Werff, Guidoj 
 V. Vien, De Troy, &c. 
 
 ANDREA VEROCCHIO. 
 Born, 1432. Died, 1488. 
 
 He was a native of Florence, and feems to have been a man of univcrfal 
 
 genius. 
 
V E R [ 387 ] V E R 
 
 genius. He was a fculptor of fome eminence, and executed feveral cu- 
 rious works in gold. He was alfo an architeft, and a painter. His com- 
 pofitions are much commended j but his manner of colouring was dry and 
 unpleafing. He had the honour of being tutor to Pietro Perugino, and to 
 the celebrated Leonardo da Vinci. Verocchio is further fpoken of as a 
 flcilful geometrician, a mufician, and an engraver j but unfortunately his 
 engravings, if any of them yet remain, are unknown to us, for want of pro- 
 per marks, by which they might be diftinguiflied. 
 
 HENRY VERSCHURING. 
 
 Born, 1627. Died, 1690. 
 
 He was a native of Gorcum, and the difciple ofDirick Govertz, whofe 
 fchool he left, to ftudy under John Both. He pointed i'attlesyjiirmijhes, and 
 fuch kind of fubjeds, with fuccefs. We have by him many flight etchings, 
 from his own compofitions. 
 
 J. VERSTRAELIN. 
 
 Flourifhed, 1620. 
 
 We have by him a middling-fized print, length-ways, reprefenting Mau- 
 rice, Prince of Orange, lying dead, furrounded by his officers and guards. 
 In the fore-ground (wo children are depiSled, holding his atchievement. It is 
 coirfely engraved, from a defign of Adrian Vander Venne. This print is 
 very fcarce, which is nearly all that can be faid in its favour. 
 
 GEORGE VERTUE. 
 Born, 1684. Died, 1756. 
 
 He was born in the parifh of St. Martin's in the Fields ; and, at the age of 
 thirteen, was placed with a mafter, who engraved arms on plate. This 
 perfon being obliged to leave the kingdom, by the time Vertue had been 
 between three and four years with him, the latter returned to his parents. 
 
 He then ftudied drawing carefully for two years, and afterwards became 
 the pupil of Michael Vandergucht, with whom he remained three years more. 
 
 He firft began, upon his own account, to engrave for books ; and was 
 recommended to the proteftion of Sir Godfrey Kneller. He was afterwards 
 employed by Lord Somers, who rewarded him generoufly ; and by his 
 induftry he fupported his mother, who was left a widow with feveral 
 children. 
 
 In the year 171 1, he attended the academy, then firft inftituted by Kneller, 
 and drew there feveral years. At this time he engraved a head of George the 
 Firft, from Kneller, which met with a rapid fale, and was fhewn at court. 
 He then engraved the portrait oit\\cprince andprincefs, by which means he 
 extended his bufinefs. 
 
 Vertue drew in water colours, and confined him.felf chiefly to ancient 
 piftures, which he copied, with the intention of engraving them. In the ' 
 .year 17 18, he began to colled the materials for The Lives of the EngliJJj 
 
 3 D 2 Jrdfts,. 
 
V E S [ 388 ] VIA 
 
 jfrtijls, and fpared no pains to make drawings of their portraits, wherever he 
 could meet with them ; and he went into many parts of England to fearch 
 after tiiem, and alfo to procure copies from antiquities of all kinds. His 
 manufcript colleftions, relating to the artifts, came into the hands of the ho- 
 nourable Mr. Walpole, who has obliged the public by revifing and pubiilh- 
 ing them. The work is well known, and abounds with many very curious and 
 interefting particulars. Robert Harley, Earl of Oxford, was a great en- 
 couragcr of this artift ; fo alfo was Heneage Pinch, Earl of Winchdfea, 
 v/hofe portrait V^ertue painted and engraved, the Earl being then prefident 
 of the Society of Antiquaries. In the year 1711, Vertue was appointed 
 engraver to that fociety. The Univerfity of Oxford employed him alfo 
 to engrave their almanacks. 
 
 Our artift was at laft recommended to the Prince of Wales, by whom 
 he was employed to colleft prints, and make catalogues. The Prince alfo 
 bought many of Vertue's paintings in miniature, and of his prints. He 
 died July 24, 1756 i and was buried in the cloifters of Weftminfter Abbey j^ 
 leaving his widow behind him, who furvived him twenty years. 
 
 Such is the fketch of the life of one of the moft induftrious arcifts that 
 England ever produced ; to whofe labours we owe the prefervaticn of many 
 valuable antiquities. His works are exceedingly numerous, and by no 
 means uncommon, confifting of portraits, copies from ancient piSfures, and 
 antiquities of all kinds It will be needlefs, therefore, for me to particu- 
 larize any of them. The honourable Mr. Walpole has given the public a 
 complete lift of them, at the end of the catalogue of engravers, with a 
 much fuller account of his life, from whence this Iketch is taken. 
 
 V E S P A S I A N O. See S T R A D A. 
 
 U H L I C H. 
 
 Flourifhed, 1719. • 
 An engraver of no note, who refided at Leipfic. His name is affixed to 
 the portrait of John Melchior Jacob; half length, dated 1719, from a de- 
 fign of his own. It is fufficiently neat, but ftiff, and incorre<ftly drawn. 
 
 ALESANDRO DELLA VIA. 
 
 Flourifhed, 1730. 
 
 A Venetian engraver, whofe works do him very little credit. I (hall 
 particularize only, the Virgin and Child, accompanied by St. Sebajlian and other 
 faints ; from Paolo Veronefe. He alfo engraved feveral portraitSy which 
 are equally indifferent. 
 
 Agostino a. Via, of Verona. The name of this artift is affixed to a 
 print, reprefenting Daniel in the lions dm ; from Pietro da Cortona. 
 
 J. VAN 
 
VIA [ 389 ] VIC 
 
 J. VAN V I A N E N. 
 
 Flouriftied, 17 10. 
 
 He was a native of Holland, and many of his prints were publiflied at 
 Amfterdam, where he probably refided. His works, which confift chiefly 
 oi frontiJpeceSy bookplates, zml portraits, frequently from his own defigns, 
 are engraved neatly enough, but without any great tafte. Part of the plates 
 for the folio bible, publilhed at Amfterdam, 1720, are by him. Alfo a 
 machine for raifing water, inferred in the fecond volume of a work, entitled, 
 Suecia Antigua et Hodierna, publilhed 1705. His name is fometimes writ- 
 ten Viane and Vianei. 
 
 FRANCESCO VICAR O. 
 
 Flourifhed, 
 
 This name is affixed to a fet of neat etchings, very fpiritedly executed, 
 and in a painter's ftyle. They are fmall plates, length-ways, and repre- 
 fent landjcapes with ruins. 
 
 VICELLIO. See VECELLIO. 
 
 VICENTINO. See ROSSIGLIANI. 
 
 VICTORIA. 
 
 Flourifhed, 
 To a middling-fized upright print, reprefenting the Virgin and Child in the 
 clouds, with John the Baptift, St. Francis, and other holy perfonages below, 
 nightly etched, from Raphael, is this infcription, Vins. Vi£ioria del. et Jculp. 
 
 VICTORIO. See CLASSICUS. 
 
 ENEA VICO, or V I C U S, or VIGHI. 
 
 Flourifhed, 1550. 
 
 This artift was born at Parma, where hearing of the great reputation, 
 which Marc Antonio Raimondi had acquired at Rome by his engravings, 
 he went to that city, and became his pupil. Vico was a man of abilities; 
 but he does not feem to have been endowed with patience enough, to have 
 paid fufficient attention ro the mechanical part of the execution of his plates. 
 He certainly underftood the human figure exceedingly well ; and, when he 
 pleafed, could draw correftly ; but he feldom exerted himfelf in this par- 
 ticular; for which reafon we frequently fee the outhnes of his figures very 
 incorred:; the extremities heavy, and not well marked; and the proportion 
 totally negledled. His engravings are neither fo neat, nor fo clear, as 
 
 thofe 
 
VIE I 390 ] VIE 
 
 thofe by his mafter. Indeed Vico fucceeded beft, when he attempted a 
 more open flyle ; a good fpecimen of which is, a female figure, -with her 
 right arm extended, over which appears an owl flying in the air, from Par- 
 migiano: it is a half-fheet print, and dated 1548. 
 
 Vico enoraved on wood. I have never feen any more than one fpeci- 
 men, and that is fo well executed, that one can hardly fuppofe it to be his 
 firfl: attempt. It is the portrait of Charles the Fifth, Emperor of Germany, 
 in an oval, furrounded by emblematical figures, compofcd with tafte, and 
 very correctly drawn. It is cut with great care ; and the hatchings, or imi- 
 tations of ftrokes, crofled over each other, are well exprefied. Upon a piece 
 of a ruin, which ferves as a tablet at the bottom, is this infcriptlon : Inven- 
 
 TVM SCVLPTVMQVE AB AENEA VICO PARMENSE, M.D.L. 
 
 When he did not fign his name at length, he marked his plates with 
 the initials IE. V. Ibmetimes upon a tablet, and fometimes without it; and 
 ufually added the date. In fome few inftances he ufed E. V. without the 
 A. being joined to the E. 
 
 I fhall mention the following engravings on copper by this artill, whofe 
 prints are exceedingly numerous. 
 
 The army of Charles the Fiftu pafling the Elbe ; from a compofition of his 
 own ; a large upright plate, in an oval. 
 
 Vulcan with the Cyclops ; a large plate, length-ways, the fame. 
 
 The battle of the Jmazons -, a middling-fized oval print, length- ways, the 
 fame, infcribed, Bellim ^mazonum, and dated 1543. 
 
 Toe falutation of the Virgin ; a fmall upright plate, from Titian. 
 
 Chrift dead, and fuppcrted by Jofeph of Arimathea, with the Virgin, and 
 three other female figures bewailing him ; a middling-fized upright plate, 
 from Raphael. 
 
 Judith covering the head of Holophernes with a cloth; from Michael 
 Angelo Buonorota, dated 1 546. 
 
 The converfion of St. Paul, from F. Salviati ; a large plate, length-ways. 
 
 The battle of the Lapitha ; a large plate, length-ways, from Roflb. 
 
 Vulcan working at his forge, with Venus on the bed behind him, in a very 
 indelicate attitude. In the tirll impreffions of this plate, a figure of Mars 
 was reprefented with Venus. This libidinous print was invented by Par- 
 migiano: it is dated 1543- 
 
 The fchool of Biccio Bandinelli, from a defign by that mafter ; a large 
 plate, length-ways. 
 
 A fet of fifty plates of dre/es of d'fferent nations. 
 
 A fet oivafes, from the defigns of Polidoro da Caravaggioi and feveral 
 
 ■portraits, &cc. 
 
 JOSEPH VIEN. 
 
 Flourilhed, 1748. 
 
 He was a native of France, a painter, and profelTor of painting to 
 
 the Royal Academy at Paris, He etched a fet of thirty fmall plates, re- 
 
 prefcnting the different habits of the Turkijb mafquerade, given at Rome by 
 
 4 the 
 
VIE [ 391 ] V I L 
 
 the penfionaries of the Royal Academy of France. Alfo Lot and bis 
 daughters ; a middling-fized plate, length-ways, from De Troy. 
 
 NICHOLAS VIENOT. 
 
 Flouriflied, 1630. 
 A French artift, who imitated the ftyle of engraving, adopted by Pontius, 
 with great precifion. We have by him the portraits of Philip the Fourth^ 
 King of Spain, and Elizabeth of Bourbon, his ^een, copied on a fmaller 
 fcale, from the prints which Pontius engraved from Rubens. He alfo en- 
 graved from Pellerin, John Both, and other mafters. 
 
 CLAUDE VIGNON. 
 Born, Died, 1670. 
 
 He was born at Tours, and ftudied painting. He followed firft the ftyle of 
 Michael Angelo Carravaggio, and with fuccefs; but afterwards he adopted 
 a manner of his own, more expeditious, but lefs excellent. His piflures, 
 though pofleffed of much merit, are exceedingly rough, and have an un- 
 finifhed appearance ; for which reafon they are not much fought after by 
 the connoifleurs. He died, a. d. 1670, at a very advanced age. We have 
 feveral very fpirited and mafterly etchings by this painter, which well de- 
 ferve the notice of the curious -, and, among them, are the following, from 
 his own defigns: 
 
 A fet of thirteen fmall prints, taken from the life of Chriji, 
 
 St. John in the defert ; a fmall upright plate. 
 
 The affumption and coronation of the Virgin ; a fmall upright plate, in* 
 fcribed, C. Fignon, Jculp. Roma. 
 
 Philip baptizing the eunuch ; a fmall upright plate. 
 
 PETER VILLAFRANCA. 
 Flouriflied, 
 He engraved a head of Frederic Ordez de Valais. 
 
 G. R. VILLAIN. 
 
 Flouriflied, 1760. 
 A modern French engraver, by whom we have the portrait of M. Du- 
 four de Ville-neuvej lieutenant civil -, a fmall upright plate, from Mauperin. 
 
 FRANCESCO VILLAMENA. 
 
 Flouriflied, 1600. 
 
 He was born at Afllfi, a city in Italy, under the pontificate of Pope 
 SextusV. He is faid to have learned the principles of drawing and painting 
 before he came to Rome, where he refided latterly, and completed his 
 
 ftudies. 
 
V I L [ 392 ] V I L 
 
 ftudies. It does not appear from what mafter he learned the art of en- 
 p-ravln2 ; but certainly his ftyle is founded upon the works of Cornelius 
 iCort, and his fcholar, Agoftino Caracci, with whom he was contemporary. 
 Villamena drew, well, and handled the graver with great facility. He 
 adopted a bold, open manner of engraving. The effeft he produced is 
 clear, but not powerful ; the lights are broad, but too equally diffufed over 
 the whole fubjecl, which gives an unfinifhed appearance to his bed en- 
 o^ravino-s. But this defcfl was common with all the artifts of that age, 
 and indeed the faults in Villamena's prints are abundantly repaid by the 
 beauties with which they abound, particularly with refpeftto the expreflion, 
 and excellency of the drawing. The extremities of his figure, are alfo 
 very finely marked. This artlft engraved fome few plates, almoft entirely 
 with finale ftrokes, without any crofs ftrokes laid upon them; and from 
 them, Meilan, a celebrated French artift, might originally take the hint, 
 ■Avhich he afterwards fo much improved upon. 
 
 Villamena's prints are very numerous. I can only notice the few follow- 
 ing : 
 
 A holy family, with St. Joht, Elizabethy and St. Ann ; a middling-fized 
 upright plate, from Raphael, dated 1602. He repeated this fubjedt; and 
 the fecond print is dated 161 1. 
 
 Mojes Jheiawg the brazen Jerpent to the Ifraelites, a middling-fized upright 
 plate, from F. Fcnzoni. 
 
 'The JahUation of the Virgin; a large upright plate, from M. Arconio. 
 
 'The prefentation in the temple ; a middling-fized plate, length-ways, from 
 Paolo Veronefe. 
 
 Chrifl taken from the crofs ; a large upright plate, arched at top, from 
 Barroccio. 
 
 St. Bruno with his companions, doing penance in the defert ; a large plate, 
 length-ways, from Giovanni Lanfranco. 
 
 A let o(/cripture hiftories, taken from the painting by Raphael, in the 
 Vatican, commonly known by the name of Raphael's Bible. 
 
 St. Francis praying before a crucifix ; a middling-fized upright plate, from 
 his own compofition. 
 
 A fet of fix grotef que figures, one of which is a beggar, accompanied by two 
 children ; fmall upright plates, from the fame. 
 
 A man, angered by a crowd of people, fighting earneftly in his own defence j a 
 large print, length-ways, called the boxers, the farne. 
 
 A middling-fized plate, length-ways, in which is reprcfented John Alto, 
 called the Antiquary, fianding in one of the fireets of the city of Rome, the 
 fame. 
 
 Several portraits, and a variety of other fubjefts, from mod of the great 
 Italian painters. 
 
 He ufually infcribed his name at length upon his plates; fometimes he 
 fubftituted the initials F. V. F. and fometimes he ufed a monogram, which 
 is copied upon the place at the end of the volume. 
 
 A DE 
 
V I L I 393 ] V I N 
 
 A D E V I L L E. 
 
 Flouriflied, 
 This name is affixed to an archite£ial frontijpiece, in folio, ornamented 
 with figures, which are very incorreftly drawn, and flightly etched, from a 
 defign of his own. 
 
 VAN VILSTEREN. 
 
 Flourifhed, 
 
 He was a native of Holland, and an engraver of portraits in mezzotinto. 
 I fhall mention only the portrait of Bikker, a bourgermafter, by him. 
 
 HUBERT VINCENT. 
 
 Flourifhed, 1691. 
 He was a native of Italy, and refided at Rome, where he engraved the 
 judgment of Paris, from Paolo Veronefe, and fome few of the plates for the 
 colleftion of prints, publilhed by Catherine Patin j all of which are very 
 badly done. 
 
 VINCENT. 
 
 Flourifhed, 
 
 He was, according to Bafan, an engraver in mezzotinto; but his works 
 are not fpecified. 
 
 ANTONIO VINCENTINI. 
 
 Flourifhed, 1742. 
 
 He was a native of Italy, and the difciple of Antonio Pelegrini. He is 
 fpoken of as an architeft and an engraver. We have by him feveral views 
 of Venice, partly from his own defigns, and partly from thofe of Antonio 
 Canal. 
 
 ANDREA VINCENTINO. 
 Born, 1539. Died, 1614. 
 He was a native of Venice, and the difciple of the younger Palma. 
 According to Florent le Comte, he engraved the entry of Henry the Third 
 into Venice. 
 
 LODOVICUS VINCENTINUS. 
 
 Flourifhed, 1522. 
 
 He appears to have been a writing mafter, who refided at Rome. He 
 engraved on wood, a book of writing, ornamented with fcroU work of various 
 kinds. Papillon fpeaks of thefe engravings, as being very neatly execu*^ed. 
 
 VOL. II. 3 E DAVID 
 
V I N [ 394 ] VIS 
 
 DAVID VINCKENBOOMS, or VINCBOOM. 
 
 Born, 1 57 Si. Died, 
 This celebrated landfcape painter was born at Mechlin, and learned from 
 his father the principles of painting. He frequently ornamented his land- 
 fcapes with hiftorical figures, which are defigned with great fpirit, and cor- 
 reftly drawn. He engraved fome few plates of land/capes from his own 
 compofuions, in which he might probably have been alTifted by Nicholas 
 de Bruyn. See his mark, compofcd of a D. a V. and a B. upon the plate 
 at the end of the volume. 
 
 R. V I N K E L E S. 
 
 Flourifhed, 
 He engraved feveral portraits ; and, among others, his own, with thofe 
 of J. Schmidt and J. Andriejj'en ; all upon the fame plate. 
 
 V I S P R E. 
 
 Flourifhed, 1760. . 
 He was a painter, and refided fome time in London ; where, among 
 other things, he engraved in mezzotinto, a portrait of the Chevalier D'Eon. 
 Bafan tells us, that he alfo fcraped the portrait of Louis XV. and others of 
 the royal family of France, while he was in that country. 
 
 CORNELIUS VISSCHER. 
 
 Flourifhed, 164.0. ^ 
 
 This juftly celebrated artifl was a native of Holland, and born foon after 
 the commencement of the laft century. He became the difciple of Peter 
 Soutman ; but he did not imitate the ftyle of his mafler. VifTcher 
 drew with great tafle, and the compofitions, which he made for many 
 of his engravings, are from his own defigns^and fufficiently prove the 
 extenfivenefs of his genius. His etchings ^S" fpirited and free ; but 
 his works with the graver mtift excite the admiration of any one, who 
 carefully examines them. His mode of performance with that inflru- 
 ment was as fingular, as the efFeft he produced was pifturefque and beau- 
 tiful. His ftrokes are clear and delicate, laid over the draperies and the 
 back-ground, apparently juft as the plate happened to lie before him, 
 without any care orftudy, which way they fhould turn the one upon the other; 
 and he crofTed and rccrofTed them, till fuch time as they produced fufficient 
 colour. On the f^efh, indeed, he generally beflowed particular attention ; and 
 the heads of his figures are finifhed in a moft excellent flyle, fo as perfe6Vly 
 to preferve the charafter and expreffion, at the fame time they demon- 
 ftrate the great command he had of the graver. Bafan very juftly 
 propofes the works of this excellent artift, as the beft models for young 
 engravers to form their ftudies upon. That author has given a complete 
 catalogue of this mafler's works. I can only infert the few following, 
 which are reckoned among his moft valuable prints : 
 
 5 nc 
 
VIS [ 395 J VIS 
 
 The pancake woman j a middling-fized upright plate, from his own com- 
 pofition. The beft impreffions of" this plate are before the name of Clement 
 de Jonghe was affixed to it ; the fecond, before that of John Viffcher. It 
 was afterwards retouched by Bafan ; and the name of John Viflcher erafed j 
 but the laft impreffions are eafily diftinguifhed from the firfl:. 
 t } The rat catcher -, the fame, from the fame. The firft impreffions of this 
 plate were taken before the addrefs of Clement de Jonghe was affixed to it. 
 
 The Bohemian woman y with three children, to one of which J}je is giving the 
 breajl ; the fame, from the fame. The name of Viffcher, in the firft im- 
 preffions of this plate, is upon the margin at the bottom. It was afterward* 
 obliterated to make room for the infcription, and affixed at the upper part 
 of the plate. 
 
 A boy holding a candle, and a girl with a mouje trap, in which is a movje ; 
 a fmall plate, length-ways, the fame. This print is ufually known by the 
 name of the moufe trap. 
 
 A cat Jleeping upon a napkin ; a very fmall plate, length- ways, the fame. 
 This print is exceedingly rare. 
 
 A cat Jleeping with a rat before her ; a fmall plate, length-ways, the fame. 
 This print is by no means fo fcarce as the former. 
 
 Sufannah and the elders ; a middling-fized plate, length-ways, from Guido. 
 
 Chriji carried to the tomb ; a middling-fized upright plate, from Tinto- 
 retto. 
 
 Achilles difcovered by Ulyjfes at the court of Lycomedes ; a large upright 
 plate, from Rubens. 
 
 A man playing upon the violin, accompanied by five children ; a middling- 
 fized upright plate, from A. Van Oftade. 
 
 The attack of the convoy, the coach robbed, and the fair ; three middling- 
 fized plates, length-ways, from Peter de Laer. 
 
 Eight landjcapes, from Berchem 5 middling-fized plates, length-ways. 
 
 The bufl of a woman, with her hand upon her breajl ; a middling-fized 
 upright plate, thought to be from Parmigiano. 
 
 Many other fubjeds from Brouver and other matters. Alio a confiderable 
 number of excellent portraits, from his own drawings. I fliall mention 
 the following only : 
 
 A negro, a half figure, holding a bow and arrow in his hand ; a middling- 
 fized upright plate. 
 
 Cellius de Bouma, minijler of Zutphen ; the fame. 
 
 Andrea Deonyjzoon, called//??^ man with the piflol ; becaufe a fmall carbine 
 or piftol, with feveral locks of guns and other armory, appears in the 
 back-ground ; the fame. This is the fcarced of all VifTcher's works, and 
 a proof of it fold at Mr. Blackburn's fale, a. d. 1786, for nineteen pounds 
 ten {hillings. 
 
 D 
 
 JOHN VISSCHER. 
 
 Flourifhed, 1650. 
 
 He was the brother of Cornelius Viffcher, mentioned in the preceding 
 - . 3 E 2. article. 
 
VIS [ 396 ] VIS 
 
 article. He is fpoken of as a painter, as well as an engraver. It was, 
 however, by the latter occupation, that he acquired the great fame, which 
 is fo juftly given to him. He worked confiderably more with the point, 
 than his brother j and his etchings are executed in a fingular and pifturefquc 
 flyle ; fo as to produce an harmonious and beautiful effe£t. The freedom 
 of execution, and the excellent drawing, which appear in his prints, render 
 them exceedingly valuable. His works, from Berchem efpecially, are ad- 
 mirable, and ihow the abilities of this great artift to the utmoft advantage. 
 The following engravings are among his moft eftimable produdions. 
 
 Several feajauts dancing in a cottage ; a large upright plate, from Berchem, 
 called Berchem' s hall. 
 
 Several admirable land/capes , enriched with figures and animals, of various 
 fixes, from the fame painter. 
 
 Several large landfcapes, length-ways, with figures and animals, from 
 Philip Wouvermans. 
 
 A fet of eight prints o^ figures and animals, from K. du Jardin. 
 
 A dance of feafants ; a middling-fized upright plate, from Oftade. 
 
 A drunken man putting his hand upon the bofom of a woman ; the fame, from 
 
 the fame. 
 
 Several tTic&WtnX. portraits, and a variety of other fubjeiSbs, from Brouver, 
 Van Moort, and other matters. 
 
 NICHOLAS JOHN VISSCHER. 
 
 Flourifhed, 1600. • 
 He was an engraver and a printfeller, and of the fame family with the 
 preceding artifts. We have by him a great number of excellent etchings, 
 executed in a free, mafterly ftyle, but never highly finifhcd ifmall landfcapes 
 with figures and animals, and wVwj, he particularly excelled in. Many of 
 them are from drawings. of his own, and prove him to have been a man of 
 o-reat genius. They are very numerous, and of various kinds ; it will 
 therefore be as difficult, as it would be ufelefs, to fpecify them particularly. 
 His cypher, compofed of a C. an I. and a V. is copied on the plate at the 
 end of the volume. The firft letter ftands for Claus, an abbreviation of 
 Nicholas. 
 
 LAMBERT VISSCHER. 
 Flourifhed, 
 
 He was probably of the fame family with the artifts, mentioned in the 
 three preceding articles. He refided at Rome, where he engraved a plate 
 of Antiochus and Stratonice, from the pidure of Pietro da Cortona, in 
 the palace of Pitti, at Florence ; and one of the ceilings, in which is ex- 
 preffed Virtue delivering a young man from the embraces of Voluptuoufnefs. We 
 have alfo fcveral portraits by him. They are executed with the graver, 
 and do not poflefs any very great merit. I fhall mention the following 
 only. The portrait of Maria therefe iTAufiriche, ^<een of France ; a mid- 
 dling- 
 
V I T [ 397 3 V I V 
 
 dling-fized upright plate, from Vanloo : and that of Cornelius Van Tromp, 
 Lieutenant Admiral of Holland ; a large upright plate, from F. Bol. 
 
 Lours VisscHER is mentioned by IVI. Heineken as an engraver. I am 
 not acquainted with his works. 
 
 JOHN VITABBA. 
 Flourifhed, 
 He was a native of Italy, and probably a difciple of Wagner, whofe 
 ftyle of engraving he imitated, but not very fuccefsfuUy. We have by 
 him, Cufid with two fatyrs, from Lodovico Carracci. 
 
 DOMENICO VITUS. 
 Flourifhed, 1580. 
 
 This artift was an ecclefiaftic, and infl:ru6ted probably in the art of en- 
 graving by fome of the fcholars of Agoftino de Mufis, whofe ftyle he imi- 
 tated, and not unfuccefsfully. We have by him, a fmall upright plate, 
 reprefenting St. Joachim holding a cenfer ; a fingle figure, from a defign of 
 Andrea del Sarto, dated 1580. A fmall upright figure of i?. BartholomeWy 
 infcribed, Dojn. Vitus ordinis Valijumbrojte Monachus excidit Rotna, 15765 and 
 another plate, the infcription of which runs thus, Dominicus Vitus Vallimbrojie 
 Roma fee. etex. 
 
 We have alfo by him, a fet of fmall upright plates, reprefenting the 
 
 pajfion of Chrift ; furrounded by borders, ornamented with birds, beafls, and 
 
 Jifhes. Alfo feveral antique ftatues, marked Do. Vitus fee. To which may 
 
 be added a fmall plate length- ways, reprefenting Jupiter and Calijla, murked 
 
 Dominicus V. F. and a river god, the fame, apparently from the antique. 
 
 FRANCOIS VIVARES. 
 Born, Died, V 
 
 He was a native of France ; but refided all the latter part of his' life in 
 London. It appears, that he did not apply himfelf to the arts, till he was 
 advanced in life. He learned from Chatelain the principles of drawing and 
 engraving of landfcapes. Being a man of great genius, he improved upon 
 the ftyle of his tutor, and acquired fuch a freedom of point in etching, 
 as had not been feen before. The foliage of his trees is delicately ex- 
 preflTed, and with great lightnefs, even where much force of colour is re- 
 quired. He excelled principally in his engravings from Claude Lorrain, 
 and preferved as much of the pifturefque beauties of that admirable painter, 
 as could be exprefled by two colours only. He kept a print-ftiop in New- 
 port Street, near Newport market, for a confiderable length of time, where 
 he died fome few years fince. His widow ftill continues in the fame fliop, 
 and carries on the print-felling bufinefs. I fhall fpecify only the four follow- 
 ing large landfcapes, length-ways, from Claude: morning; and evening, 
 its companion ; the enchanted cajile -, and a view near Naples, 
 
 F. VIVERONI., 
 
V I V [ 398 ] V L I 
 
 F. V I V E R O N I. 
 
 Flouriflied, 
 A name affixed to feveral very indifferent views in Ireland. 
 
 JOHN VIVIER. 
 
 Flourilhed, 
 He was born at Liege, and refided at Paris, where he died. He was, 
 according to Bafan, an excellent engraver of dies for medals. The fame 
 author informs us, that he engraved on copper two portraits ; the one of 
 Bartholet Fkrnael, a painter of Liege ; the other of Peter des Gouges, coun- 
 cellor of the parliament ; both of them middling-fized upright plates, 
 from R. Tourniere. 
 
 SIMON DE VLIEGER. 
 Flouriflied, 
 He was a native of Holland, and a painter, who flouriflied during the 
 lafl: century. He excelled in painting Undfcapes a.nd/ea views. We have 
 by him icwexaX pajioral JuhjeSs, ornamented with figures and cattle. 
 
 JOHN GEORGE VAN VLIET. 
 
 Flouriflied, 1635. v.J 
 
 This artifl: was a native of Holland, and a painter; and was probably 
 inftrufled in the fchodl of Rembrandt, whofe manner he imitated. We have 
 a confiderable number of etchings by this maflier. They are exceedingly 
 powerful in effedl ; the fliadows are dark, and the lights broad and clear ; 
 but the outlines of the figures are very incorreft, the extremities badly 
 marked, and the draperies heavy. They are, however, well worthy the ob- 
 fervation of fuch artifts, as wifli to make the proper difl:ribution of light and 
 lliadow a part of their ftudy. The following are among his befl prints : 
 t Lot and his two daughters ; a middling-fized upright plate, from Rem- 
 brandt, dated 1 63 1 . This is a fine print. 
 
 Jacob obtaining the blejjing of his father infiead of EJau j a large upright 
 plate, from J. Lievens. 
 
 ^he bapti/m of the eunuch ; a large upright plate, from Rembrandt. 
 
 jin old woman reading ; a middling-fized upright plate, from the fame 
 painter. 
 
 St. Jerom praying in his cavern ; tl;e fame, from the fame. This is the 
 chefd'ceuvre by Van Vliet. 
 
 J phUofopher in a cavern, reading by candle-light ; a middling-fized upright 
 plate, dated 1639; a fine print, from his own compofition. 
 
 The arts and trades ; a fet of twenty-two fmall upright plates, the fame. 
 
 Various other fubjedls and portraits, from his own defigns, from Lie- 
 vens, and from other painters. See the manner, in which this artifl: marked 
 his engravings, upon the plate at the end of the volume. 
 
 JOHN 
 
U L R [ 599 ] V O E 
 
 JOHN ULRIC. 
 
 Flourifhed, 
 
 He was a native of Germany, and a very fkilful engraver on wood, in the 
 manner, diftinguifhed by the appellation of chiaro-lcuro. This artift ufed 
 two blocks for each print j upon the firft he cut the outlines and dark Iha- 
 dows ; and the fecond ferved for a light tint, which covered the*greater paft 
 of the engraving. He marked his prints with an I. and V. feparated by two 
 fmall fwords crofling each other; between which, as an ornament, is a fmall 
 branch of a tree. This admirable artift, of whom we have no certain ac- 
 count, drew correftly, and with great fpirit. His compofitions manifeft 
 the goodnefs of his tafte, and the ftrength of his judgment. I Ihall men- 
 tion the following excellent prints by him : A naked figure /hooting arrows at a 
 Jnake, which is entwined round an infant ; a middling-fized upright en- 
 graving. A knight armed, attended by his'Jquire-, a fmall upright plate. 
 A crucifixion ; the fame. Baron Heineken imagines this artift to have 
 lived before Ugo da Carpi, and prior to the commencement of the fixteenth 
 century ; but the ftyle of compofition, the drawing, and the execution of thefe 
 prints, are fo far fuperior to any of the obfcure matters of that early age, 
 that one can hardly tell how to aflfent to his opinion. I rather think this 
 mafter flouriflied about the middle of the fixteenth century ; and moft proba- 
 bly formed his tafte upon the works of the Italian artifts. See the mark 
 adopted on the plate at the end of the volume. 
 
 HENRY ULRIC H. 
 
 Flouriflied, 1590. 
 He is fpoken of as a painter ; but I know him as an engraver only ; and 
 that he worked from his own compofitions. I have feen by him fome few 
 nat portraits, but very ftiff and formal ; and a imall circular print, hardly 
 larger than a crown piece, reprefenting a crucifixion, with the Virgin Mary 
 and St, John ftandingat the foot of the crcfs. 
 
 JONAS UMBACH. 
 
 Flouriflied, 
 He was a native of Germany, and is mentioned as a painter and engraver, 
 by M. Heineken. I am not acquainted with his works. 
 
 V O E I R I O T. See W O E I R I O T. 
 
 ROBERT VANDER VOERST. 
 Flouriflied, 1630. 
 
 This artift was a native of Holland, and a very ingenious man. His 
 principal works zx?: portraits, which he executed with the graver, in a neat 
 and clear ftyle. He came into England; but it is uncertain at v/hat time, 
 or how long he refided here. The lateft date of his engravings in this coun- 
 try 
 
V O E [ 400 ] V O G 
 
 try does not exceed the year 1635. He is called the King's engraver, by 
 Vanderdort ; and he executed two plates for Charles the Firft ; one of his 
 fijler, the other o^ the emperor Otho, after Vandyck j from a pifture which he 
 painted, to fupply the place of one by Titian, that had been loft, by accident, 
 and rendered the fet of the dejars by that artift imperfeft. Voerft drew 
 with a pen upon vellum, and prefented a drawing of that kind to the king. 
 I fhall notice the following plates only by him : His own 'portrait., from Van- 
 dyck ; a fmall upright plate. Sir Kenelm Dighy, the fame, from the fame. 
 Charles the Firft, and his ^een ; a large half-fheet print, length-ways, from 
 Vandyck, dated London, 1634. A fet of lions and other animals, for a 
 drawing book, by Crifpin de Paffe. 
 
 ALEXANDER VOERT. 
 
 Flouriflied, 1650. 
 
 He was a native of Antwerp, and probably a difciple of Paul Pontius, 
 whofe manner of engraving he frequently imitated ; but not with any great 
 fuccefs. There is a want ofeffeft, and incorrednefs of outline, to be found 
 in his beft works. We have, however, a confiderable number of prints by 
 him ; and, among them, the following; 
 
 Judith putting the head of Holof ernes into a bag, which is held by her maid; 
 a large upright plate, from Rubens. The firft impreffions are before the 
 addrefs of C. Galle was inferted. 
 
 Chrift carrying his crojs ; a large print, length-ways, on three plates, from 
 Vandyck. 
 
 The martyrdom of St. Andrew -, a large upright plate, from Rubens. 
 
 Seneca in the Bath; a fmall upright plate, the fame. 
 
 Folly ; a middling- fized upright plate, from Jaques Sordaens. 
 
 The card players ; a middling-fized plate, length-ways, from Cornelius 
 de Vos. 
 
 BERNARD VOGEL. 
 Flouriflied, 
 
 He was a native of Germany, and an indifferent engraver in mezzotinto. 
 We have a confiderable number o( portraits by him. 
 
 HENRY VOGTHER. 
 Born, 1407. Died, 
 
 He was a painter, born at Strafbourg, where he refided, and engraved on 
 ■wood. He firft adopted, according to profefibr Chrift, a manner of his own ; 
 but afterwards he imitated that of Albert Durer, and with fuccefs. We have 
 by him the prints for a drawing book, entitled, a Book of the extraordinary and 
 marvellous Art, very ufeful to all Painters, Sculptors, Goldjmiths, Carvers in 
 Marble, Joiners, Jnlafers, Armourers, and Cutlers ; a Work which no one ever 
 Jaw the like, printed at StraftDourg, 1 540. 
 
 The 
 
V A L [ 401 1 V O R 
 
 The mark of this artift, compofed of an H. and a V. joined together, is 
 copied on the plate at the end of the volume. 
 
 VoGTHER, a younger brother to the preceding artift, born in 15 13. He 
 was a painter and an engraver on wood. He aiTifted his brother Henry i| 
 the execution of his drawing book. 
 
 V A L A N T. 
 
 Flouriflied, * 
 
 A native of France, and an engraver on wood. Papillon fpeaks of his 
 works in general, with fome commendation ; but has not fpecified any 
 of them. 
 
 V O L I G N Y. 
 Born, Died, 1699. 
 
 He is mentioned by Le Comte as an engraver; but his chief excellence 
 lay in making drawings of portraits with a pen, which he afterwards wafhed 
 with Indian ink, in fo foft and delicate a manner, as to excite the admiration 
 of all that faw them. Having amafled a confiderable fum of money, he was. 
 aflafTinated in his lodgings by a ruffian, whofe intention was to rob him ; h\it 
 he was prevented by being immediately apprehended and puniflied as 
 his crime deferved. 
 
 V O R S T, See V O E R S T. 
 
 M. VANDER VOORT. 
 
 Flourifhed, 
 
 This name is affixed to a flight, but mafterly etching, reprefenting ioys 
 playing with mufical injlruments ; a fmall plate, length-ways. It is evidently 
 the work of a painter, who, as far as one can judge from fo flight a fpeci- 
 men, was a man of no mean abilities. 
 
 LUCAS VORSTERMAN the Elder. 
 Flourifhed, 1630. 
 
 No painter, that ever lived, had the pleafure of feeing fo great a number of 
 his pictures finely engraved, as Rubens : many excellent artifts were contem- 
 porary with him, and worked immediately under his eye. His afllftance 
 and advice, without doubt, contributed not a little to the beauty of their 
 prints. But no one ever engraved more fuccefsfully from the piftures of 
 Rubens, than Lucas Vorfterman. He applied himfelf to the ftudyof the 
 human figure, and drew not only very corre(5Uy, but with great tafte. He 
 was matter of the graver, and could handle it with the utmoft facility; but 
 he paid much greater attention to the general effeft of his prints, than to 
 the regularity, of the ftrokes : and, like Girard Audran, wifhed to enter into 
 the thoughts of the mafter, and tranfcribe, if I may be allowed the term, on 
 
 VOL. II. 3 F copper, 
 
V O R [ 402 ] V O R 
 
 ropper, the very life and fpirit of his pictures, rather than fhow his own 
 ikill in the mere mechanical part of the workmanfhip ; and whoever exa- 
 mines carefully the works of Vorfterman will confefs, that he has fucceeded 
 tg a great degree of admiration. The heads of his figures are finely drawn, 
 and the other extremities marked in a very mafterly manner. We are told, 
 that he drew excellently with the pen ; and Vertue mentions two drawings 
 in this ftyle by him ; namely, a woman's head, from Leonardo da Vinci ; 
 and a portrait of Pr/wr^:' Henry. He painted alfo, while he was in Eng- 
 land, fome few fmall fubjefts for a Mr. Skinner of Rochefter. 
 
 Vorfterman was a native of Antwerp, where he learned the principles of 
 drawing and engraving ; but from what mafter does not appear. He came 
 over into England, and was employed by Charles the Firll; and alfo by 
 the Earl of Arundel, for whom he worked occafionally, from the year 1623 to 
 1631. Vorfterman ufed a mark, compofed of an L. and a V. joined toge- 
 ther, as reprefented upon the plate at the end of the volume. 
 
 His works are very numerous. I fhall mention the following only, which 
 are ranked among his beft engravings : 
 
 the fall of the evil angels ; a large upright plate, from Rubens. 
 
 Lot with his two daughters ; a middling-fized plate, length-ways, from 
 Horace Gentilefci. 
 
 Lot leaving Sodom -, the fame, from Rubens. 
 
 Job tormented by demons, and tempted by his wife; a fmall upright plate, 
 from the fame. 
 
 Sufanna and the elders ; a middling-fized upright plate, from the fame, 
 dated 1620. 
 
 "The nativity of Chrift ; a large upright plate, from the fame, dated 1620. 
 
 "The adoration of the wife men; a large print, length-ways, on two plates, 
 from the fame. 
 
 The adoration of the wife men ; a large upright print ; differently compofed, 
 from the fame. 
 
 The return from Egypt ; the fame, from the fame. This is engraved in a 
 bold, open manner, much differing from his ufual ftyle. 
 
 The tribute money ; a middling-fized plate, length-ways, the fame. 
 
 Chrift praying in the garden ; a middling-fized upright plate, from Anni- 
 bale Caracci. 
 
 Chrift taken from the crofs ; a large upright plate, from Rubens. The 
 firft impreffions of this admirable engraving are before the name of Corn. 
 Van Merlin was inferted. 
 
 Chrift dead, fupported upon the lap of the Virgin, with angels weeping ; a 
 middling-fized plate, length-ways, from Vandyck. 
 
 The entombing of Chrift ; a fmall upright print, from Raphael. 
 
 The angels appearing to the three Maries; a middling-fized plate, 
 length-ways, 
 
 St. George on horjeback, killing the dragon; a fmall upright plate, from 
 
 Raphael. 
 
 n . 'St. Francis 
 
V O R [ 403 1 V O U 
 
 St. Francis receiving the fiigmatics ; a middling-lized upright plate, from 
 Rubens. 
 
 A concert, confifting of five perfons j one of which is « girl flaying upon 
 a guittar ; a middling-fized plate, length-ways, from A. D. Cofter, being a 
 companion to the concert, engraved by S. Bolfwert, from T. Rombout. 
 
 Several other fubjefts, and a great variety of admirable ■portraits, fi'om 
 Rubens, Vandyck, and other mafters : and among them, is the portrait of 
 RoQckox, a magijlrate of Antwerp ; a half figure, feated in his cabinet, &c. 
 
 LUCAS VORSTERMAN the Younger. 
 Flourilhed, 
 
 He was the fon and difciple of the elder Vorfterman ; but his works arc 
 every way greatly inferior to thofe of his father. He drew portraits from the 
 life, and made feveral attempts at etching. His produdlions are not above 
 mediocrity. I fhall mention only by him, 
 
 The trinity ; a large upright plate, from Rubens. 
 
 ne Virgin in the clouds, Jurrounded by angels ; a fmall upright plate, from 
 Vandyck. 
 
 Part of the ceiling, painted at Whitehall by Rubens. 
 
 The Jatyr and the countryman who blew hot and cold ; a middling-fized 
 plate, nearly fquare, from Jaques Jordaens. 
 
 The greater part of the plates for the large folio Treatife on Horjeman- 
 Jhip, by the Duke of Newcaftle. 
 
 Several of the plates for the colleftion of prints, known by the appel- 
 lation of the gallery of Teniers. 
 
 Alfo a confiderable number o? portraits -, fome of which are from his own 
 drawings -, and a variety of other fubjedls, from different mafters. 
 
 SEBASTIAN VOUILLEMONT, 
 
 Flourilhed, 1640. 
 
 He was a native of France; and a pupil of Daniel Rabel. The works 
 of this artift, in the hiftorical line, are fuch as do him no great credit, 
 either with refpeft to the execution of the mechanical part of his plates, or 
 the correftnefs of the drawing, in both of which they are exceedingly de- 
 fedtive. His etchings are the beft. When he attempted to finilh them 
 with the graver, he was not fuccefsful. The following prints are by him : 
 The murder of the innocents ; a middling-fized upright plate, from Raphael. 
 The two difciples with Cbrift at Emmaus ; the fame, from the fame. A holy 
 family ; a fmall upright plate, from Nicholas Pouffin. Mount Parnaffus ; 
 a large plate, length-ways, from Raphael. He alfo engraved from his own 
 defigns, from thofe of Daniel Rabel his mafter, from Parmigiano, Guido, 
 Albano, Romanelli, and other painters. 
 
 3 F 2 VOYEZ. 
 
V O Y [ 404 ] V U I 
 
 V O Y E Z. 
 
 Flourifhed, 1760. ^y 
 
 A modern French engraver, by whom we have feveral prints, fronp 
 Greufe, G. Douw, and other mafters. 
 
 V R A N X. See F R A N C K. 
 
 LUCAS DE URBINO. 
 
 Flourifhed, 
 
 This artift was probably a painter. His works as an engraver, however, 
 Ihew him to have been a man of genius. We have a fet of prints, belong- 
 ing to a drawing-book, executed by him, from the defigns of Michael An- 
 gelo, the Carraccii, and other great mafters. He worked with the graver 
 only, and varied his ftyle, in fome degree, as the defigns required. His 
 drawing is correft ; and the extremities of his figures are by no means badly 
 marked. He feldom affixed his name at length, but fubftituted a mono- 
 gram, compofed nearly of all the letters in it. See the plate of monograms at 
 end of the volume. I fhall mention only a plate, on which is reprefented 
 feveral Jkulls for the drawing-book above-mentioned, becaufe I never faw 
 any other, that had his name at length -, it is infcribed Lucas de Urbino F. 
 
 ADRIAN, or HADRIAN VAN VRIES. 
 Flourifhed, 
 He was a native of the Low Countries, and a painter of architeflure. We 
 have by him a fet of large, coarfe etchings of theatrical decorations, which 
 appear to have been hafty produftions. They are exceedingly flight ; and 
 the figures which are introduced are very indifferently performed. Baron 
 Heineken mentions John Friedman Van Vries, and Paul Van Vries, 
 all of the fame family, and painters of architediure, as well as engravers. 
 
 MOSES UYTENBROECK, called LITTLE MOSES. 
 
 Born, Died, 1650. 
 
 He was a native of the Low Countries, and fuppofcd to have been the 
 dii'ciple of Poelemburg ; becaufe he imitated his ftyle fo happily, that his 
 pictures have been fold for the works of that artift. His fubjeds were land- 
 Icapes, which he ufually embelliftied with hiftorical fubjeifts, taken from the 
 Greek and Roman poets. He amufed himfelf with the point; and we have 
 many fpirited, though flight etchings of landjca-pes by him, from his own 
 compofitions ; but the figures, which he has introduced, are ufually very 
 incorredt. 
 
 REMI VUIBERT, 
 Flourifhed, 1640. 
 
 He .was a native of France, and a painter; but he alfo engraved feveral 
 
 plates 
 
V O U [ 405 3 W A E 
 
 plates from his own defigRS, and from the pidures of other painters. The 
 followincr are by him: Mam receiving the forbidden fruit from Eve-, a large 
 upri<^ht plate, from Raphael. Cbrifi taken from the crofs, from Pouffinj a 
 middling-fized plate, length-ways. The cure of one fojfejfed of the devil i a 
 jmiddling-fized plate, nearly fquare, from his own compofitions, &c. 
 
 VOURMACE. SeeWORMES. 
 
 W. 
 
 JEROM WACHSMUTH. 
 
 Flourifhed, 
 
 HE refided at Vienna, where he engraved, from his own inventions, 
 the elements and Jeafons ; fmall upright plates, in the ftyle of Bernard 
 Picart, but they are not equal to the works of that artift in point of merit. 
 
 CORNELIUS DE WAEL, or WAAL. 
 Born, 1594. Died, 1662. 
 He was a native of Antwerp ; and having learned the principles of draw- 
 in"^ and painting from his father, who was a painter, he completed his Ihidies 
 inlltaly. He excelled in the reprefentations of battles and landfcapes ; and 
 his piftures are much efteemed. We have by him feveral very fpirited 
 etchings, from his own compofitions ; and, among them, the following : 
 J tennis court, with peajants fighting ; a fmall plate, length-ways. 
 
 JOHN BAPTIST WAEL, or WAAL. 
 Flourifhed, 1650. 
 He was of the fame family with the preceding artift. He made a con- 
 fiderable number of flight etchings, from the defigns of Cornelius de 
 Waal, his relation j and, among them, a fet of middling-fized plates, length- 
 ways, reprefenting the hiftory of the prodigal Jon. 
 
 ISAAC WAESBERGE. 
 
 Flourifhed, 
 We have feveral portraits engraved by this artift, and, among tnem, one 
 of Admiral Ruyter, a half length, in a ftyle fomething refembling that of 
 Cornelius Viffcher, after Hend. Bercknuns, He wrote his name Yfack 
 
 ^^^^^'■S'- HANS. 
 
WAG [ 406 ] W A L 
 
 HANS, or JOHN ERHARD WAGNER. 
 
 Flouriflied, 
 
 He was a native of Strafbourg, and engraved, on copper, a confiderabl^ 
 number of plates, printed in that city by John Heyden. They are marked 
 with an H. and an E. joined together, and followed by a W. See the 
 plate of monograms at the end of the volume,. 
 
 Jacques Wagner, another engraver, and probably of the fame family 
 with the preceding, according to profeflbr Chrift, infcribed his plates, 
 I. Wa. fe. 
 
 JOSEPH WAGNER. 
 
 Flourifhed, 1760. . 
 
 He was a native of Switzerland, where he learned the principles of draw- 
 ing and painting. He came into England, a, d. 1733, where meeting 
 with but little employment as a painter; and being encouraged by 
 Amiconi to ftudy engraving, he forfook the former, and applied to the 
 latter very fucccfsfully. He engraved from the pidlures of Amiconi, and 
 followed him to Venice ; where he fettled, and carried on a very confidera- 
 ble commerce in prints. His firft attempts with the graver were the por- 
 traits of the three princeffes, Anne, Amelia, and Carolina, daughters of 
 George the Second. His works afterwards were exceedingly numerous j 
 and they are fo common, that it will be needlefs to fpecify them in this 
 place. Jofeph Wagner was the tutor of Mr. Bartolozzi. 
 
 P. A. W A K K E R D A K. 
 
 Flourifhed, 
 This name is affixed to the portrait of Kenou Simons Hajfaker. 
 
 W A L B U R G. 
 
 Flouriffied, 
 He was a defigner and an engraver. His name is affixed to a portrait of 
 John Frederic Gronovius, from a drawing of his own, which does him very 
 little credit. 
 
 JACOB WALCH. 
 Flourifhed, 
 The name given to a very ancient engraver on copper, who was a na- 
 tive of Germany, and is faid to have been the matter of iVIichael Wolge- 
 mut. The engravings attributed to this artift are marked with a W. to 
 which is added a fpecies of crofs. 
 
 His ftylc of workmanfhip bears great refemblance to that of Ifrael Van 
 Mecheln, and has all the laboured appearance of an imitation. It is pro- 
 bable, that he might be a difciple of that mafter. 
 
 Now it the name of this engraver be Walch, there feems to be very little 
 reafon for fuppofing him to have been the tutor of Wolgemut; not only 
 
 becaufe 
 
W A L [ 407 J W A L 
 
 becaufe his prints do not appear to be fufficiently ancient, but becaufe we 
 do not find, that he engraved on wood, in which manner the larger part of 
 Wolgemut's performances were executed. And indeed the engravings on 
 copper, attributed to Wolgemut, do not bear even a diftant refemblance to 
 thofe of Walch ; which circumftance certainly ftrengthens the other objec- 
 ttions. Walch was particularly fond of introducing Gothic architefture into 
 his prints ; and he took no fmall pains in the delineation of it ; but, from a 
 want of knowledge in perfpeftive, his defigns are confufed, and lofe that 
 effeft, v;hich otherwife would have been fuiBciently agreeable. He drew 
 very incorredlly ; and his compofitions are in that ftifF fl:yle, which diftin- 
 guifhes the early works of the German fchool. I fliall mention the follow- 
 ing prints by this matter, whofe mark may be feen on the plate at the end 
 of the volume. It is to be obferved, that there are fome few prints marked 
 with the crofs only, without the W. but thefe have all the appearance of 
 being more ancient than thofe of Walch, and differ, in every refpedt, from 
 them. They are much more rudely engraved ; and in a bolder and more 
 determined ftyle, refembling that of Martin Schoen, with whom, it is pro- 
 bable, he was contemporary. 
 
 I fliall firft notice two prints, marked with the crofs without the W. 
 
 A wild man., hairy all over, fighting 'with a bear ; a very fmall upright 
 plate. A wonuinfeated, careffing a unicorn ; the fame. 
 
 The following are marked with the W. and the crofs, namely, 
 
 Elizabeth Jeated on a /pedes of throne, reading. The Virgin Mary, with the 
 infant Chrijf, appears below. On the right hand, David is reprefented with his 
 harp ; and on the left, Aaron. Behind the throne arifes a genealogical fteni of the 
 lineage of Chrift, from David to Jofepb, reprefented as ufual, by half figures ; 
 a very large upright print. 
 
 A Gothic ornament for a crofier ; a large upright plate. 
 
 The itifide of a Gothic building ; a middling-fized circular plate. 
 
 A fhip ftriking againft a rock ; a fmall plate, length-ways, with this in- 
 fcription, !^aertl5C. 
 
 Tents, with foldiery armed and on horfeback ; feveral fmall plates, length- 
 ways. 
 
 Several narrow upright plates, reprefenting different faints ftanding in 
 niches of Gothic architeSture. 
 
 Three fkulls in an arch, ornamented with Gothic work ; a fmall plate, length- 
 ways. 
 
 GEORGE WALCH. 
 Flourifhed, 
 
 A more modern engraver. His works. feem chiefly to confift of portraits, 
 executed with the graver only; but in a fl:yle which does him little credit. 
 I fliall mention the portrait only oi Lucas Frederic Behaim of Nurembero- j 
 a half length, in folio. 
 
 S. Walch is a name affixed to fome very indifferent portraits in mezzo- 
 tinto. They are not worth particularly fpecifying. 
 
 SAMUEL 
 
. W A L [ 408 ] W A L 
 
 SAMUEL WALE. 
 Born, Died, 1785. 
 
 He was a native of England, and a painter ; but his chief employment 
 was for the bookfellers. He defigned frontifpieces and vignettes for 
 books, which were engraved by Grignion, and other contemporary artifts. 
 He was a man of abilities ; though his compofitions do not manifeft any 
 extraordinary exertion of genius. He was profeflbr of Perfpeftive, and 
 Librarian to the Royal Academy of Painting and Sculpture in London. 
 We have fome few vignettes, (lightly etched by himfelf. 
 
 WILLIAM WALKER. 
 
 Flourifhed, 1760. 
 
 He was a native of England, and refided in London, where he engraved 
 for Mr. Alderman Boydell's CoUeftion the following prints : 
 
 The Flemijh entertainment ; a large plate, length-ways^ from Van Harp. 
 
 The power of beauty ; the fame, from P. Lauri. 
 
 The family of Balthazar Gerbier ; the fame, from Vandyck. 
 
 ANTHONY WALKER. 
 
 Flourifhed, 1760. ^ 
 
 He was the brother of William Walker, mentioned in the preceding 
 article, and learned the principles of engraving from Tinney. He was 
 much employed by the bookfellers, and we have by him a confiderable num- 
 ber of frontifpieces and vignettes, from his own defigns ; fome of which are 
 not deftitute of merit, and would have appeared to more advantage, if they 
 had been executed in a clear, determined ftyle ; but the manner which he 
 adopted is fo heavy and confufed, that it is often difficult to diftinguifti one 
 figure from another. He engraved fcveral large plates for Mr. Alderman 
 Boydell's CoUeftion ; among which are the following : 
 
 Curius Dentatus refufmg theprejents of the Samnites ; a large plate, length- 
 ways, from Pietro da Cortona. 
 
 The village lawyer and his clients j the fame, from Hans Holbein. 
 
 The angel departing from the houfc of Tobit ; a large upright plate, from 
 Rembrandt. 
 
 WALKER T. See VALKERT. 
 
 ISAAC WALRAVEN. 
 
 Flourifhed, 1740. 
 He was a native of Amfterdam, and a painter. He etched, according 
 to Bafan, feveral fmall plates, from his own compofitions. 
 
 J. WANDE- 
 
WAN [ 409 ] WAT 
 
 J. WANDELAAR. 
 
 Flouriflied, 1720. 
 
 This ingenious artift was a native of Holland. He worked much for 
 the bookfellers; and we have ma.ny portraits and vignetles by him; but his 
 greateft and beft engravings are the figures for the large anatomical work, in 
 folio, by Albinus. They were drawn from the fubjefts by himfelf, under 
 the dircftion of Albinus. They are engraved in a clear, neat ftyle, well 
 adapted for tlie purpofe. We have an edition of this capital publication, 
 tranflated into Englifh ; and the figures are copied in the fame fize with the 
 originals, by Grignion, Ravenet, Scotin, and other engravers. 
 
 JOHN WARNIR. 
 Flouriflied 1636. 
 
 I have feen very few prints by this artift; and they are copies from Albert 
 Durer, and other old German mafters. They are neatly executed, but have 
 all the fervility of mere imitations. Much muft be faid for his youth : for 
 he appears to have been only fixteen years of age, when he copied a St, 
 Jercm, Jeatcd before a crucifix., with a city in the back-ground ; a fmall plate, 
 length- ways, from Albert Durer; and, at the age of feventeen, the apoJlleSy 
 fmall upright plates, from the fame mafter. To the firft he figns his name, 
 Jh. Warnir, M. 16. 1636 ; the fecond are thus marked, Jh. W. IE. 17. 
 precifely in the fame manner, in which John Wierix frequently marked his 
 engravings ; but as the date is generally added to both, a miftake 
 can hardly be made, for Wierix lived nearly eighty years prior to this artift. 
 But in cafe of the omiiTion of the date, I can only add, that the prints by 
 Wierix are fuperior to thofe of Warnir. 
 
 It is probable that Warnir died young ; for we do not meet with any of 
 his prints after he arrived to man's eftate j or, at leaft, if we do, they are 
 v?itiiout fignatures. 
 
 C. A. W A S T M A N. 
 
 Flourifhed, 1736. 
 This engraver refided in Ruffia, and might probably have been a native 
 of that country. We have feveral portraits by him j but they are fo in- 
 different, as not to deferve particularizing. 
 
 HENRY CLAUDE WATELET. 
 
 Flouriftied, 1750. 
 
 This gentleman was a native of France, and a lover of the arts, who, 
 for his amufement, took up the point and the graver. Bafan informs us, 
 that he was a member of the feveral academies of painting in France and 
 Italy. We have by him, Venus nourifiing the Loves ; a fmall upright plate, 
 from Rubens. K\?iXgc landjcapey length-ways, from J. Both. Two large 
 upright plates of ruins, from J. P. Panini. He alfo engraved from 
 Teniers, Greufe, and other mafters. 
 
 VOL. II. 3 G ANTHONY 
 
..WAT [ 410 ] WAT 
 
 ANTHONY WATERLOO. 
 
 Flourifhed, , ,' 
 
 This celebrated artift was a native of Holland. He flourifhed in the 
 fixteenth century, and excelled in painting landfcapes. We have a confi- 
 derable number of mafterly etchings by him. They confifl of landfco.pes, 
 evidently taken from nature, fimply as fhe appeared, without any embellidi- 
 ment. His woods and entrances into forefts are admirable ; and he was 
 no lefs fucceisful in his cottage fccnes, and other views of the domeftic 
 kind. They are etched in a very flight, expeditious flyle ; but with the 
 hand of the mafter. He frequently retouched the etching with the point of 
 the graver, to harmonize the lights, and give force to the mafles of fliadow. 
 The etchings by this mafter are of various fizes, and rather numerous, 
 amounting, according to Le Comte, to 153, I fhall mention only a mid- 
 dling-fized upright print, in the front ot which is a zvcler-mill, a much 
 efteemed etching, by him. He fometimes figned his plates v/ith the ini- 
 tials, A. W. f. and fometimes he ufed a monogram, compofed of an A. 
 and a W. joined together. See the plate at the end of the volume. 
 
 HENRY WATMAN. 
 Flourifhed, 1650. 
 
 He is cited by profeflbr Chrift, as an engraver of landfcapes ; and is faid 
 to have marked his prints with an H. and a W. joined together. 
 
 THOMAS WATSON. 
 Born, 1750. Died, 178 1. ._'' 
 
 A very ingenious young man. He was born in London, and engraved 
 in mezzotinto. The rapid improvement which he made in the arts gave 
 juft reafon to form^very high expeftations in his favour ; but he died in the 
 flower of his age. His father is ftill living, and keeps a printfliop in the 
 Strand, where he fells the greater part of his fon's works, the plates 
 themfelves being'^'in his poflTeffion. I fhall mention only the following : 
 The portrait of Jlderman Sawbridge, in the chayaHer of a Roman Senator ; a 
 large upright plate, from Weft. Dr. Newton, Bifljop of Briflol ; a mid- 
 dling-fized upright plate, from Sir Jcfhua Reynolds. Six of the Windjor 
 beauties, from Lely ; half-ftieet prints. The portraits of the right honourable 
 lady Townjhend and her tivo fifters ; a very large plate, length-ways, from 
 Sir Jofhua Reynolds. 
 
 ANTHONY WATTEAU. 
 Born, 1684. Died, 1721. 
 A celebrated French painter, born at Valenciennes. He excelled in 
 painting convcrfations, encampments of armies, and landfcapes ; and his 
 pidtures are much efteemed in France. His firft inftruftions he received 
 from an indifferent painter, in die place where he was born ; and after- 
 wards 
 
W A U [ 4n 3 WEI 
 
 wards he was affifted in his ftudies by Claud Gillot ; but, after all, he 
 owed the moft to his own affiduity. He etched a flight, fpirited plate, re- 
 ■prtknungjoldiers fatigued '■juith their maj-ch ; and a fet of habits a-la Jiiode, 
 from his own compofitions. He died, a. d. 17 2 i, at a country houfe in 
 the vicinity of Paris. 
 
 CONRAD WAUMANS. 
 Flouriftied, 1650. 
 He was a native of Antwerp, and the difciple of Peter Bailliu, whofe 
 manner of engraving he imitated. For any thing I fee, the works of Wau- 
 mans are equal to thofe of his mafter ; and they are fubjeft to the fame 
 objeftions, efpecially with refpeft to the drawing, which in both is exceed- 
 ingly incorreft and heavy. I fhall mention the following prints only by 
 this engraver : Chrifi taken from the crojs ; a large upright plate, from 
 Rubens. The ajfumption of the Virgin; a fmall upright plate, from the 
 fame. Mars and Venus ; a middling-fized upright plate, from Vandyck. 
 And a confiderable number of portraits, from different painters. 
 
 J. W E B B E R S. 
 
 Flourifhed, 1656. 
 
 He engraved feveral views of the churches and public buildings at Amfier- 
 dam, which were publiflied, a. d. 1656, accompanied with a defcription 
 in Dutch and French. They are very little above mediocrity. 
 
 J. D E W E E R T. 
 
 Flourifhed, 1605. 
 
 This engraver was probably a native of the Low Countries ; but he rc- 
 fided at Paris. He worked with the graver only, in a very neat, laborious 
 ftyle, without much talte ; and the outlines of his figures are very incor- 
 reftly drawn. I have feen kveral fronti/pieces and other book-plates, by him. 
 He alfo engraved a fet of fmall upright plates, reprefenting the life and 
 paffion of Chrifi, from his own compofitions, publifhed by John le Clerc, 
 with French verfes under each print. 
 
 JOHN WEIGEL. 
 
 Flourifhed, 
 
 He was a native of Germany, and is fpoken of as an engraver on wood. 
 I am not acquainted with his works. 
 
 CHRISTOPHER WEIGEL. 
 
 Flourifhed, 1690. 
 
 He refided at Augfbourg, where he publifhed a fet of cuts, in large 
 quarto ; the fubjefts of which are taken from the Old and New Teflaments. 
 Each plate contains four fmall fubjeds j and the number of the plates 
 
 J G 2 amount 
 
•WEI [ 412 ] W E L 
 
 amount to 100 for the Old Teftament, and i jo for the New. The title of 
 this colleftion of prints is Sacra Scriptura loquens in imaginibus, &c. They 
 are apparently all engraved by himlelf, and fronn his own defigns ; and 
 though there is nothing very commendable in them, feparately confidered, 
 they prove him, at leaft, to have been a man of feme genius and fertility 
 of invention. M. Heineken, fpeaking of this artift, informs us, that he 
 alfo engraved in mezzotinto. 
 
 FRANCIS EDMOND WEIROTTER. 
 
 Flourifhed, 1760. < 
 
 This artift was a native of Germany, and a painter of landfcapes. He 
 refided many years at Paris, from whence he went to Italy. After fome 
 ftay in that country, he came back to Paris. Soon afterwards he returned 
 to Germany, and fettled at Vienna, where he was appointed Profefibr of 
 the Academy of Drawing and Painting. We have a great number of ex- 
 cellent landfcapes, etched by this matter, in a free, bold ftyle. The mafles 
 of light and Ihadow are broad and well difpofed, and the effeft harmonious 
 and agreeable. They have every appearance of being very faithful views 
 of the places they reprefent ; and are therefore valuable on that account, 
 as well as for their great merit. They are all of them fmall plates, and 
 are formed into different fets, twelve or more in each fet. They confift 
 of views of ruins, bridges, churches, cottages, and the like. . 
 
 SAMUEL WEISHUN. 
 Flourifhed, 1630. 
 This artift refided at Drefden, and at Perna. He engraved a confider- 
 able number o{ portraits, which are executed with the graver only, in a very 
 neat, but ftiff and taftelefs ftyle. I fliall mention only the head of Daniel 
 Seuneftus, Wittenb. Profejf. a fmall upright plate, dated 1627. Profefibr 
 Chrift fpeaks of the portraits of the Princes of Saxony, as engraved by him, 
 and marked with the initials, S. W. and thefe letters are in fome few in- 
 ftances joined together. 
 
 NICHOLAS WELBRONNER. 
 Flouriflied, 1530. 
 
 To this artift are attributed the engravings on copper, marked with an N. 
 and a W. and dated from 1530 to 1536. They are fmall ornamental 
 plates of foliage and fmall figures, in imitation of the ftyle of Scbald Beham ; 
 but by no means equal to the works of that artift. I ftiall particularize 
 only, a figure oi Adam; a fmall-upright plate, dated 1534. Eve, with the 
 Jerpent ; the fame, its companion. A very fmall /r/Vz^, length-ways, repre- 
 fenting feveral children fighting, dated 1 533. Welbronner may properly be 
 ranked among the little mafters. 
 
 WEN- 
 
WEN [ 413 ] WEN 
 
 W E N C E S L A U S. 
 
 Flourifhed, 1481. 
 
 In the coUeftion of Dr. Monro, I found a very fingukr print, valuable 
 on more accounts than one. It is a copy fronn the death of the Virgin, a 
 middling-fized upright plate, originally engraved by Martin Schoen. It 
 has not only the name of the artift inicribed upon it, but the date of the 
 year in which it was engraved, namely, 1481. There is no doubt of its 
 being a copy from Schoen ; becaufe it bears the evident marks of a fervile 
 imitation. It is highly probable, that Wenceflaus was the difciple of 
 Schoen ; for he adopted his manner of engraving, though he was not 
 equally fuccefsful. It mud indeed be owned, that, at times, he attempted 
 the ftyle of Ifrael Van Mecheln. Another obfervation arifes from a ftrift 
 examination of this print, upon comparing it with the ancient German en- 
 gravings marked with a W. only ; which is, that they are evidently the 
 produ6lions of the fame artift, though they have ufually been attributed to 
 Michael Wolgemut, the mafter of Albert Durer. The name is perfeftly 
 plain upon the print above-mentioned ; but the infcripcion that follows it 
 is not fo eafily underftood. Underneath the print is written with the pen, 
 WENCESLAUS OF oLMUTZ IN BOHEMIA. But I hardly think the letters will 
 bear that interpretation. I have, therefore, for the fatisfailion of my readers, 
 copied the whole infcription, at length, upon the plate at the end of the 
 volume. The following prints, which I fliall notice, are marked with the 
 W. only, and copied from the engravings of Martin Schoen, and Ifrael 
 Van Mecheln, 
 
 The annunciation of the Virgin, a fat of flowers in the front, and the Deity 
 appears above ; a fmall upright plate. 
 
 A gentleman and lady walking together ; Death appears behind a tree in the 
 hack-ground. 
 
 The lafi Jupper ; a fmall plate, length-ways. 
 
 The crucifixion of St. Andrew ; the fame, nearly fquare. 
 
 The life and paffion of Chrifi ; a fet of fmall upright plates. 
 
 All the above are from, and in the ftyle of M. Schoen. Thofethat follow 
 are from J. Van Mecheln, and in imitation of his ftyle. 
 
 Four naked women, with a globe hanging from the ceiling ; upon the globe 
 are the letters O. G. H. with the date 1494 ; a fmall upright plate. Albert 
 Durer engraved this fubjecl fo exaftly, that it feems as if he had rather 
 taken his copy from the print of Wenceflaus, than from the original. 
 
 An old man leading a little boy, with a woman, having a girl at her back, 
 following him ; a very fmall upright plate. 
 
 A lover entertaining his mijlrefs ; the fame. 
 
 J. G. W E N G. 
 
 Flouriftied, 1630. 
 A name affix'Cd as the inventor and engraver to a print, reprefenting, 
 Minerva vifiting the Mu/es. It is a dark etching, Ibmething in the ftyle of 
 
 Le 
 
WEN [ 4H ] WES 
 
 Le Hooghe, and fufHciendy neat. It is dated 1630, and appears to have 
 been the work of a painter. '- 
 
 W E N G H. 
 
 Flourifhed, 1509. 
 
 I h'lve feen a print with this name affixed to it, which indeed has nothing, 
 but its fcarcity, to recommend it. It appears to have been a firft at- 
 tempt of the engraver, in imitation of the manner of Mantegna. It is a 
 middling-fized plate, length-ways, nearly fquare, ^nd mpreCenis a male and 
 female figure almoji naked. Over the head of the man, who is attended by 
 a dog, is written Paris ; and over the woman, Egenoe ; poffibly by miftake 
 for Oenone, the nymph which Paris forfook for Helen. It appears to be 
 the work of a German, imitating the ftyle of the Italian artifts. 
 
 W E R D L E R. 
 
 Flouriflied, 
 
 The name of an engraver, affixed to the portrait of Charles Lord Cathcart 
 in armour, 
 
 TELMAN VAN WESEL. 
 Flourifhed, 
 
 He was probably a native of the Low Countries. By an infcription 
 iipon one of his plates, he informs us, that he was a goldfmith. His 
 works are chiefly copies from the works of other engravers, and very badly 
 executed. I (hall mention, the Adam and Eve of Albert Durer. Upon the 
 tablet, where the name of Albert Durer appears in the original, he 
 infcribes his own in this manner, telman. van. wesel. goltsmit. 
 T. VI. K\^o Jeveraljoldiers converftng, from Albert Durer; a fmall upright 
 plate, marked T. M. W. And St. Chrijlopher ; a fmall upright plate, from 
 one of the old German mafters, marked T. W. 
 
 ARNOLD VAN WESTERHOUT. 
 Born, Died, 1730. 
 
 A native of Flanders. He learned the principles of engraving in his 
 own country ; after which he went to Rome, and fettled in that city, where 
 he died about the year 1730. He worked with the graver only, in a neat, 
 clear flyle; but without fufficient force to produce an agreeable effeft ; and 
 the outlines of his figures are not fo correft, as might be wiflied. The fol- 
 lowing are by him : 
 
 The Virgin with the infant Chriji j a middling-fized upright plate, from 
 Carlo Maratti. 
 
 Chrift taken from the crofs ; the fame, from Daniel de Volterra. Nicholas 
 Dorigny engraved a plate from the fame pifture. 
 
 St. Paul preaching at Athens; the fame, from J. Baptift Lenardi. 
 
 Alfo a great number oi portraits and other fubjefts, from his own com- 
 pofitions, and from thofe of various mafters. 
 
 H. WEST- 
 
-WES [ 415 1 W E Y 
 
 H. W E S T P H A L E N. 
 
 Flouriflied, 
 To a whole Iheet map of Denmark and Sweden, engraved in a very 
 flight ftyle, this name is affixed. H. JVeJlfhalen, /culp. Hamb. 
 
 P. F. WE T. 
 
 Flourifhed, 
 He etched feme night, ornamental foliage for goldfmiths and jewellers. 
 They are fmall plates, length-ways. 
 
 N. WEYDMANS. 
 Flourifhed, 
 I have feen by this artift a fmall upright print, nearly fquare, in which 
 is reprefented a country Jurgeon lancing the forehead of a woman. She is fuf- 
 forted by a man, who ftands behind her. It is executed with the graver, in 
 a flight fcratchy way, fo as to refemble an etching. It is from a defign ot 
 his own ; and, upon the whole, but a very indifferent print. 
 
 JOHN WEYER. SeeWAYER. 
 
 NICHOLAS WEYER. 
 Flourifhed, 1567. 
 To this artifl profefTor Chrift attributes the engravings, marked in this 
 manner, N. 1567 W. He fpeaks doubtfully, and has not fpecified any ot 
 the fubjefls. 
 
 HANS, or JOHN WEYER. 
 
 Flouriflied, 16 10. 
 He was a native of Cobourg, and a painter. ProfefTor Chrift informs 
 ■us that there are feveral engravings by him in an excellent ftyle, marked 
 with the initials, H. E. W. and dated 1610 and 1612 j but the fubjedts 
 are not fpecified. 
 
 GABRIEL WEYER. 
 
 Flourifhed, 16 10. 
 He was a painter, and refided at Nuremberg, where he painted many 
 piftures, and made a confiderable number of defigns for the engravers. He 
 alfo engraved himfelf on wood, in a fpirited ftyle, and marked his prints 
 with a G. and a W. or a G. an A. and a AV. joined together, in the fame 
 manner exprefled upon the plate at the end of the volume. 
 
 3 JOHANSSEN 
 
W E Y [ 416 ] W H I 
 
 J O H A N S S E N W E Y N E R S. 
 
 Flourifhed, 161 1. 
 
 This artift, according to profcflbr Chrift, marked his plates with a bunch 
 of grapes, which, it Teems, bears fome allufion to his name. He engraved 
 on copper, from the defigns ot' Chriftopher Schwartz. 
 
 ROBERT WHITE. 
 
 Born, 1645. Died, 1704. 
 
 He was a native of London, and became the difciple of David Log- 
 gan, for whom he drew and engraved many architedtal views. He applied 
 himfelfmoftly to the drawing of portraits, in black lead, upon vellum j 
 and his fuccefs in taking likenefles procured him much applaufe. His 
 drawinc'S, indeed, were certainly much fuperior to his prints. We are in- 
 formed, that White drew the portraits of Sir Godfrey Kneller and his bro- 
 ther, which were inferred in The Lives of the Painters by Sandrart j and that 
 Sir Godfrey Kneller painted his portrait in return. During fort)' years, he 
 amafied, by his bufinefs, a fortune of four or five thouland pounds i yet by 
 fome misfortune, or fudden extravagance, the greater part of it was ex- 
 pended, and he died in indigent circumftances, at his houfe in Bloomf- 
 bury, A. D. 1704. His plates were fold to a printfeller, in the Poultry, 
 who, in a few years, enriched himfelf by the purchafe. It is remarked, 
 that he was paid thirty pounds for a portrait of the King of Sijceden. This 
 fum, if the plate was large, could not be extravagant. The few following 
 portraits are reckoned among his beft engravings. 
 
 George earl of Cumberland, habited Jor a tournament ; a whole length, 
 in folio. 
 
 James earl of Perth ; an oval, in folio. 
 
 Seven bifiwps ; feven fmall ovals in one print, a half fheet. 
 
 Five bifhofs, who Juffered martyrdom ; five Imall ovals in one print, 
 
 the fame. 
 
 Lady Sufanna Temple ; an oval, in folio. 
 
 Lady Ann Clifford ; the fame. 
 
 Dr. Burnet (afterwards Bifhop of Salifbury) ; an oval, in folio, from 
 Mrs. Beal. 
 
 Thomas Flatman, after Hayls ; an oval, in oftavo. 
 
 Pm/ff i?«/i«/, from Kneller ; a large half fheet, in an oval. '^ 
 
 Sir John Fenwick, after WifTing ; the fame, ■* 
 
 He encrraved feveral frontifpieces and other book plates, and fcraped ^ 
 
 fome few heads in mezzotinto ; but they are much inferior to his engraved 1 
 
 portraits. The prints by this artift would look infinitely better, if they * 
 
 were not fo difguifed, as they are, in general, by large, taftelefs borders ; 
 which, though intended for ornament, ceruinly are none. 
 
 GEORGE 
 
W H I [ 417 ] W H I 
 
 GEORGE WHITE. 
 
 Flouriflied, 1720. 
 He was the fon of Robert White, mentioned in the preceding article. 
 From his father he learned the principles of drawing and engraving of 
 portraits. It is alfo faid, that he painted fometimes in oil, and frequently in 
 miniature. After the death of his father, he completed the plates left un- 
 finilhed by him, and alfo engraved feveral heads h'-^^lf^ /h'^h are nearly 
 executed /particularly the portraits of the Duke of Ormond and Lord Cla- 
 rendon ; fmall upright ovals. But he chiefly praftifed in mezzot.nto 5 and 
 was fo fuccefsful, that he was fometimes paid twenty guineas for a fingle 
 plate. He ufed frequently to etch the outlines of his portraits before the 
 mezzotinto ground was laid upon the plates, which in feveral inftances adds 
 o the firmncfs of the effeft. It is uncertain when he died ; fo late as the year 
 173 1, he engraved the portrait of Bijhop IVefton. His beft mezzotintos are as 
 
 follows : 
 
 Sylvejler Petit, a half flaeet print. 
 
 Sir Richard Blachnore, in an oval ; the fame. 
 
 Colonel Blood, who ftole the crown -, in an oval, a large quarto plate. 
 
 John Baptijl Monoyer, the celebrated flower fainter ; in an oval, a halt 
 fheet print, from Kneller. ^ ^. t t-u u-n a^ 
 
 Jack Shepherd; a half flieet print, from Sir James ThornhiU, &c. 
 
 THOMAS WHITE. 
 
 Flourifhed, 1760. 
 He was a native of London; and having learned the mere mechanical 
 part of engraving from fome obfcure mafter he was employed by Mr 
 Ryland to affift hfm in the back grounds of his plates He fucceeded beft 
 inarchiteftal engraving; and the greater part of the plates for a large work 
 in folio, being a continuation of the Vuruvuis Brttanmcus, by Wolf and 
 Gandon, are executed by him. His name is alfo affixed to a middlmg-fized 
 landfcape, length-ways, from Brughal. This plate was etched by T. 
 Saunders ; and White was afTifted in the finiftiing of it by Mr. Ryland. He 
 died in London eight or ten years fince. 
 
 CHARLES WHITE. 
 
 Born, 175 1. Died, 1785. 
 He was a native of London, and a difciple of Robert Franker. After 
 he had ferved his apprenticefhip, he quitted the manner of engraving m 
 ftrokes, and worked chiefly, if not entirely, in the chalk fl:yle. CMdren at 
 X and other trifling fubjefts of that kind, from drawings by ladies, 
 Situte the greater p^art of his engravings. But in the latter part of his 
 Se he was engaged in works of far greater confequence, which would 
 have done him much honour, if he had lived to fee Aem completed. He 
 dkd of a violent fever on Sunday the aSth of Auguft, 1785, m the thirty- 
 fourth year of his age. ' CHARLES 
 
 VOL. II. 
 
WIT [ 418 ] W I E 
 
 CHARLES W I T W E L L. 
 
 Flourifhedj 1610. • 
 
 He engraved the map of Surry for Norden's Colleftion of Maps ; and 
 this plate is faid to be the neaceft of the whole let. 
 
 W I B E R T. See V U I B E R T. 
 
 J. W I C H M A N. 
 
 Flouriflied, 1683. 
 
 This name, with the word fecit added to it, is affixed to a large whole 
 Iheet print, reprelenting the befieging and taking of Stadtwien by the troops of 
 the Emperor of Germany. The portraits of the Tiirkijh and German Generals 
 are reprefented at the top ; and the portraits of the Emperor of Germany and 
 the grand Sultan, at the bottom. It is a flight, coarfe etching, and has very- 
 little to recommend it to the public notice. 
 
 E L I A S W I D E M A N. 
 
 Flourifhed, 1648. 
 
 He was a native of Germany, and refided at Augfbourg. He engraved 
 a very large number of portraits, frontifpieces, and other book-plates, from 
 his own defigns. They are incorreftly executed, and in a ftiff, taltelefs 
 ftyle. I fliall mention only a fet of fmall folio plates of illullrious per- 
 fonages, to which is prefixed this title : Comitium Gloria centum qua San- 
 guine qua Virtute illuflrium Heroum Iconibus infiru£ium, &c. publiflied at 
 Augfoourg, 1648 ; to which he affixed his name, E. IFideman, del. etjculp. 
 
 W I D I T Z. 
 
 Flouriflied, 
 An ancient engraver, mentioned by Profeflx)r Chrifl:, upon the autliority 
 of Bernard Jobin. He is faid to have been a native of Strafljourg -, but no 
 reference is made to his works. 
 
 WIELANT, or WILLANT. 
 
 Flouriflied, 
 
 A name affixed to the following portraits : John Claubergius, in quarto. 
 John Colerus, from Bodecker, the fame. 
 
 M. V. W I E N B R O U C K. 
 
 Flouriflied, 
 
 1 have feen this name affixed to fome hafly, incorreft etchings, in a 
 4 painter's 
 
W I E [ 419 J W I E 
 
 painter's ftyle ; and, among them, to a middling fized plate, length-ways, 
 reprefenting nn old manjeated, to whom a youth is relating a mejjage. 
 
 CORNELIUS, CLAAS, or NICHOLAS WIERINGEN. 
 
 Flourirtied, 1620. 
 He was a native of Holland, and a painter ofilandjcapes unAJhipping, of 
 fome eminence. He etched, for his amufement, feveral excellent plates, 
 from his own defigns, confifting of land/capes a.nd/ea vie-^s. 
 
 JOHN WIERIX, or WIERX, or WIERINX. 
 Born, 1550. Died, 
 He was a native of Holland. His love for the arts appears to have mani- 
 fefted itfelf at a very early period of his life. We knew not from whom he 
 learned the firft principles of drawing and engraving ; but probably he owed 
 them to his own application. He ftudied the works of Albert Durer very 
 attentively, and built his tafte upon them ; but from too clofe and fervile a 
 mode of copying them, he contra6ted a ftiffnefs, of which he ne^er divefted 
 himfelf. There is little or no originality in his prints. His genius feems 
 •to have been confined, and he was fearful of venturing beyond the bounds of 
 a copyift. The incomparable neatnefs of his works, executed with the 
 graver only, gives them, however, a value with the curious colle£l:or, which 
 is increafed by the correftnefs of his drawing ; and the manner, in which 
 the extremities of his figures are marked, prove the great attention he muft 
 have paid to that part of his profefiion. His works are exceedingly multifa- 
 rious, confifting of devotional fubjeds of various kinds, and fizes, and 
 chiefly from his own compofitions. I fhall confine myfclf to the few fol- 
 lowing prints by this mafter : 
 
 /ida-/!! receiving the forbidden fruit from Eve-, a fmall upright plate, labo- 
 rioufly copied from the celebrated print of the fame fubjeft, by Albert 
 Durer. It is dated 1566, and "Wierix has added his own age, which was 
 only 16. 
 
 Ai allegorical fuhjeSf, reprefenting the redemption of mankind ; a fmall up- 
 right plate, from his own compofition. 
 
 Chriji taken from the crofs ; a fmall plate, length-ways, from B. Pafleri. 
 
 Chriji taken from the crojs ; a fmall upright plate, from Otho Veen. 
 
 Afet oi devotional fiihje£fSy taken from the New Teftament, for a book 
 'of meditations upon the evangelifts, by Natalis, from Martin de Vos anji 
 B. Paflfero. He was affiftcd in this work by Jerom and Anthony Wierix. 
 
 A confiderable number of portraits, and, among them, the following. 
 
 James the Firft of England, ar.dhis ^een, whole lengths j a fmall upright 
 print, very fcarce. 
 
 Philip the Second, king of Spain. Henry the Third, king of France. Ca- 
 therine de Bourbon, and Mary de Medicts, &c. 
 
 -? H 2 He 
 
VV I E [ 420 ] W I E 
 
 He alfo engraved from Lucas of Leyden, F. Floris, D. Calvaert, Hans 
 Holbein, and other mafters. 
 
 He marked his plates with the initials, I. W. F. and fometimes I. H. 
 W. F. and often added his age, and the date of the year, in which the 
 plate was engraved. 
 
 I cannot help obferving in this place, that I have feen a copy of the en- 
 graving by Martin Rota, from the lajl judgment, by Michael Angelo Buo- 
 naroti, nearly the fame fize as the original, very accurately executed ; and 
 upon the grave-ftone at the left hand corner is this infcription, Johan Wir- 
 ings calavit, which, I fuppofe, is intended for Wierinx; fuch a fmall dif- 
 ference in the fpelling often occurs among the Dutch and German 
 engravers. 
 
 JEROM WIERIX, or WIERINX. 
 
 Flourifbed, 1580. 
 
 He was of the fame family with the preceding artift, and by fome is faid 
 to have been his brother. It is probable, that he might learn the principles 
 of drawing and engraving from John Wierix ; for he imitated his llyle with 
 fo much precifion, that it would be a matter of the utmoft difficulty to dif- 
 tinguifh the works of the one, from thofe of the other, were it not for the 
 marks. The prints of St. Jerom poflefs the fame extraordinary neatnefs, 
 which we admire in thofe of John ; are as corredly drawn, and equally 
 deficient in tafte and freedom. 
 
 Jerom Wierix marked his plates with the initials of his name, in this man- 
 ner. H I. W. H I. W. F. J. Heronimvs. W. fe. I. W. and alfo 
 with a monogram, compofed of an H. an I. and an E. joined together, and 
 followed by a W. See the plate at the end of the volume. His works 
 are ftill more numerous than thofe of John. They confift chiefly o^ allegorical 
 and devotional fuhjeSls, figures of the apojiks, faints, and fathers of the church ; 
 the far greater part of which are from his own compofitions. I fhall fpecify 
 the following only : 
 
 A holy family, with St. Catherine ; a middling-fized upright plate, from 
 Dion Calvert. 
 
 Chriji dead, fupported upon the lap of the Virgin; a middling-fized plate, 
 lengthways, from John Mabufe. 
 
 A fet of allegorical prints, relative to the religion of the old law, from 
 Martin dc Vos. 
 
 I'hefcourging of Chrifl ; a large upright plate, from M. Lucas Romanus. 
 This is one of his largeft prints, and, in my opinion, one of his beft, though 
 not fo neat as his others. 
 
 St. Jerom, St. Augufiin, and the fathers of the church ; a middling-fized 
 wpright plate, from the fame, dated 1586. 
 
 Lucretia flabbing herfelf, from his own compofition ; a middling-fized 
 upright plate. 
 
 Part of the fmall upright plates, taken from the Old and New Teftament, 
 for meditations upon the evangclifts, in conjundlion with John and An- 
 thony Wierix j and fome {^w portraits. 
 
 ANTHONY 
 
W I E [ ^21 ] W I L 
 
 ANTHONY WIERIX, or WIERINX. 
 
 Flourilhed, 1580. 
 He was the brother of Jerom Wierinx, mentioned in the preceding ar- 
 ticle, and, in general, adopted the fame neat, laboured ftyle, efpecially 
 when he worked upon fmall fubjeds ; but his larger prints are executed 
 with more freedom ; which, of courfe, adds greatly to the beauty of the 
 effeft, Anthony drew as corredtly as his brother, and employed his graver 
 upon the fame fort of fubjefts ; often indeed working conjointly with him. 
 I Ihall mention by him the few following prints only : 
 
 The life of Chriji ; a fet of middling-fized plates, length-ways, from 
 Martin de Vos. Part of the plates for a fet oi hijloricaljubjetls, taken from 
 the Old Teftament ; the fame, from the fame. ChriJI carried to the tomb ; a 
 fmall plate, length-ways, from his own compofition. St. Jerom praying, 
 accompcmiedhy two angels-, a middling-fized upright plate, dated 1384, tiie 
 ' fame. This I conceive to be one of his bed prints, ^he death of St. Francis, 
 from Camillo Procacino; a middling-fized upright plate. Alfo feveral^cr- 
 traits ; fome of which are much efteemed. 
 
 NICHOLAS WILBOR. 
 
 Flourilhed, 1536. 
 Perhaps this name fhould have been written, Willeborts; and then he 
 might be of the fame family with Thomas Willeborts, whofe cognomen was 
 Boflchart, an hiftorical painter of fome eminence. The prefent engraver, 
 however, does not feem to have been a man of any great abilities. He copied 
 the works of Sebald Beham, and imitated his ftyle of engraving ; but very 
 unfuccefsfully. I Ihall mention only, a very fmall upright plate, reprefenting « 
 Joldier ; a back figure : upon the top is written, Hoptman ; at the bottom, the 
 date 1536 reverfed, with the name upon a tablet, written thus, Niclas 
 Wii-BOR; and over the R. is a ftroke, denoting fome abbreviation. After 
 all he is probably the fame artill with him mentioned under the appella- 
 tion of Welbronner. 
 
 JOHN GEORGE W I L L. E. 
 
 Flourifhed, 1760. 
 
 He was a native of Germany, and refided chiefly at Paris. He excelled 
 in works, which required great execution with the graver; and no one 
 ever furpalTed him in the clearnefs and beauty of the ftrokes, which he laid' 
 with that inftrument. His ftyle was particularly adopted to exprefs filks, 
 fattins, and all kinds of fhining draperies ; a proof of which is evident in 
 the print, reprefenting the death of Cleopatra. The figure is habited in 
 white fattin, which the engraver has fo fuccefsfuUy imitated, that the pencil 
 of the moft able painter could not exceed it. The prints by this admirable 
 artill are not uncommon. I ihall mention only, the walking mufician ; a 
 Jarge upright plate, from Diftricy. And the death of Cleopatra j a middling<- 
 fized upright plate, from G. Netfcher. 
 
 ROBERT 
 
W I L I 422 ] WIN 
 
 ROBERT WILLIAMS. 
 Flouriflied, 17 
 
 He was a native of Wales, but refided chiefly in England. By fome 
 accident he fprained his leg, which occafioned fo great a lamenefs, that he 
 was oblicred to fuffer amputation; which operation he furvived many years. 
 He fcraped in mezzotinto a confiderable number of portraits ; feme of 
 which are fpoken of with commendation ; particularly ahead of Sir Richard 
 Blackmore. I fliali mention alfo by him, George Prince of Denmark, in an 
 oval i a half-flicet print, from Wiffing. Madam Sidley ; the fame, from the 
 fame. 
 
 WILLIAM WILLIAMS. 
 Flouriflied, 1760. 
 
 This name is affixed to two views of the town of Halifax. They are very 
 nightly etched; and are probably the amufement only of a leifure hour, by 
 fome gentleman of that place. 
 
 P. WILLIAMSON. 
 
 Flouriflied, 1660. 
 This artifl: was a native of England, and refided in London. He was 
 apparently apubliflier, as well as an engraver. He worked with the graver 
 only ; but in a ftyle, that does no great credit to his tafte. I have feen by 
 him fome fmall fubiects, relating to the concealment of Charles the Second, 
 dated 1667. He alfo engraved feveral portraits ; and among them that of 
 Mildmay Earl of Wejimoreland, in an oval, a half-flieet print. 
 
 W. WILSON. 
 
 Flouriflied, 
 This artifl; engraved in mezzotinto a portrait of Lady Newburg, the Myra 
 of Lord Lanfdown. 
 
 VANDER WILT. 
 Flouriflied, 
 A Dutch mezzotinto fcraper. He executed feveral prints, from the 
 piftures of Brouwer, Schalken, and other mafl:ers. 
 
 WINGARDE. See WYNGAERDE. ■ 
 
 F. W I N G A N D O R P. 
 
 Flouriflied, 1672. 
 This artifl worked with the graver only. We have by him feveral fron- 
 tijpieces, and other book-plates^ which are fcarcely worth particularizing. 
 
 HENRY 
 
WIN [ 423 ] WIT 
 
 HENRY WINSTANLEY. 
 Flourifhed, 1780. «_> 
 
 This unfortunate man was the proje6lor and builder of Eddyftone TJght- 
 houfe, which he thought he had erefted fufficiencly ftrong to refift the 
 force of the winds and waves. He is indeed reported to have faid, when 
 queftioned concerning it, that if it was ever blown down, he hoped he 
 fhould be in it himfelf. If fuch a wifh was exprelfed by him, it happened 
 accordingly. For in a great ftorm, the light-houfe was overthrown, and 
 he perifhed in the midft of the ruins. 
 
 We find that he was clerk of the works at Audley End, a. d. 1694, then a 
 royal palace, and clerk of the works at Newmarket in 1700. He drew and 
 etched feveral vieivs of the palace at Audley End, which he dedicated to 
 James the Second, and added an infcription to the honour of Sir Chrifto- 
 pher Wren. Thefe prints are faid to be very fcarce. 
 
 HAMLET WINSTANLEY. 
 
 Flourifhed, 1725.^./ 
 He was the fon of Henry Winftanley, mentioned in the preceding ar- 
 ticle. His father defigning that he fhould be a painter, placed him under 
 Sir Godfrey Kneller, from whom he learned the principles of defign. After 
 he left Kneller, he went to Italy, where he refided fome time. At his re- 
 turn he feems to have applied himfelf to etching and engraving only. He 
 publifhed a fet of twenty etchings, from the pidures in the coUedlion of the 
 Earl of Derby. They are exceedingly flight, and by no means equal to 
 what might have been expedted from him, when we confider the advantages 
 he had of improving himfelf abroad. We have alfo by him a fet of prints^ 
 from the cupola of St. Paul's Cathedral, by Sir James Thornhill. 
 
 A. W I N T E R. 
 
 Flourifhed, 
 
 He engraved the ornamental parts and figures for an almmiack, publiflied 
 at Amfterdam. 
 
 J. W I R Z. 
 
 Flourifhed, 
 This name is affixed to a portrait of Theodore Meienus ; a fmall whole 
 length, from G. Meyer : it is a flight, neat etching, by no means devoid 
 of merit. . 
 
 J A Q^U E S D E WIT. 
 Born, 1695. Died, 1754. ,J 
 
 This artift was born at Amfterdam, and was placed firfl with Albert 
 Spiers, a portrait painter. Upon leaving this mafter, he entered the fchool 
 of Jaques Van Halenj a painter of hiftory ; afterwards he ftudied carefully 
 
 the 
 
WIT [ 424 ] WIT 
 
 the works of Rubens. He fiicceedcd both in portraits and hiftorical fub- 
 jefts ; but particularly excelled in imitating baflb-relievos, which he per- 
 formed both in oil and in frefco, to the highed degree of deception. The 
 cabinets of the curious in Holland and Flanders are ornamented with fpe- 
 cimens of his works; and one entire room in the Stadthoufe is painted by 
 him. He died at Amfterdam, a. d. 1754> aged 59 years. 
 
 In the year 1712, he made drawings, from the paintings by Rubens, upon 
 the ceilings of the church of the Jefuits at Antwerp, with the intention of 
 etching them ; and he really did execute ten plates. But the multiplicity 
 of his other bufinefs prevented his completing them i which was afterwards 
 done by John Punt, an engraver of Amfterdam. De Wit etched, from 
 his own defigns, a fet of fix fmall plates, length-ways, reprefenting _g;ro«/»j 
 of boys. They are executed in a very fpirited ftyle. And. the Virgin and 
 Child i a fmall upright plate. 
 
 HANS, or JOHN WITDOECK. 
 
 Flourifhed, 1635. 
 
 The name of this engraver is alfo written Withouc and Witdouc. He 
 was a native of Antwerp ; at which city he principally refided. Bafan fays 
 of him, " this again is one of thofe artifts, who knew how to exprefs 
 " (upon copper) the tafte, the manner, and the powerful efFe£l, of the 
 ** pictures of the great Flemifh mailers, from whofe works lie engraved." 
 I own, to me this elogium feems to be, in a great meafure, undcfervcdiy 
 beftowed ; for the prints by Witdoeck are by no means correftly drawn. 
 On the contrary, the naked parts of the human figures are very badly ex- 
 prefTed, the extremities are heavy; and the markings or the joints are not 
 properly determined. Neither is the mechanical part of the execution of 
 his plates lefs exceptionable. It proves that he had very liitle command of 
 the graver, or did not fufficiently ftudy that part of the art, to produce a 
 clear and an agreeable eff'cft. His engravings, however, are valuable; be- 
 caufe they are in feveral inftances the only copies we have of thofe capital 
 paintings by Rubens. The following, among many others, are by him : 
 
 Melchizedeck prejenting bread and wine to Abraham and his folloivers ; a 
 middling-fized plate, length- ways, from Rubens. 
 
 A nativity; a middling-fized upright pi. .e, from the fame painter. This 
 plate underwent feveral alterations, chiefly to add to the elfefl. The 
 firft imprefllons are without the addrefs of Corn. Coeb rchs ; the fecond 
 have the addrefs; after which the plate came into the hands of S. Bolfwerr, 
 who retouched it, and made it infinitely fuperior to what it had been. He 
 effaced the name of Coeberchs, and inferted his own. This print is diftin- 
 guifiiable by the great fhadows of the figures, which appear upon the wall. 
 
 The elevation of the crofs ; a large print, length-ways, on three plates, 
 after the fame painter. 
 
 Chriji with the two difciples at Emmaus ; a middling-fized plate, nearly 
 
 fquare. 
 
WOE [ 425 ] W A L 
 
 Iquare, from the fame. There are fome few imprefTions of this plate, with 
 the addition of a tint from a wooden block ; but thefe are very rare. 
 
 The ajfumption of the Virgin ; a large upright plate, from the fame. 
 
 St. Cecilia playing upon a harpficord; a middling- fized upright plate, from 
 the lame. This plate was afterwards retouched by Bolfwert. 
 
 He alfo engraved from Cornelius Schut and other mafters. 
 
 PETER W O E R I O T, or W O E I R I O T. 
 
 Flouriflied, 1550. 
 
 He was a native of Lorrain, and is faid to have been born at Barle Bue> 
 about 15 10. He refided at Lions, and was a goldfmith. He amufed 
 himfelf with the graver 5 and Ave have feveral prints by him, from his own 
 compofitions, very neatly executed. They are incorreftly drawn, and def- 
 titute of efFeft, from the lights being fcattered, and the maffes of fhadow 
 not fufficiently powerful : however, upon the whole, they are by no means 
 without merit. 
 
 Papillon affirms, that he was alfo an engraver on wood ; and that his 
 works of that fpecies are exceedingly numerous, and fuch as do him much 
 credit for their neatnefs, and the delicacy of the workmanfhip. He marked 
 his prints with a fort of double crofs, which Papillon calls la petite croix de 
 Lorrain, or the little crofs of Lorrain. This mark is copied upon the plate 
 at the end of the volume. 
 
 On copper I have feen, by Woeriot, Phalaris put into his own brazen hull; 
 a fmall upright plate. A woman with two children in her arms, cafting her- 
 Jelf on a funeral pile ; the fame, its companion. Two fmall landf capes, 
 length-ways, into which are introduced a prodigious number of figures. In 
 the one is reprefented a funeral oration ; and in the other two naked men 
 fighting, at the top of a funeral pile. According to Bafan, he alfo engraved 
 the cuts for a book, entitled, Pinax Iconicus antiquorum, ac variorum in fe- 
 pulturis rituum. The above-m.entioned platts were probably for this very 
 book. It was printed at Lions, 1556. 
 
 GEORGE ANDREA WOLFGANG. 
 
 Flourifhed, 
 
 He was a "native of Germany, and a goldfmith, who amufed himfelf with 
 the graver. We have feveral portraits by him, which have very little merit 
 to recommend them to the notice of the colleftor. 
 
 John George Wolfgang, grandfon to the preceding artill. He alfo 
 engraved a confiderable number of portraits. They are neater and better, 
 in every refpeft, than thofe of his grandfather. We have feveral prints by 
 him for a work, in folio, entitled, Notitia Univerfitatis Francofurtan^e, pub- 
 lifhed 1707. In the infcription upon thefe plates, he flyles himfelf Engra- 
 ver to the King. 
 
 VOL. II. 3 I Andrea 
 
W O L [ 426 ] W O L 
 
 Andrea Matthew Wolfgang, the brother of John George Wolfgang, 
 engraved portraits. 
 
 John George Wolfgang the younger, and Christian Wolfgang his 
 brother, of the fame family with the foregoing artifts were alfo engravers. 
 
 MICHAEL WOLGEMUT, or WOLGEMUTH. 
 Born, 1434. Died, 1519. 
 
 This celebrated artift was a native of Nuremberg;. He is faid to have 
 been inftrufled in the principles of painting and engraving by Jacob 
 Walch. The truth of this aflertion is exceedingly doubtful ; and I have 
 given my reafons to the contrary, under the article Walch. 
 
 Wolgemut was a man of genius. He engraved both on wood and on 
 copper; but his works on wood are far more numerous, and more generally 
 known, than thofe on copper. It is faid, that his mark was the letter W. 
 only ; and it is true, that we have a great number of prints marked with a 
 fimple W. but it is equally certain that they do not all, if any of them, be- 
 long to Wolgemut. I have already informed the reader in the account of 
 Wenceflaus, an ancient engraver on copper, and contemporary with Martin 
 Schoen, that he ufed the W. alone as a mark; and the greater part of his 
 works confift of copies from the engravings of other mafters ; and the fame 
 hand is eafily traced in all, or the far greater part of the prints fo marked ; 
 for which reafon one may fairly conclude that they are all the produftion of 
 one and the fame perfon. Belides, judging from the boldnefs and merit, 
 which appear in the engravings on wood by Wolgemut, together with the 
 originality of the defigns, we cannot eafily be led to conceive, that there 
 Ihould be that fervility, and laboured ftyle of execution (all of which fails of 
 producing a clear effeft) in his works on copper only ; for the prints, marked 
 with the W. are every way inferior to what might juftly have been expected 
 from the engraver of the Nuremberg Chronicle. 
 
 We have fome few excellent engravings on copper, executed about this 
 time ; thefe have much of that fpirited flyle in them which appears in the 
 wooden cuts of Wolgemut ; and they are marked with a W. furmounted by 
 a fmail o ; and thefe prints, I verily believe, are the produ6tions of his 
 graver. For this reafon I fhall defcribe the one following very particularly ; 
 and this may ferve as a fpecimen for all the reft. In the collefbion of Dr. 
 Monro, I found a very fine impreffion. It is ten inches and a half higli, 
 by feven inches and a half in width, and reprei'ents an old man Jeated in a 
 fraying fofture. He has a ftandard or flag, refting upon his left fhoulder, 
 and a book before him. Behind him is an armorial fhield, with three dif- 
 ferent bearings ; and, at the bottom, a cave with a gate before it. Above 
 the figure is a fcroU, upon wliich is written ; Sce Wilhelme Dvx Aoyj- 
 TAiNiE £T Comes Pictaviensis. The head of this figure is well drawn ; the 
 hands are marked in a Ipirited manner; the folds of the drapery are broad, 
 and boldly expreffed; and the whole is compofed in a ftyle which does much 
 honour to the artift. With refpcdt to the mechanical part, it is executed 
 5 with 
 
woo [ 427 1 woo 
 
 with the graver only, in a dark, clear ftyle j yet without formality, fo as to 
 have the effeft of a neat etching. 
 
 With refpecl to the works on wood by this matter, I need only inform 
 my reader, that he, conjointly with William Pleydenwurif, defigned and 
 engraved all the cuts for the large folio Chronicle, compiled by Herman 
 Schedel, and printed at Nuremberg, 1493, and ufually known by the ap- 
 pellation of the Nuremberg Chronicle. 
 
 It is no fmall addition to the honour of Wolgemut, that he was the tutor 
 of Albert Durer, a name fo greatly celebrated in the annals of engraving, 
 
 J. WOO D. 
 
 Flourilhed, 1740. 
 
 He was a native of England, and probably a difciple of Chatalain. H^ 
 refided in London, and engraved feveral landfcapes from Salvator Rofa, and 
 other matters, in a ftyle that does him much credit. 
 
 WOODMAN. 
 
 Flouriflied, 
 A name affixed to the portrait of Andrew Bruce of Exeter, after Jackfon. 
 
 WILLIAM WOOL LETT. 
 Born, 1735. Died, 1785. gj 
 
 Of all the fpecies of engraving which have been pradtifed, none lay 
 longer in obfcurity, or made more rapid fteps to perfection within our own 
 memory, than that of landfcapes. The old engravers had no idea of the 
 beauty and powerful nefs of effeft, which were to be produced by a union of 
 the point and the graver. The graver alone was infufficient for the talk j 
 and thofe produftions, which were viewed with admiration in former times, 
 are now confidered as very mean fpecimens of this beautiful branch of the art 
 of engraving. Indeed Bolfwert, without the affiftance of the point, went 
 greater lengths^ than any of his predeceflbrs ; but all his exertions fell 
 fhort, when compared with landfcapes of the prefent day. 
 
 It is in England, that landfcape engraving has been carried to the greateft 
 perfeftion ; and to whom do we owe more, than to the juftly celebrated ar- 
 tift, whofe works I am now confidering ? With refpeit to the grand and 
 fublime, if I may be allowed the terms in landfcapes, the whole world can- 
 not produce his equal ; and it was the peculiar happinefs of Wilfon, that his 
 beft piftures were put into the hands of this matter, who fo perfeftly well un- 
 derttood the intention of the painter, and cxpreffed the very fpirit of his ideas 
 upon the copper. Woollett, however, did not confine himfelf to landfcapes j 
 iie engraved \\\^oncd\ fnbje[ls d^nd. portraits with the greateft fuccefs. But I 
 need not enlarge upon this fubjeft; the extenfivenefs of his abilities is well 
 known; and his great merit fo univerfally acknowledged, as to render it 
 abfolutely needlefs. I ttiall only add the following charader of him^ drawn 
 
 3 I » lip 
 
*• W ' O R [ 428 J W O R 
 
 up by one of his friends, wliich is plain truth, without any unmerited pa- 
 negyric. " To fay that he was the firfl: artift in his profeffion, would be 
 " giving him his leafl: praife ; for he was a good man. Naturally modeft: 
 " and amiable in his difpofition, he never cenfured the works of others, 
 *' or omitted pointing out their merit. His patience under the continual 
 " torments of a moll dreadful diforder, upwards of nine months, was truly 
 " exemplary, and he died, as he had lived, at peace with all the world, in 
 *' which he never had an enemy. He left his family inconfolable for his 
 " death, and the public to lament the lofs of a man, whofe works (of which 
 " his unaflTuming temper never boafted) are an honour to his country." 
 
 Mr. WooUett was born at Maidftone in Kent, Augufl: 27, 1735. He 
 was inftruftcd in the art of engraving by Tinneyj and died May 23, 1785, 
 aged 50 years. 
 
 The following are among his moft capital engravings : 
 
 Niobe; a large plate, length-ways, from Willon. 
 
 Phaeton ; the fame, its companion, from the fame. 
 
 Celadon and Amelia ; the fame, from the fame. 
 
 Ceyx and Alcyone ; its companion, the fame. 
 
 Thefjljery ; the fame, from Wright. 
 
 The death of General Wolf ; the fame, from Weft. 
 
 The battle of the Boyne ; the fame, from the fame. 
 
 The portrait oi Rubens ; a fmall upright plate, from Vandyck. 
 
 THOMAS WORLIDGE. 
 
 Flourifhed, 1760. «, 
 
 He was a native of England, and was brought up as a painter; buc 
 not meeting with fulficient employment in that line, he applied himfelf to 
 engraving. He adopted a manner, greatly refembling that of Rembrandt, 
 and finifhed his plates with the point of the graver, or the fcratchings of 
 a dry point. He was a very ingenious man ; and his works have much 
 merit to recommend them. They are exceedingly numerous ; and yet he 
 could fcarcely live upon the money which they produced. Mr. Grofe 
 has obligingly favoured me with the following anecdote of Worlidge : 
 This artift," fays he, " particularly in the early part of his life, was a 
 literal obferver of the precept in fcripture, of taking no care for to- 
 morrow. He was a great epicure j and one day after he and his wife had 
 fafted for near four and twenty hours ; not out of devotion, but becaufe 
 they could not procure a dinner, he luckily found half a guinea ; on 
 which a difpute arofe, about the laying of it out. His wife advifed the 
 purchafe of fome beef fteaks, and a pair of fhoes, his toes appearing, 
 out of thofe he had on. But he rather chofe to expend it for a pint of 
 green peas, nearly the firft that had appeared at Covent Garden Market 
 that feafon." 
 
 He engraved a great variety of portraits ; the inftde of the Theatre at 
 Oxford, at the time of the commemoration, a large plate, length-ways ; and a 
 
 confiderable 
 
4 
 
 W O R [ 429 ] W It E 
 
 confiderable number of antique gems, fmall upright plates, a complete fet 
 of which are very valuable. His drawings in Indian ink and black-lead upon 
 vellum are alfo much efteemed. 
 
 ANTHONY VAN WORMS. 
 Flouriflied, 1530. 
 He was a native of Germany, and an ancient engraver on wood. His 
 works are in the Gothic ftyle; but by no means devoid of merit. He 
 marked his prints with an A. and a W. interfered by each other, in the 
 manner exprefled upon the plate, at the end of the volume. He is called 
 by fome authors Vuormace -, but Worms feems rather to have been his pro- 
 per name. 
 
 T. G. W O R N E R. 
 Flourilhed, 
 This name is affixed to a fmall upright etching, flightly executed, but 
 neat and full of colour. It reprefents Hercules and Minerva puttino- a 
 crown of laurel upon the head of an emperor. As the name of the artift 
 is followed by the word fecit, without any reference to the painter, we 
 may fairly conclude, that it was taken from a defign of his own. 
 
 G. W O U T E R S. 
 
 Flourilhed, 
 I have feen fome large views, in and about Rome, with fio-ures, exe- 
 cuted in a very fpirited and mafterly ftyle, refembling that of Callot. 
 They are infcribed, G. IVouters, Cavalier, del. etjculp. 
 
 PHILIP WOUVERMANS. 
 Born, 1620. Died, i663. 
 This celebrated painter of landfcapes, horfes, and animals of all kinds, 
 was a native of Haerlem, in which city he died, 1668. The great repu- 
 tation of this artift, and the valuablenefs of his works, are circumftances 
 which need not be repeated In this place. We have one, and only one, 
 etching by his hand ; it is a fmall upright plate, and reprefents a land- 
 Jcape ; in the midft of v/hich is a horfe, with a faddle upon his back. The 
 mafterly ftyle, in which this etching is executed, makes us lament that it 
 fhould be alone. 
 
 SIR CHRISTOPHER WREN. 
 Born, 1623. Died, 1732. 
 
 One of the greateft architefts this kingdom ever produced. His name 
 is mentioned in the prefent work, becaufe Mr. Grainger, in a note in the 
 fourth volume of his Biographical Hiftory of England, has this remark : 
 
 " It 
 
• 
 
 / 
 
 V U S [ 430 ] W Y N 
 
 " It flioulJ not be forgotten, that Sir Chriftopher Wren is faid to have 
 «< been the inventor of mezzotinto. It is certain," adds he, " that there 
 *f is a Black Moor's head by him, in a manner different from that of 
 " Prince Rupert," Had Sir Chriftopher Wren really been tlie inventor of 
 this art, we cannot fiippofe, that Evelyn, who was perfonally acquainted with 
 him, could have been totally filent on tliis matter, when he fpoke fo much 
 concerning the novelty of the invention, and complimented Prince Rupert 
 fo highly. 
 
 CHARLES LEWIS WUST. 
 Flourifhed, 1760. 
 
 This engraver was a native of Germany, We have, among otiier 
 prints by him, one reprefenting the jncrtyrdom of St. Bartholor,iew ; a 
 middling-fized upright plate, from Mattia Preti. It is neatly executed ; 
 but in a laboured, heavy ftyle, and by no means correflly drawn. 
 
 FRANCIS VANDEN WYNGARDE. 
 
 Flourifhed, 1640. 
 
 He was an engraver and printfeller, eftablilhed at Antwerp. His works 
 prove him to have been a man of abilities. They are flight, but fpinted 
 etchings, chiefly from Rubens. The outlines of his figures are often incor- 
 reft ; this deficiency excepted, his prints have much merit. I flaail 
 fpecify the few following only : 
 
 / A return from Egypt, in which the virgin is reprefented with a fir aw hat ; a 
 middling-fized plate, length-ways, from John Tiiomas. 
 
 Chrift appearing to Alary Magdalen ; a fmall upright plate, from Rubens. 
 
 A Bacchanal, wherein Bacchus is reprefented drinking from a cup, into which 
 a Bacchant is preffmg the juice of the grapes. The foreground is covered 
 with cups, and drinking veflels, &c. a middling-fized plate, length-ways, 
 from the fame painter. 
 
 'The nuptials of Peleus and Thetis ; a middling-fized plate, length-ways, 
 from the fame. 
 
 A dead Chrijl on the tomb -, fupported by the two Maries, and acco'mpanied by 
 angels ; a fmall plate, length- ways, from Vandyck. 
 
 A Flemifj merry-making, at the door of an alehoufe ; a middling-fized plate, 
 from Rubens. 
 
 He alfo engraved from Callot, Tcniers, and other mafters. 
 
 He often marked his plates with the initials, F. V. W. or F. V. W. 
 fecit^ 
 
 M- 
 
 PAUL 
 
X A V [ 431 ] y V E 
 
 X. 
 
 PAUL XAVIN. 
 
 Flouriflied, 
 
 HE, with Hubert Xavin his brother, are mentioned by Papillon, as 
 natives of Paris, and engravers on wood j but that author has made 
 no reference to their works. 
 
 Y. 
 
 Y A N U S. 
 Flouriflied, 
 
 ACCORDING to Papillon, he was an engraver on wood, and his 
 works are fpoke of by that author, as very delicately executed j but 
 none of them are fpecified. 
 
 NICHOLAS YEATES. 
 
 Flouriflied, 1680. 
 
 A very indifferent engraver. We have fome few portraits by him ; and, 
 
 among them, that of 6';r William Waller, in an oval, a fmall upright plate. 
 
 He alfo made a drawing of the principal Bantam Jmbajjador, from which 
 
 J. Collins engraved a plate. 
 
 PETER YVER. 
 
 Flourifhed, 1747. 
 He was a native of Ai?iflerdam. We have, among other things, foroe 
 few portraits by him. 
 
 J. ZAAL. 
 
Z A A I 43= ] Z A G 
 
 z. 
 
 J. Z A A L. 
 
 Flouriflied, 
 
 HE was a' Flemifli artift, and etched a large plate, length-ways, from 
 Snyders, reprefenting a hoar hunted by dogs. It is a flight, bold 
 etching, in the painters ftyle. The mafles of fhadow are broad and power- 
 ful; but the outlines are incorreft, and not fufficiently determined. 
 
 J. F. Z A B E L L O. 
 
 Flourifhed, 1546. 
 
 He is mentioned in the Abecedario, as a native of Bergma, and a cele- 
 brated defigner. The prints marked with a fingle die are attributed to him. 
 I have fpoken concerning the engravings, marked in this manner, in the 
 firft volume of this work, under the artift BartolomeoBeham. 
 
 A. Z A B E L L I. 
 
 Flouriflied, 1760. 
 The name of a modern artift, affixed to feveral fortrails. Sec. 
 
 ZACHT LEEVEN. See SAFT LEEVEN: 
 
 BERNARD Z IE C U. 
 
 Flourifhed, 
 
 We have by this artift a fet of ruins, etched, and neatly finifhed with the 
 graver, in a ftyle that does him great credit. They are fmall upright plates, 
 frona Jonas Umbach. 
 
 MATTHEW, or MARTIN ZAGEL. 
 
 Flourifhed, 1500. 
 
 He is alfo called by different authors Zatzinger, Zafinger, and Zinck. 
 He was of the German fchool ; and all that Gothic ftiffnefs, by which it is 
 ufua'lydiftinguifticd, appears in the works ofdiis artift. His compofitions are 
 very indifferent ; and his drawings are ftill worfe. The mechanical part o^ 
 his plates is neatly executed, but without the leaft tafte. It is proper to ob- 
 ferve, that this engraver worked in a very delicate ftyle ; his plates, of 
 courfe, would not ftand many good impreftions ; and after the plates are re- 
 touched, they appear exceedingly bad. It is neceffary to fee thofe that are 
 good, before an unprejudiced judgment can be formed of the merit of this 
 
 engraver 
 
Z A N [ 433 ] Z A N 
 
 engraver. It may indeed be faid, that it is the antiquity of his prints, 
 which ftamps the greateft value upon them. There is one thing, however, 
 which I ought not to omit mentioning, and that is, his knowledge in per- 
 fpeftive, which certainly was very extenfive j but this obfervation will only 
 hold good with refpeft to his latter engravings. 
 
 The following may be reckoned among his beft prints : 
 
 Solomon's idolatry-, a middling-fized upright plate, dated 1501. 
 
 A holy family, in which the Virgin is reprefented holding a cup, under the 
 Jpout of a fountain, to catch the water ; the fame, dated icoi. 
 
 The martyrdom of St. Catherine ; the fame. 
 
 St. Chriflopher ; a very fmall upright plate. 
 
 Aloverjeated in a landfcape, entertaining his mifirefs ; a fmall upright plate. 
 
 A lover and his miftrejs, inaroojn, emh'acing ; the fame, dated 1505, 
 
 A tournament reprefented in afreet ; a large plate, length-ways. 
 
 His mark is compofed of the initials, M. Z. formed in the Gothic ftyle. 
 
 Theodore Zagel, or Zaghel, an artift mentioned in the Abecedario, 
 as an engraver, who marked his prints with a T. and a Z. joined together, 
 in the manner reprefented upon the plate, at the end of the volume. A fmall 
 engraving of a woman with her back towards the fpeElator, is mentioned 
 as the work of this artift. This interpretation, however, of the monogram, is 
 not to be greatly depended upon. 
 
 BERNARD ZAN. 
 
 Flouriflied, 1571. 
 
 He is mentioned in the Abecedario as an engraver. He marked his 
 plates with the initial, B. Z. and ufually added the date. His works are 
 not fpecified. 
 
 POLIPHILE ZANCARLE. 
 
 Flouriflied, 
 
 Ac<?ording to Florent le Comte, he engraved twelve plates of antique 
 foliage, for friezes. 
 
 ANTONIO MARIA ZANETTI. 
 Born, Died, 1767, 
 
 This nobleman was a native of Venice, and celebrated, not only for the 
 curious cabbinet which he himfelf pofTelfcd, but alfo for his own works. 
 They confift of etchings and engravings on wood, in chiaro-fcuro, and 
 prove him to have been a man of great genius, and found judgment, 
 Affifted by his relation, Antonio Maria Zanetti the younger, and other 
 artifts, he engraved and publifhed a large number of prints, taken from 
 the drawings of Parmigiano, Raphael, and other great painters, which he 
 purchafed at the fale of the Arundelian colleftion. They are divided into 
 two fets ; and both together confift of eighty-nine prints on copper and 
 on wood, with the portrait of Zanetti, engraved by Faldoni, from a 
 
 VOL. II. J K painting 
 
Z A N [ 434 ] - Z A R 
 
 painting -by Rcfalbe, at the front of the work. In order to render this 
 colleflion the more valuable, he burnt the wooden blocks, from which the 
 chiaro-fcuro's were printed, and dcftroyed the copper- plates, after he had 
 taken off fuch a number of imprelTions, as he thought proper ; which, we 
 are informed, was by no m,eans very large. His mark, compofed of an 
 A. an M. and a Z. is copied on the plate at the end of the volume. He 
 refided fome fliort time in London, where he engraved a fet of twelve 
 Itudies, confifliiig of heads, figures, ISc. from his own defigns. Thefe 
 etchings are very fpirited, and do him great honour. 
 
 Mr. Grofe obliged me with the following anecdote concerning this artift. 
 Being one evening, with feveral of his friends, at a tavern in the Strand, he 
 fcratched a groupe of heads v/ith his fork upon a pewter plate, v/hich was 
 purchafed by fome of the company from the publican. I have, continues 
 he, heard this circumftance from feveral hands, and feen the print, faid to 
 have been taken from that plate ; but do not think the appearance jufti- 
 fies the ftory. He died at Venice, a. d. 1767, at a very advanced age. 
 
 JOHN BAPTIST ZANGRIUM. 
 
 Flourifhed, 1600. 
 He was a native of Louvain ; at leaft, he refided there, and publifhed, 
 at the commencement of the laft century, a book of dreffes, with this title: 
 Album Ainicorum habitihus Mulierum omnium Nationum Europa;. By tlie fide 
 of each figure is an ornamental mantle, with a helmet, and a blank left 
 for a coat of arms. They are neatly executed, but in a flight ftyle, and 
 without talle. The portraits of the Duke of Brabant, of IJabella Clara 
 Eugenia his dutchefs, and of Jujlius Lipfius, are at t!ie beginning of this 
 work, all of which feem to have been executed by the hand of Zangrium : 
 it was publiflied, a. d. 1602. 
 
 GIOVANNI BATISTA ZANI. 
 
 Flourifhed, 
 
 He was a native of Bologna, and a difciple of G. A. Sirani. The in- 
 tention of this artift v/as to form a coUeftion of etchings, from the piftures 
 of Tibaldi, and other great painters. He began with the Cloiflers of 
 St. Michael in Bofco, and completed the drawings for that purpofe. But 
 before the etchings were made, the artift died in the flower of his age. 
 
 GIOSEFFO ZARLATTI. 
 
 Flouriflied, 1750. 
 
 He was a native of Modena. We have by him feveral etchings, from 
 his own defigns, executed in a very fpirited and pleafing manner. 
 
 Z A T Z 1 N G E R. See Z A G E L. 
 
 4 
 
 D E 
 
ZEE- [ 435 ] Z E N ■ 
 
 D E Z E. 
 
 Flouri(hedj 
 The name of this artift is affixed to a fmall upright print, nearly fquarej 
 reprefenting Chrijl dead in the tomb, attended by an angel ; apparently from 
 his own defign. It is executed with the graver only, in a ftyle reprefenting 
 that of John Sadeler. 
 
 REYNIER ZEEMAN. 
 Flouriflied, 1650. 
 
 He was a native of Holland, and refided at Amfterdam. He excelled 
 in the painting of fhipping and fea views. We have a confiderable number 
 of bold, fpirited etchings by him, from his own defigns : among which are 
 the following : a fet of twelve fmall plates, length-ways, con^\^\ng oi Jhipping 
 andjea views; the figures, which are occafionally introduced, are executed in 
 a mafterly ftyle ; they were publifhed at Amfterdam. A fet of middling- 
 Hzed plates, length-ways, of the fea ports in Holland ; publiftied at Amfter- 
 dam. A fet of /ea ports, fmaller than the preceding ; publifhed at Amfter- 
 dam, and dated 1656. A fet of twelve middling-fized plates, length-ways, 
 of Jhipping ; publifhed by Ar. Tooker at London. 
 
 HERCULES ZEGHERS, or SEGERS. 
 
 Flourifhed, 
 " He engraved and printed landfcapes in colours, in a very fingular man- 
 " ner; not upon canvafs, as M. Defchamps has aflerted, but upon paper. 
 " His works are exceedingly rare." This article is taken from the Idee Ge- 
 nerale d'une ColleElion completle d'Eftampes, by Baron Heineken. I am not 
 acquainted with the works of this artift. 
 
 DOMINICO ZENCI. 
 
 Flourifhed, 1570. 
 He engraved in a ftyle, greatly refembling that of Marc de Ravenna, and 
 probably he might have been inftrufted in the fchool of that mafter. From 
 the want, however, of correftnefs of drawing, his works are very indifferent. 
 We have by him a kt of portraits, in quarto, and a frontifpiece ornamented 
 with figures. The title of this work runs thus, llluftrium Jurecoujidtorum- 
 Imagines. If I miftake not, this engraver was a native of Venice, at which 
 city he refided, and publifhed a confiderable number of prints, the works 
 of other artifts. 
 
 D. Z E N O N I. 
 
 Flouriihed, 1634. 
 
 He was a goldfmith, as he informs us himfelf, and engraved feme few 
 portraits. He worked occafionally with the point, but chiefly with the 
 graver only, in a neat, laboured ftyle. I.havefeen by him the portrait of 
 
 3 K 2 Henry 
 
Z E T [ 4S6 ] Z I N 
 
 Henry the Third of France, in a fmall oval, with an ornan:iental border, 
 from adefign of Iiis ownj it is infcribed Duce Zenoni Orefice f. 1634. 
 
 PAUL DE ZETTER. 
 
 Flouriflied, 1630. 
 
 He was a native of Hanover, as the infcriptions upon his prints inform 
 us. His engravings confifted chiefly of portraits, after his own defigns. 
 They are neatly executed j but have neither corrednefs of drawing, nor 
 fufRciency of tafte, to recommend them to the notice of the connoifTeur. 
 Specimens of his works are to be found in BoifTard's collecStion of portraits. 
 He often fignedhis plates with thefe initials, P. d. Z. fe. and with a P. and 
 Z. joined together. In the manner exprefled upon the plate, at the end of 
 the volume. 
 
 JOHN ZIARUKO. 
 Flourifhed, 
 
 He was a Polifli artift, and probably a painter. We have by him, etched 
 from his own defigns, the ceremofiies ujed at the coroiiaticn of Leivis the. 
 Xlllth of France. They confift of feveral large plates ; and are executed in 
 a very flight ftyle. 
 
 Z I L O T T I. 
 FlouriHied, 1730. 
 He was a native of Venice, and a landfcape painter. He alfo amufed 
 himfelf with the graver. We have feveral plates by him, confiftino- o{ -jiews 
 and landfcafes, from his own defigns, and from thofe of Simon Ma- 
 riefchi, &c. 
 
 Z I N C K. See Z A G E L. 
 
 ZING. 
 
 Flourifhed, 1760. 
 He was a native of Germany, and refided at Paris feveral years. After 
 which he went to Drefden, where he fettled. He was livinc^ at the time 
 Bafan publifhed his Diftionary of Engravers. Zing was a man of o-reat 
 abilities. His befl works are land/capes, which he executed in a flylej^'th'at 
 does great honour to his tafte ; not only for their neatnefs, but for the ao-ree- 
 ablenefs of their effeft. '^ 
 
 MICHAEL ZIN MERMAN. 
 
 Flourifhed, 1550. 
 -Me was, according to Papillon, a native of Vienna. That author fpeaks 
 of him as a painter, and an engraver on wood. He mentions a fpecimen of 
 his works, which is a large geographical chart, compoled often parts, which 
 join together ; being, when complete, four feet long by two feet and a half 
 high. It reprefents the kingdom ofHiwgaria, with the arms of the Provinces ; 
 
 and 
 
Z O C [ 437 ] Z U C 
 
 and was taken from a defign of Wolfgangus Lazius, M.D. Phyfician and 
 Hifloriographer to the Emperor Ferdinand the Firft, Papillon alfo informs 
 usj that it is a very fine performance, 
 
 GIOSEFFO ZOCCHI. 
 Flourifhed, 1760. 
 He was a native of Italy, and refided at Florence. He made drawings 
 of the mojl remarkable parts and buildings of that city ; and views of the koujes 
 of pleafure, belonging to the nobility in the environs, which he caufed to 
 be eno-raved; and formed the prints into feveral different fets. He etched 
 the figures, which were introduced into thefe prints, with his own hand, and 
 two entire plates for the laft kt. 
 
 DOMENICO ZOROTI. 
 
 Flouriflied, 
 He is mentioned by Florent le Comte, as an engraver o( portraits ; and, 
 if I underftand that author clearly, he refided in Germany ; but, from the 
 name, I lliould fuppofe him to have been a native of Italy, 
 
 JAQJJES ZUBERLEIN, or ZIBERLEIN. 
 
 Flouriflied, 1590. 
 He was a native of Tubingen in Germany, and a painter. He alfo en- 
 graved on wood a confiderable number of prints ,• and, among them, the 
 frontifpieccs for the Annals of Criifius, printed at Francfort, a. d. 1595. He 
 did not write his name at length; but ufed a monogram, compofed of an I. 
 and a Z. joined together, in the manner exprefled on the plate, at the end 
 of the volume, Befides that mark, he fometimes added a fmall vat or tub, 
 which, in German, is called Zubcr, or Zu'aCrlciUt 
 
 ANDREA ZUCCHI. 
 
 Flourifhed, 1720. 
 He was a native of Italy, and refided at Venice, where he engraved part 
 of the plates for a colleftion of prints, taken from the moft celebrated 
 pidtures in that city, confiftingin the wliole of 57 plates, which were pub- 
 liChed by Lovifa. He alfo engraved a fet of twelve plates, in fmall folio, 
 of Venetian habits. The works of this engraver do him very litde credit 
 as an arcift, 
 
 LORENZO ZUCCHI. 
 Flourifhed, 1730. 
 He was the fon of the preceding artift, and engraved feveral of the plates 
 for the collection of prints, from the piftures in the Drelden gallery. 
 
 Fracesco ZuccHi, the brother of Lorenzo Zucchi. He alfo engraved 
 
 feveral 
 
2 \V O t 438 ] Z Y L 
 
 feveral pktcs from the piftures in the Drefden gallery, for the fame col- 
 lection. • ■ 
 
 J. A N C K E R D E Z W O L U or Z W O T T. 
 
 Flourifhed, 1500. 
 
 This fingular artift appears to me to have been a difciple of Ifrael Van 
 Mecheln ; at leaft, he imitated very carefully his ftyle of engraving, and, 
 in fome inftances, not unfuccelsfuily. He feems to have been a native of 
 Germany,' and was probably a goldfmith. He worked chiefly from his 
 own compofitions. Thefe fufficiently demonftrate the poverty of his genius, 
 and the deficiency of his judgment. His figures are crowded together, 
 without the leail: confidcration, or attention to propriety; with refped to 
 contrail, or beauty of form, no fuch ideas feem ever to have entered his 
 head. Thefe dgfcds are rendered ftill more confpicuous, by the miferable 
 incorreftncis of his oudines. The drawing of the naked parts of the figures 
 is fcarcely better than what one often finds upon the flate of the fchool boy. 
 it is the neatnefs and antiquity of his producftions alone, that can poflibly 
 give the leaft value to them ; but as they are very fcarce, 1 fhall particularize 
 the follov;ing, all of them fi'om his own defigns : 
 
 The Virgin with the infant Chrift upon her lap, who is holding a crojs in his 
 hand; a middling-fized upright print. 
 
 ^he Virgin and Child., with Elizabeth Jeated holding a hook, accompanied by 
 two angels ; the fame. 
 
 Hhe wife mens offering ; the fame. 
 
 St. Chriflopher reprefcnted en horfeback, bearing the infant Chrift ; the fame. 
 
 Chrifi praying in the garden ; a large upright plate. 
 
 Qhrifi betrayed; the fame. 
 
 Chrifi crvxified between the two thieves -, the fame. 
 
 Chrifi carried to the grave ; the fame. 
 
 An attempt to reprefent a fkeleton. The worms are delineated as crawl- 
 ing about it ; and alcove is a figure of Mofes, with the two tables ; a mid- 
 dling- fized upright plate. 
 
 A. ZYLVELT, or ZYLVELDT. 
 
 Flouriflied, 
 
 He was a native of Holland. His works, though in general incorreftly 
 drawn, are not deftitute of merit. There is in them an attempt at imitating 
 the flight llyle of John Vifcher ; and, in fome inftances, he has been tolerably 
 fucceftful. We have by him a fet of fmall plates, length-v;ays, from F. 
 Lingelbach, x^^xtkriim^Jea ports, with galley flavcs, and other figures, occz- 
 fionally introduced. He alio engraved fome few portraits, and, among 
 them, is that of Cornelius Bojch, a fmall upright print, ^ from his own 
 drawing. * 
 
 TABLE 
 
ABLE I. 
 
 The Explanation of the Initial Letters ujed by the Engravers contained in 
 
 this Volume, 
 
 The firft Letter, when there are two Initials, if the fecond be not an S. or an F. is 
 ufually the Baptifmal Name ; the fecond Letter therefore muft be referred to, and often 
 the third, where there are three or more Letters. The firft Letters are placed as 
 nearly alphabetical under each general fecond Letter, as the nature of the Arrangement 
 would admit of. 
 
 Initial Marks omitted Table I. in the Firjl Volume, 
 
 D. B. The fuppofed mark of Solomon Bernard 
 
 L B. F. John Bonnart, fecit. 
 
 R. E. Renold Elftracke. 
 
 H, 
 
 B. 
 
 H 
 
 S. 
 
 E. 
 
 H. 
 
 E. 
 
 V.H. 
 
 E. 
 
 V. H. F. 
 
 H. 
 
 H. 
 
 HANS HOLE 
 
 H. 
 
 V.H. 
 
 L 
 
 D. H. 
 
 L. 
 
 H. 
 
 N 
 
 H. 
 
 P. 
 
 H. 
 
 S. 
 
 N. H. 
 
 W 
 
 . H. 
 
 A. 
 
 D.J. 
 
 A. 
 
 D. L F. 
 
 A 
 
 H. 
 
 } 
 
 B. L 
 
 Mark attributed to the elder Holbein. See the fecond Table. 
 John Van Huchtenberg fculpfit. See the fecond Table. 
 Elias Hainzelman. 
 
 Efaias Van Huls fecit. 
 
 Hans, or John Holbein the younger. Henry Hondius ufed the initials 
 
 H. H. 
 Hieronymus, or Jcrom Van Henfterg. 
 John Daniel Herz. 
 Lambert Hopfer. 
 Nicholas Hopfer. 
 Peter Hus. 
 Stephen Heller. 
 Wenceflaus Hollar. 
 
 L 
 
 J Antoine de Jacquart. 
 
 f Bartholomew Jamitzer, Balthazar Jenckel, ufed thefe initials ; but 
 J they are generally placed upon a fmall tablet, with the date, as 1568. 
 
 p J -J Chriftopher Jegher : he frequently added a fmall knife to thofe initials. 
 
 ' ■ > Chriftopher Jamitzer fometimes ufed thefe initials. Sse the fecond 
 
 3 Table. 
 G. L 
 G. D. L 
 K. D. L 
 K. 
 
 P. L Peter Iffelbourg. 
 
 W, L "Wenceflas Jamitzer. See alfo the fecond Table. 
 
 L. Lucas Jacobs of Leyden. See the fecond Table. 
 
 A. K. 
 
 > Gerard de Jode. 
 Pjy 'r \ Karel du Jardin. 
 
[ 440 ] 
 
 A K. 
 
 K. K. 
 
 i. Iv. 
 
 I. I. K. fculp. 
 L. K. 
 L. K. F. 
 L. K. A. F. 
 P. K. 
 W. K. 
 W. K. F. 
 W. K. A. F. 
 T. V. K. 
 T. V. K. fe. 
 
 K. 
 
 Andrea Kohl. 
 
 Eberhard Kiefer. 
 
 James Kerver, alfo Jaques Kobel. 
 
 John James Kleinfchmidt fculpfit. 
 
 7 Lucas Kilian, of Augfburg, fecit. Louis Krug ufed the initials L. K. 
 C divided by a cup or ewer. 
 
 } 
 
 Peter Kints. 
 
 Wolfgang Kilian, of Augfburg, fecit. See the fecond Table. 
 
 L. C. L 
 
 A. L. P. L 
 C. L. 
 C. P. L. 
 G. L, 
 
 G. L. F. 
 
 Giovanni Lo. 
 
 H. L. 
 
 H. V. L. 
 
 LL. 
 
 J. Lond. 
 
 J. Lender fe. 
 
 L. LL. F. 
 
 L. Lo. F. 
 
 Laur. Lol. 
 
 M. L. 
 
 N. L. 
 
 N. L. F. 
 
 P. D. L. 
 
 S. 
 
 S. F. 
 
 S. fecit. 
 
 Stephanas. 
 
 T. de 1. 
 
 > Theodore Van Keffel fecit. See the fecond Table. 
 
 L. 
 
 Gafper or Cafper Luyken. 
 
 G. Antonio Licinis Pordonone, inventor. 
 
 Claude Lombart. 
 
 Chriftian Philip Lindeman. 
 
 Gerard Laireffe. See the fecond Table. 
 
 p f Giovanni Lanfranco fecit. 
 
 Hans, or John Liefrinck. 
 
 H, van Lochom. 
 
 John Lievens ; alfo John Lightbodyj alfo John Luyken. 
 
 !■ John Van Londerfel feeit. 
 
 J 
 
 } 
 
 1 
 
 Laurentius, or Lorenzo Lolli fecit. 
 
 Michael Lucenfis. See the fecond Table. 
 
 Nicholas de Larmeffin. See the fecond Table. Nicholas LalTaeus 
 
 ufed both thefe marks. 
 Peter de Laer, called Baoiboccio. 
 
 Stephanus de Laulne fecit. 
 
 Thomas de Leeuw. 
 
 M. 
 
 M. 
 
 A.M. 
 
 B-M. AAA- «'■ 
 
 B. M. VVV. 
 CM. 
 
 C. Mel. 
 CI. Mell. 
 COR. MET. 
 
 D. M. F. 
 
 Matthew Merian. See the fecond Table. 
 
 }The mark attributed to Andrea Murano j but probably there never 
 was any engraver of that name. 
 
 5 Marks attributed to Bernard Malpucci. 
 
 1 Claude Mellan. The initials C. M. were alfo ufed by Conrad Meyer> 
 I and by Cofmo Mogali. 
 
 Cornelius Metenfis. 
 Daniel Manaler faciebat. 
 
 LM. 
 
[ 441 ] 
 
 I. M. 
 I. M. 
 T. V. M. 
 
 Ifrahel V. M. 
 Ifrahel V. M 
 tzu Boecholt. 
 T. M. 
 T. M. fculp. 
 
 A. V. 
 
 John Munier. 
 I All th 
 
 efe letters, formed in the ancient Gothic ftyle, are the marks of 
 Ifrahel Van Mecheln. 
 
 Theodore Matham fculpfit. 
 
 }Agoftino de Mufis of Venice, commonly called Agoftino Veneziano, 
 or, in Englilh, Aguftine the Venetian. 
 
 N. 
 
 N. F. 
 B. M. N. 
 P. N. fee. 
 P.Na. 
 P. Na. fee. 
 
 1 
 
 Michael Natalis faciebat. 
 Balthazer Meneius Nimecius. 
 
 > Peter Nagel fecit. See the fecond Table. 
 
 P. 
 
 A. P. S. 
 
 "1 Abbas Primaticcio fculpfit. The interpretation of thefe initials is a 
 J matter of fuppofition only. 
 
 AND. P. I Andrea Podefta, inven. et fecit. 
 
 g p ' ' ' 1 The fuppofed marks of Baptifta Parmenfis, the F. as ufual {landing 
 
 B. P. F. J for fecit. 
 
 B. P. ■) Giovanni Batifta Pittoni. He alfo figns his name at length in this 
 
 Batifta P. V. F. > manner, Tohannes Baptifta Pitonus Vicentinum fecit. 
 
 B. P. V.I. J -^ 
 
 BAL. SEN. Baldaffare Peruzzi. 
 
 £ p" Ellas Porzel. See the fecond Table. 
 
 Q_ p^ George Peham. 
 
 G. P. inv. et fecit. Gajeto Piccina. 
 
 I- P- "I John le Pautre. The initials I. P. were alfo ufed by John Percelles. 
 
 "I Lucas Pennis Romanus. See the fecond Table. 
 
 Leo Pallavicini faciebat. 
 Peter Perna. 
 
 I. le P. 
 L. P. 
 L. P. R. 
 L. P. f. 
 P.P. 
 S. P. 
 S. P. F. 
 
 T Stephen du Perac faciebat. Sylvius Pomarede ufed the fame initials. 
 
 H.Q, 
 
 G. D. L. Qi 
 
 R. 
 
 R. B. T. A. 
 
 RoBeTTA 
 
 ROBETA 
 
 VOL. II. 
 
 Hubert Quellinus. 
 
 Guiilaume, or William de la Quewellerie. 
 
 1 
 
 Marc da Ravenna. 
 Robetta. 
 
 R. 
 
 See the fecond Table. 
 
 3L 
 
 RVP. 
 
C 44^. ] 
 
 RVP. P. fecit. Prince Rupert. See the fecond Table. 
 
 C. R. Charles Remfhard. • - 
 
 C P F T 
 
 f' P r' F [ Guido Rheni Bononienfis faciebat. 
 
 I. R. John de Ram. 
 
 IIraJ: }j-MauroRovare. 
 
 L. R. Lubert Ruft 
 
 L. R. F. L. Richer fecit. 
 
 M. R. ' Matthew Ram. 
 
 p. R. P. Raefus. Paul Ritter alfo ufed the fame initials. 
 
 E" D^'l" r 1 Peter Rollos fecit. 
 
 P. Rol. fe. J 
 
 A. S. A. Sallarts. See the fecond Table. 
 
 B. S. Balthazer Silvius. 
 
 C. S. B. Charles Scrcta Bohemus. 
 C. N. S. Cornelius Nicholas Schurtz. 
 E. S. Elias Schafhaufer. 
 
 E. S. F. "[Elizabeth Sirani fecit. The initials S. F. I. profeffor Chrift reads 
 
 S. F. I. J Sirani Figlivola inventrice. 
 
 G. V. S. George Van Scheindel. 
 
 "1 Hans, or John Schroder, with the date 1601. Hercules Septimus ufed 
 
 "• ^- J the fame initials, and ufually added the date, as H. S. 1558. 
 
 J. S. John Saenredam. John Swelinck ufed the fame initials. 
 
 J g 1 Juit Sadeler. Alfo John Saenredam. Alfo John Stevens, with the 
 
 J date 1585. 
 
 L. S. Lambert Schwabe, or Suavius. 
 
 M. S. Mattheus SchafFnaburgcnfis. 
 
 M. V. S. Matthew Van Somer. 
 
 P. S. Peter Stent. ' \ 
 
 ^- |- I P. Saltzburger faciebat. 
 
 P. S. F. Pietro Stefanoni fecit. 
 
 P. S. de E. Peter Schubert de Ehrenberg. 
 
 P. L. S. Peter le Sueur the younger. 
 
 R, S. Raphael Sadeler. 
 
 V. S. Ventura Salimbini. Valentin Sezenius ufed the fame initials, 
 
 V. S. F. 
 
 V. S. I. F. i Vefpafiano inven. et fecit. 
 
 VES.ST.I.FE. 
 
 V. L. S. Vincent le Sueur. 
 
 W. S. V^illiam Swidde. 
 
 A. T. Anthony Tempefta. 
 
 Gio. Ma. T. Giovanni Maria Tamburino. 
 
 1. T. F. John Thufel. Jaques Trofchel ufed the fame initials. 
 
 M. T. 1 541. Martin Treu. 
 
 P. T. P. Trofchel. 
 
 ?. T. 1685. Pompilio Tito. 
 
 Phil. 
 
[ 443 ] 
 
 Phil. Th, Philip Thomaffin. 
 
 T. V. T. Theodore Van Thulden. 
 
 V. 
 
 Ilant fecit. 
 ^nea Vico. 
 
 B. V. F. Bernard Vaillant fecit 
 
 &. V. 
 
 E. V. )• 
 
 E. V. V. Efaias vanden Veldt. See the fecond Table. 
 
 F. V. F. Francefco Villamena fecit. See the fecond Table. 
 H. V. Henry Ulrich. 
 
 L. V, V. Lucas Van Uden. 
 
 W. 
 
 W. Wenceflaus. See the fecond Table. 
 
 . ■ .^ ■ r c Anthony Waterloo. See the fecond Table. 
 
 F.' V. W. 
 
 F. V. W. fecit. 
 
 HE. W. Hans, or John Weyer. 
 
 HI. W. -] 
 
 HI. W. F. ( . ,„. . 
 
 IHERONI- Hei-omW.enx. 
 
 V Francis Vanden Wyngaerde fecit. 
 
 MVS. W. f. 
 
 I. Wa. fe. Jaques Wagner fecit. 
 
 I W F. 1 
 
 I. H. W. F. J" J°^" Wierix. 
 
 IH. W.^. 17. John Warner. ' 
 
 N. W. Nicholas Welbronner. Nicholas Weyer ufed the fame initials. 
 
 S. W. Samuel Weifhun. 
 
 T.W 
 
 T. M. W. 
 
 } 
 
 Telman Van Wefel. 
 
 B. Z. Bernard Zan. 
 
 P. de Z. fee. Paul de Zetter fecit. See the fecond Table. 
 
 3L2 TABLE 
 
T A B L E II. *• 
 
 I'he Explanation of the Monograms, Cyphers, ^c. contained in the two 
 
 Plates annexed. 
 
 PLATE VIII. 
 
 The fix firft marks -were omitted in Plates of the jirfi Volume. 
 
 No. 
 
 1 50 Albert Altdorfer, tlie fecond mark. 
 
 I 5 1 Count Algarotti. 
 
 152 G. Van Breen. 
 
 153 This mark is attributed by Evelyn to Drufken, but by profeflbr Chiift to John Weyners. 
 
 154 Jojias Englijli. 
 J 5 5 Hani, or John GrunnvaU. 
 
 H. 
 
 C/ O UN T de HageJorn. 
 1 Marc Antonio Hannas, 
 
 3 John Halbeck. He alfo ufed a mark like that of Haym's, No. 5. 
 
 4 John Haver 
 r Nicolo Francefco Haym. Halbeck fometimes ufcdi a mark like this. 
 
 6 Cornelius HeviJJen. 
 
 7 Jaques Vander Heyden. Three marks. 
 
 8 Augujlin Hirfchfogel. ^J 
 
 9 Nicholas Hirfchfogel. 
 10 Melchifedeck Fan Hoeren. Two marks. 
 
 I I Ham, or John Holbein. Two marks. 
 
 1 2 Sigifmond Holbein. Two marks, 
 
 13 Elias Holl. 
 
 14 IVenccflaus Hollar Pragenfs. Two marks. 
 
 1 5 Jojl Hondius. 
 \b Henry Hondius. Two marks. 
 
 17 Gulielmus, or William Hondius. 
 
 18 David Hopfer. ^ 
 
 19 yevoOT Hopfer. 
 
 20 JVilliam Howard, Hollar ufed the fame mark. 
 
 31 Adrian Hubert. 
 
 .22 John Van Huchtenburg. 
 
 23 H. Hunt. '' Jt 
 
 ■24. Simon Huter. 
 
 J- 
 ft 
 
 3 5 Lucas Jacobs. ^ 
 
 26 ChriJlopher Jamitzcr, , | 
 
 27 JVenceJlaus Jamitzer. 
 
 38 H. ya/J^a. 
 
 39 Peter IJfelbourg. • 
 
 •JO Mathias Kager 
 
 01 ^T/jfii /ir ^nnn 
 
 32 
 
 Mathias Kager. 
 
 Hans, or John Kaldung. 
 
 Martin Kartarius. Two marks. 
 
 K. 
 
 33 Gfi)r 
 
jj-c I Si 'St 
 
 '5C 
 
 'i? I 
 
 7 8 9 
 
 
 /4 ''^ 't 17 '/ '9 2 i ^^- 
 
 mw rt W Hi (Bi DiH liH W W IVh 
 
 U as 
 
 QJ 2 4 3.5 1^ 'i- ^^ ij 3« 31 ^^- -^i 
 
 SS 2S 3/ 
 
 ^ik-^^'NK mikA 3'i A Q d..^ 
 
 4i 
 
 .42 43 
 
 ^-i 
 
 '^^ ^^ 
 
 ■i? 
 
 ''^ 49 ^0 jv -JJ -Ti 
 
 7^ DLM BE) l¥i R ^S^A^ i. bF fc1>LV( 
 
 -fa' 
 
 
 ^4 
 
 N Wm ud\ ^Cm }^i^M>M 
 
 
 70 1' 
 
 (ZVE. M 
 
 7/ 7^ 
 
 73 
 
 ?* 
 
 7S -J^ 
 
 ?r 
 
 'J\ 
 
 78 
 
 uv/y\r^ Bc^f -B" m^g:}v 
 
 Ivi 
 
 7-5 
 
 SI 
 
 33 
 
 'I'IROM "l-E.-ROM mm. M J CM ^l 
 
 J»4 
 
 9? 
 
 1 i"' 
 
 j[S> 
 
 /<>2. 
 
 '<>:? /.q. 
 
 -S^v /oa /«/ 
 
[ 445 ] 
 
 3 3 George Keller. Two marks. 
 
 34 James Kerver. Two marks. 
 
 35 Theodore f'an Kejfel. 
 
 36 M'^olfgang Kilian. 
 
 37 Hans, or John Klim, 
 
 38 ^c/ia Z7/rA- Kraus. 
 
 39 Louis Krug. 
 
 L. 
 
 40 Girard Lairejfe, Four marks. 
 
 41 Ahafucre de Landfeld. 
 
 42 A'^. ^e Larmejjin. 
 
 43 Michael Lafne. IMarcellus Lauron ufed the fame markt 
 
 44 Hans, or John Lautenfack. 
 
 45 Henry Lautenfaek. 
 
 46 Hans, or John Lederer. 
 
 47 J^l^es Lederlin, 
 
 48 PFilliam de Leemv. 
 
 49 Godfrey Leigel. 
 
 50 Hans, or John Van Linck. 
 
 51 Daniel Lmdenmacker, 
 
 52 i?fnc Lochon, 
 
 53 IVilliafn Lodge. 
 
 54 Peter Lombart, 
 
 55 y*^" ^''"* Londerfell. 
 
 56 Ahafuerus Fan Londerfell. Two marks, 
 
 57 Melchior Lorich. Two marks. > 
 
 58 Michael Lucenfts. ' 
 £9 Antonio Francefco Lucini, 
 
 • M. 
 
 60 Pi'/fr Maes. 
 
 61 Alexander Mair. 
 bl Paul Mair. 
 
 63 P/j;7// ^f Mallery. 
 
 64 Andrea Mantegna. 
 
 65 Peter Merchant. Two marks. 
 
 66 Jaques Matham. 
 
 67 Cornelius Matfys. See No. 70. 
 
 68 Clrrijlopher Maurear. Two marks. 
 
 69 Mattheiv Merian. Five marks. 
 
 70 Cornelius Metenfis. See No. 67. 
 
 7 1 yiytysA Metzker. 
 
 72 Andrea Meyer. Two marks. 
 
 73 Dirick Meyer. Three marks. 
 
 74 Rodolph Meyer. 
 
 7 5 Domenico Micarino, called Beccafumi. 
 
 76 Daniel Mignot. 
 
 77 Giofeffo Maria Mitelli. Two marks. 
 
 78 Hieronymus, or Jerom Mocetus. Two marks. 
 
 79 Nicoleto da Modena. Two marks. 
 
 80 Pf^cr Molyn. 
 
 8 1 P««/ Moreelfe. 
 
 82 Chrijiian Louis Moyaert, 
 
 83 Herman Midler. Four marks. 
 
 84 Agojlino de Mufis, called Augujline the Venetian. 
 
 85 Pt'/fr Myriginus. 
 
 86 AWa/. 
 
[ 446 ] 
 
 N 
 
 86 NaJat. 
 
 87 Peter Nagcl. 
 
 88 Michael Natalis. Two marks. 
 
 89 A mark on the plates of D. Nicole, 
 go Balthazer Mencius Nimecius. 
 
 91 Peter Nolpc, Two marks. 
 
 92 Mauro Odd'i. 
 
 93 MattheiK! Oejlereich. 
 
 94 y""^" Oliver. 
 
 95 Adrian Fan OJlade. Two marks. 
 
 o 
 
 96 H. L. Padtbrugge. 
 
 97 Jacopo Palma. 
 
 98 Agujlinus Parijittus. 
 
 99 Crijpin de Pajc. 
 
 1 00 lillliam dc Pajfe. 
 1 o I Simon de PaJfe. 
 
 102 Magdeknde Pajfc, 
 
 103 Bcrardino PaJJero, 
 
 104 HiJhelPen. 
 
 Two marksi 
 
 i 
 
 PLATE IX. 
 
 105 
 106 
 107 
 108 
 109 
 no 
 III 
 
 112 
 
 JI4 
 
 US 
 
 Lucas Pennis RomanifS. Four marks. 
 George Penz. Two marks. 
 5. Perjccouter. 
 
 Francois Pcrrier. Two marks. 
 John Perfn. 
 J. Pcrrifw!. 
 Alexis Pirnraum. 
 Martin Pkginck. 
 Martin Poeham. 
 Elias Porfel. 
 
 The fuppofed mark of Primaticcio, and according to Profeflbr Chrift is interpreted San 
 Martiao Bolognefe. He was Abbot of St. Martins. 
 
 1 16 Peter Stuart. Three marks. 
 
 1 1 7 Ifabella ^alre Pomme. 
 
 Q. 
 
 R 
 
 118 Marc Antonio Raimondi, Seven marks. 
 
 iig Marc da Ravenna. Two marks. 
 
 1 20 Faleriaii Regnard. This mark was alfo iifed by G. L. Valefio. 
 
 T2I VFendcl Reich. This mark was alfo ufed by William Rogers. See No. 127. 
 
 Guido Rhcni. Another monogram belonging to this artillis given No. 14.9, plate g, Vol. I. 
 
 '^. Reverdinus. Two marks. Rcverdinus alfo ufed a mark greatly refembling that of 
 Guide's, preceding No. 122. 
 124 F. A. Reuter. 
 
 4 125 Gin/eppe 
 
 122 
 1^3 
 
.'op >'° in "^ „. 
 
 M ^^^ (^M^ WFMhf M 
 
 _ci 
 
 Itjf liD ,21 '2J /24 '2r "-^ /2.7 
 
 Nasi ]M wi GiCi(Sr ^ ^ #f y^la w?- 
 
 /J2 
 
 '41 
 
 '42 ,4.J 
 
 /44 
 
 
 '4i- 
 
 '^^^ 
 
 .)^|/^ 
 
 '4 7 A 
 
 'A-y 
 
 'SO 'SI 
 
 isi. rsi 
 
 ISA- iss- 
 
 isC 
 
 
 ((f» 
 
 iS% 
 
 lis- 
 
 
 i.<f 
 
 '^T '^6 '^ 
 
 '^0 >7i <7i '^^ 'JL Y/ ii!( nr "T '7J> 
 
 180 
 
 191 
 
 '??• 
 
 J^fj (^%3 
 
 
 
 !SS le^ 
 
 1^0 
 
 ipi 
 
 I j2 ' jl-5 
 
 '^J- 
 
 /^(( 
 
 '8 7 
 
 l \/f 
 
 '^r 
 
 
 ^W 
 
 u>4 
 
 "^mcz^iKys OF oLohivce istbihi 
 
 yvA3 
 
 10 3 
 
 ao5 
 
 ^Mtf f4M#=*®^ + 
 
[ 447 ] 
 
 125 Gittfeppc Ribera, called Spagnohtto. Four marks. 
 
 126 GotthardRingd. 
 
 127 William Rogers. This mark was alfo ufed by Wendel Reich. 
 
 128 Chrijlian Romftet. 
 
 129 Salvator Rnfa, 
 
 130 Martin Rota. 
 
 131 Guido Ruggeri. Two marks. 
 
 132 Prince Rupert. 
 
 S. 
 
 133 JohnSadelcr. 
 
 134 John Sacnredam. Two marks. 
 
 135 Antonio Salamanca. Three marks. 
 
 136 A. Sallarts. 
 
 137 Andrea Salmincio. 
 
 138 P. Saltzburger. 
 
 139 Hugues Sambin. , /' 
 
 1 40 Lauren c e SauberlicL /^ g^/L/i^aJL^ -t/Cfl^ 
 '7 142 //. L.Scharer. I 
 
 143 Hans, or John Schaeujlein the elder. 
 
 1 44 Hans or John Schaciiflcin the younger. 
 
 145 A mark luppofed to be of an artiit related to the Schaeufleins. 
 
 1 46 Elias Schafhaufcr. 
 
 147 George Scharffenberg. 
 
 1 48 Gabriel Schncllbotz. 
 
 149 Martin Schoen. 
 I3O Bartholemy Schoen. 
 
 See Mo. J2i. 
 
 ^tet^yi uL/yt«-i^-<' 
 
 151 Erhart Schoen. 
 
 ibz 
 163 
 164 
 165 
 
 152 Hans, or John Henry Schoenfeild, 
 
 153 Hans, or John Frederic Schorer, 
 
 154 Martin de Seco. 
 1^5 Peter Serivouter. 
 
 156 Chrijlopher VanSichem. 
 
 157 Cornelius Van Sichem. 
 
 158 Karl Van Sichem. Two marks. 
 
 159 Virgil Solis. Four marks. 
 
 1 60 John Van Somer. 
 
 161 Diric Vander Staren. 
 Tobias Stimmer. 
 Chrijlopher Stim?ner. 
 Laurence Stoer. 
 Stolz, orStolzhirs. 
 
 166 Francis Stofs. 
 
 167 Peter Ic Sueur the elder. 
 
 168 Guillaume, or IVdliam Sivaneniurg. 
 1 6g Herman Van Sivanevelt. 
 
 170 Antonio Tcmpejia. Four marks. 
 
 171 Da'vid Teniers the younger. 
 
 172 Peter Tefta Lucchefe, 
 
 173 MofesThim. 
 
 174 John James Thourneyfer. 
 171; Martin Treu. 
 
 176 Hans, or John Trofchcl, 
 
 177 Andrea Trojl. 
 
 178 Bartolomeo Tutiani. 
 
 Y 
 
 ^a 
 
 tovannt 
 
C 448 ] 
 
 V. 
 
 179 Giovanni Luig! Valefio. 
 
 180 Efaias I'^anckn Veldt. 
 
 181 Giulio Ccfarc Volenti. Two marks, 
 
 182 Francis Vdlamcna. 
 18^ David Finckenbooms. 
 
 1 84 Clans, or Nicholas ViJJcber. 
 
 185 John George Van Vlict. Two monograms. 
 J 86 John Ulric. 
 
 187 Henry Vnghttr. 
 
 188 Lucas Vorjh'rman. 
 
 189 Lucas Da Urbino. 
 
 w 
 
 1 90 Hans, or John Erhard IVagner. 
 
 191 Jacob IValch. « 
 19a Anthony Waterloo. 
 igj Jerom Wierix. 
 
 194 Wenccjlaus. The whole infcription, which this artifthas affixed to the plate of the Death 
 
 of the Virgin, is copied, and placed in the middle of the next line, for the want of room 
 in its proper llation. 
 
 195 Gabriel Wcyer. Two marks. 
 Woeiriot. See No. 205 below. 
 
 1 96 Michael Wolgemut. 
 
 197 Anth'ony Van JVornu. Three marks. 
 
 198 J.F. Zabello. 
 
 199 Martin Zagcl. Two marks. 
 
 200 Theodore Z.agel. 
 
 201 Antonio Maria Zanetti. 
 
 202 Paulde Zetter. 
 
 203 JaqiiesZuberlcin. 
 
 204 J. Anker dc Zivoll. 
 
 20: The mark which Peter Woeiriot affixed to his engravings on wood. 
 
 TABLE 
 
B 
 
 III. 
 
 A Chronological Lift of the ■principal Engravers, and Juch of their Scholars as 
 are certainly known. 'Thofe Painters, who etched two or three Plates for their 
 Jmufement only, are omitted ; but thofe are mentioned, whofe IVorks are either 
 very valuable, or very confiderable in Number. 
 
 1450 
 
 J. 
 
 ORG Schapff. 
 
 Francis Van Stofs 
 1460 Martin Sdioen. 
 
 Tomafo Finiguerra. 
 
 Barthelemy Schoen.. 
 1470 Sandro Botticelli. 
 
 Baccio Baldini. 
 1480 lirael Van Mecheln. 
 
 V/encellaus ; a reputed dijcifh of Martin 
 Schoen. 
 
 Antonio PoUajole. 
 
 Andrea Mantegna. 
 
 John Schnitzer. 
 
 Jacob Walch. 
 1490 William PleydenwurfF. 
 
 Michael Wolgemut ; the majler of 
 Albert Burer.^ 
 
 Francis Van Bocholt. 
 
 Mair. 
 
 Jerom Bofche. 
 1500 Giovanni Antonio Brixienfis^ 
 
 Giovanni Maria Brixienfis.- 
 
 Benedetto Montegna. 
 
 Ugo da Carpi. 
 
 Albert Diirer^ 
 
 Martin Zagel. 
 
 Anker de Zwoll. 
 
 Marc Antonio Raimondi. 
 
 Hans, or John Holbein the elder. 
 
 Sigifmond Holbein. 
 1510 Lucas Jacobs of Leyden. 
 
 Albert Altdorfer ; a reputed difciple of 
 Albert Diirer. 
 
 Albert Glockenton. 
 
 Van Gamperlin. 
 
 Agoftino de Mufis ; a difciple of Marc 
 Antotiio. 
 
 Jerom Mocetus. 
 
 Nicoletto da Modena. 
 
 Robetta. 
 
 Hans, or John Kaldung. 
 
 Louis Krug. 
 
 Giulio Campagnola. 
 
 Domenico Campagnola. 
 
 Hpsns, or John Burgkmair ; a difciple of 
 Albert, Durer. 
 
 Philip Adler, 
 
 VOL. II. 3 
 
 1520 Henry Aldegrever ; a reputed difciple of 
 
 Albert Durcr. 
 Hiftel Pen. 
 
 Francefco Mazzuoli, called Parmigiano. 
 Domenico Micarino, called Beccafumi. 
 Baldaflare Peruzzi. 
 Marc da Ravenna ; a difciple of Marc 
 
 Antonio. 
 Giovanni Giacomo de Caraglio ; difciple 
 
 of Marc Antonio. 
 James Bink ; a difciple of Marc Antonio, 
 Luca Cranach. 
 1530 Erhart Schoen.. 
 David Hopfer. 
 Jerom Hopfer. 
 Lambert Hopfer. 
 Nicholas Hopfer. 
 Giulio Bonaloni j a itifciple of Marc 
 
 Antonio, 
 Hans, or John Holbein the younger. 
 George Penz ; fcholar of Marc Antonio^ 
 Giovanni Batilla Ghifi of Mantua. 
 1540 Titiano Vecelli. 
 
 Hans, or John Sebald Beham 
 Barthelemy Beham ; a reputed difciple of 
 
 Marc Antonio. 
 Hans, or John Schaeuflein. 
 Baptilla Franca. 
 Martin Treu. 
 Cornelius Metenfis. 
 Dirick Vander Staren. 
 Vitus Rodolph Speftle. 
 Lambert Schvvabe. 
 Cornelius Bus. 
 Hans, or John Brofamer. 
 Auguftin Herfchfogel. 
 Leon Daven. 
 1550 John Ulric. 
 
 Martin Hemflterck. 
 
 Virgil Soils. 
 
 Luca Penni. 
 
 Enea Vico ; a difciple of Marc Antonit^ 
 
 Antonio da Trento. 
 
 Nicolo Beatrici. 
 
 Cornelius Matfys, 
 
 Adrian Collaert. 
 
 Paolo Farinato, 
 
 ^':: 
 
 M 
 
 1550 Orazio 
 
I 450 ] 
 
 ■1550 Orazio Frarinato ; fon ami difclph of 
 
 Paolo Farinato. 
 Giovanni Niccola Rofliliani. 
 Antonio Abacco. 
 4,560 Adam Ghifi of Mantua. 
 Diana Ghif: of Mantua. 
 Georgio Ghifi of Mantua. 
 Melchior Lorich. 
 Batifta del Moro. 
 Domenico Pellemno Tibaldi. 
 Martino Rota. ^ 
 Simon Huter. 
 i-cjo Cornelius Cort. 
 
 Giovanni Batitta Cavaleriis. 
 Stephen de I.aulne. 
 •Hans, or John Colbert. 
 Solomon bernard. 
 Abraham de Bruin. 
 Giacomo Batifta Fontana. 
 Dirick Cuerenhert. 
 Peter Furnius. 
 John Wierix. 
 Jerom Wierix. 
 ^ Anthony Wierix. 
 
 Hubert GoltEius. 
 1580 Julius Goltzius. 
 
 Henry Goltzius; the dlfcipk of Cueren- 
 hert. 
 Raphael Sadcler the elder. 
 John Sadeler. 
 Bernadino Paflero. 
 Frederico Baroccio. 
 Michael Coxis. 
 
 John Theodore de Brye. 
 
 Ahafuerus Van Londerfel. 
 
 Hans, or John Bol. 
 
 Nicholas de la Ca'a. 
 
 Giofeffo Scolari. 
 
 Gilbert A'een. 
 
 Matthew Grcuter. 
 
 Thomas de Leu. 
 1590 Joft Ammon. 
 
 Tobias Stimmer, 
 
 Chriftopher Stimmer, 
 
 Francefco Vanni. 
 
 Cefare Vecelli. 
 
 Lodovico Carracci. 
 
 Agoftino Carracci ; dijciple ef Cornelius 
 Cort. 
 
 Annibale Carracci. 
 
 Raffael Gnidi. 
 
 Albert Flamen. 
 
 Giacomo Franco. 
 
 Gilles Sadeler. 
 
 Herman MuUer; dijciple ef Henry 
 Goltzius. 
 
 1590 Jaquea de Ghej'n ; a df^lple of Henry 
 
 Goltzius. 
 Cherubin Albert. 
 1600 Philip Galle. 
 
 Cornelius Galle. 
 Theodore Galle. 
 Raphael Sadeler the younger. 
 Jurt Sadeler. 
 Anthony Waterloo. 
 Francefco Villamena. 
 John Muller ; dijciple of Henry Goltzius-. 
 Jaques Macham ; dlfcipk of H.GoUzlus. 
 John Saenredam ; difciple of H.Goltzius. 
 Vefpaniano Strada. 
 Jacopo Palma. 
 James de Bye. 
 Charles de Mallery. 
 Camillo Procaccini. 
 Lodovico Cardi. 
 Philip Thomaflin. 
 John Van Londerfell. 
 Ventura Salimbini. 
 
 Jaques Grandhomme ; fcholar of Theo- 
 dore de Bryc. 
 David Vinckenbooms. 
 Nicholas de Bruin. 
 Giovanni Eatifta Galeftrucci. 
 Leonardo Parafoli Norfino. 
 Giovanni Maggi. 
 Barbara Vanden Broeck. 
 Claus, or Nicholas John Viflcher. 
 Nicholas Hilliard. 
 1610 Sillo Badalocchio. 
 Francefco Brizio. 
 Bartholomew Spranger. 
 
 Guido Reni. 
 
 Andrea Andreani. 
 
 Raphael Scaminofli. 
 
 Lucas Ciamberlano. 
 
 Remegio Cantagallini. 
 
 Antonio Tempeila. 
 
 Giovanni Batifta Pafqnalino, 
 
 Crifpin de Fafle the elder. 
 
 Sir Peter Paul Rubens. 
 
 John Glaxiber. 
 
 Henry Goudt. 
 
 Lucas Kilian. 
 
 Chriftopher Switzer. 
 1620 Abraham Bloemart. 
 
 Frederic Bloemart. 
 
 Cornelius Bloemart. 
 
 John Ammon. 
 
 Paul Moreelfe. 
 
 George Lallemand. 
 
 Louis Bufmck. 
 
 John Theodore de Brj'e the younger ; 
 fon and difciple of Theodore de Brye 
 the elder. 
 
 1620 John 
 
[ 45' ] 
 
 tSzO John Ifrael de Bryc ; the fame. 1630 
 
 James Callot ; dlfdfe of R. Caitta- 
 
 gallini. 
 Edward Ecgman. 
 
 Peter de Jode the elder; dfdple of 
 Goltzius. 
 ■ Wolfgang Kllian. 
 
 Ciifpin de Paffe the younger ; >« and 104° 
 
 dfclpk of Crifpin de Paffe the elder. 
 Simon de PaiVe ; the fame. 
 William de Pafle ; the fame. 
 iMagdalen de Paffe ; the fame.. 
 Adrian Van Oftade. 
 John Vanden Veldt. 
 G. VanBreen. 
 Leonard Gaulter. 
 Giovanni Batifta Mercati. 
 John Frederic Greater. 
 Simon Cantavini ; dfdple of Guido^ 
 William Van Nieulant. 
 Ottavio Leoni. 
 John Valdon 
 A. Sallarts.. 
 Mattheus. 
 Ottomar EUiger, 
 Ifaac iVIaior. 
 
 Boetiiis Adam a Bolfwert. 
 Scheltius a Boliwert, 
 Paul Pontius. 
 Claude Mellan. 
 John le Clerc. 
 Peter Vander Borcht. 
 Sir Anthony Vandyck. 
 ^630 Solomon Savery. 
 
 Giovanni Batifta Vanni. 
 
 Giufeppe Ribera, called Spagnoletto. 
 
 Bartolomeo Coriolano. 
 
 Giovanni Lanfranco. 
 
 Odoardo Fialetti. „ ^, , 
 
 Matthew Merian ; dlfiph of Theodore 
 
 de Brye the elder. 
 Lucas Vorfterman. ^ a-i j ,firr> 
 
 Frederic Hulfe ; dfdple of Theodore 1650 
 
 de Brye the elder. 
 Theodore Matham ; fon and difiple oj 
 
 Jaqttcs Matham. 
 Oliviero Gatti. 
 John Baptifta Barbe. 
 Jaques Stella. , t. 1 
 
 William Panneels, dfdple of Rubens.- 
 William Hondius. 
 Fietro Tefta. 
 Bernardino Capitellii 
 Lucas Vaa Uden. 
 SebaftianFurck. 
 James Neeff. 
 Marinus. 
 Abraham Boffc. 
 
 •1 M »-■ 
 
 John Payne, difdfk ofShHon Paffe. _ 
 John Lenfant, dfdple of Claude Melu.ti, 
 Matthew Van Plattenberg. 
 Cornelius Schut. 
 Thomas Cecil. 
 G. Glover. 
 Peter Soutman. 
 Peter Nolpe. 
 Paul Potter. 
 Chriftopher Jegher. 
 Anthony Vander Does. 
 Alefandro Algardi, 
 Francis Perrier. 
 Charles David. 
 Jerom David. 
 Peter Quaft. 
 John Lievens.. 
 John Both. 
 Andrea Both 
 Jaques Jordaens. 
 Cornelius Galle the younger. ■■ 
 Nicholas Berchem. 
 Cornelius Viffcher. 
 John Viffcher. 
 Gabrielle Perelle. 
 Simon Friiius. 
 
 Jonas Suyderhoef, dfdple of Peter 
 Soutman. 
 
 John Louis, ylfdple of Peter Soutman. 
 
 John Van Vliet. 
 
 John Fytt. 
 
 John Miel. 
 
 William James Delft.- 
 
 John William Baur. 
 
 Cornelius Van Dalen. 
 
 Peter Daret. ■ 
 
 Francis Colignon. 
 
 John Plcart. 
 
 Laurence de la Hyre. 
 
 Stefano de la Bella. 
 
 John Jofeph Van Goyen, 
 
 Francis Van Wyngarde. 
 
 Lorenzo Loli, dfdple of Guido. 
 
 Giovanni Andrea Sirani, dfdple of 
 Guido. 
 
 Nicholas Van Plattenberg. 
 
 Karl Audran. 
 
 Clement Amnion, dljdple of Theodore 
 de Brye. 
 
 Bartolomeo Bifcaino. 
 
 Bartholomew Breenberg. 
 
 Rembrandt Gerretfz Van Ryn, 
 
 Claude Vignon. 
 Rene Boivin. 
 Ifrael Henriet. 
 Pietro Francefco Mola. • 
 Michael Natalis. 
 Michael Lalhe, 
 
 1650 Joha 
 
[ 45^ ] 
 
 1650 5oh»S''"^*"g^''* 
 
 James Lutma. 
 
 Janus Lutrna. 
 
 Ferdinand Bol. 
 
 Wencetlaus Hollar, difcifk of Matthciv 
 
 Merian 
 Theodore Vati Keflel. 
 Trince Rupert. 
 Reyner Zeeman. 
 Rene Lochon. 
 Regnier do I'erfyn, 
 Nicholas Chaperon. 
 D. Stoop. 
 
 PetcT Van Laer, called Bamboccio. 
 Salvator Rofa. 
 Girolamo Roll. 
 Simon Guilain. 
 John Oliver. 
 Nicholas Lauwers. 
 Nicholas Regneffon. 
 VxzncdMdeYo'iWy, di/ciplc of Peter Darct, 
 Michael Dorigny. 
 Hubert Quellinus. 
 John Vander Hecke. 
 Cornelius Van Caukerken, 
 i66o Robert Nanteuil. 
 Francois Spierre. 
 Nicholas Loir. 
 
 Alexis Loir. 
 
 Theodore Van Thulden. 
 
 Herman Van Swanevelt. 
 
 Elizabeth Sirani. 
 • John le Pautre. 
 
 Orazio Borgiani. 
 
 Carlo Cefio. 
 
 Charles de la Haye. 
 
 Jakob Ruyfdaal. 
 
 Roland Rogman. 
 
 Daniel Rabel. 
 
 Giovanni Francefco Grimaldi. 
 
 Giulio Carpione. 
 
 Giovanni Batifta Bolognini, Afciph of 
 Guido. 
 
 Luigi Scaramuccia, difiipk of Guido, 
 
 Giovanni Benedetto Caftiglione. 
 
 John Kendrick Roos. 
 
 Abraham Genoels. 
 
 Albert Everdingen. 
 
 William de Leeinv, dflple of Peter 
 Soutman. 
 
 R. Gaywood, dfipk of IF. Hollar. 
 
 Sebaftian Bourdon. 
 
 John de Bifchop. 
 
 Alexander Mair. 
 Jacob de Sandrart. 
 
 Nicholas Cochin, 
 
 Giovanni Batifta Falda. 
 
 Remoldus Eyuhouedts. 
 
 1660 Peter Lombard. .. . ^ 
 
 Nicholas Pitau. 
 William Lodge. 
 
 John Morin. . ' ' 
 
 Jeremiah Falck. 
 Danker Dankers. 
 Karel du Jardin. 
 Francois Tortebat. 
 John Hackaert. 
 Marc de Bye. 
 
 John Louis Roullet, dfciple of Lei f ant 
 and F. de PoiUy. 
 1670 Pietro Same Bartoli. 
 
 Peter Vander Bank, difciple of Fran- 
 cois de^'oiUy. 
 Peter Clouet, difciple of Cornelius 
 
 Bloemart. 
 Albert Clouet, difipleof C. Bloemart, 
 Claudine Bonfonnet Stella. 
 Antoinette Boufonnet Stella. 
 Ifrael Silveftre. 
 Peter Van Schuppen. 
 Anthony Maflbn. 
 Claude Gelee. 
 Jacinto Gemignano. 
 John Peine. 
 William Chateau. 
 Gilles Rouflelet. 
 John Papillon. 
 
 Jaques Roufleau. 
 
 John Verkolie. 
 
 Abraham Bloteling. 
 
 Girard Aiidran. 
 J 680 Domenico Maria Fontana. 
 
 Jofeph Roli. 
 
 David Teniers. 
 
 Henry Snyers. 
 
 John Langlois. 
 
 Pietro del Po. 
 
 John Jacob de Sandrart. 
 
 Raymond le Fage. 
 
 Philip Kilian. 
 
 Bjirtholomew Kilian. 
 
 William Faithorn, the elder. 
 
 William Faithorne, the younger. 
 
 Girard Edelinck. 
 
 John Edelinck. 
 
 Benoit Audran. 
 
 Peter Simon. 
 
 Girard John Baptift Scotin, difciple of 
 Francois Poilly. 
 
 Elias Hainzelman difciple ofF. Poilly. 
 
 Cefare Fantetti. 
 
 Simon Thomallin. 
 
 Louis Chaftillon. 
 
 Luca Giordano. 
 
 Theodore Maes. 
 
 James Bellange. 
 
 1680 Jofeph 
 
 i 
 
 \ 
 
 I 
 
[ 453 ] 
 
 x68o Jofeph Parrocel. 
 
 David Loggan. 
 
 Robert White, difdfe of DavlJ Loggan. 
 
 Liitterel. 
 
 Roman de Hooghe. 
 
 John Baptift Monnoyer. 
 
 Valentine le Febure. 
 
 Adrian Vander Cabel. 
 1690 Carl Guftavus ab Amling, di/ciph of 
 Francois de PoUly. 
 
 Cornelius Vermeul en. 
 
 Stephen Baudet. 
 
 Melchior Kuffel. 
 1700 Chrillopher Weigel, 
 
 John Baptift de Poilly,yon anddifciph of 
 Francois de Poilly. 
 
 Sebaftian Le Clerc. 
 
 Girard Lairefle. 
 
 Benoit Audran. 
 
 Peter Drevet, the elder. 
 
 Gafper du Change. 
 
 Peter Picart. 
 
 Benoit Fariat, difclph of Wldliam 
 Chatteau. 
 
 Chas. Simoneau, difciple ofW. Chateau, 
 
 Lewis du Guernier, difciple of ChaJlUlon. 
 
 Louis Cheron. 
 
 Elizabeth Sophia Cheron. 
 
 Michael Corneille. 
 
 Peter Le Sueur. 
 
 Francefco Faraone Aquila. 
 
 Pietro Aquila. 
 
 Carlo Maratti. 
 
 Giofeffo Maria Mitelli. 
 
 Luca Carlevarius. 
 
 Pietro da Petri. 
 
 Francefco Antonio Meloni. 
 
 Giovanni Girolamo Frezza. 
 
 Pietro Leone Ghezzi. 
 
 Nicholas Henry Tardieu. 
 
 Nicholas Verkolie. 
 
 John Luyken. 
 
 Peter Molyn. 
 
 Maria Sibylla Merian. 
 
 John Vander Heyden. 
 
 H. L. Padtbrugge. 
 
 Francis Barlow. 
 
 John Griffier. 
 
 John Smith. 
 
 Michael Vandergucht. 
 1710 Marco Ricci. 
 
 John Van Huchtenburg. 
 
 Jaques Van Helmont. 
 
 John Ulric Kraus. 
 
 Claude du Flos. 
 
 Claude Gillot. 
 
 Anthony Coypel. 
 
 Louis Surrugue. 
 
 Louis Simoneau. 
 
 1 7 1 o Stephen Jeauret, 
 
 Francis Place. 
 
 John Faber, the elder, 
 
 Bernard Lens. 
 
 Peter Van Gunft. 
 
 Claude du Bole. 
 1720 Abraham Rademaker. 
 
 Andrea Procaccini. 
 
 Anthony Rival z ; difciple of Le Fage. 
 
 Peter Drevet, the younger ; fon and 
 difciple of the elder Drevet. 
 
 Simon Valee ; difciple of the elder Drevet. 
 
 Bernard Picart ; fon and difciple of 
 Peter Picart. 
 
 John Mariette. 
 
 Nicholas Dorigny. 
 
 Louis Des Places. 
 
 Ifaac Moucheron. 
 
 John Hauflard. 
 
 John Rigaud. 
 
 Henry Simon Thomaflin. 
 
 Philip Rugendas. 
 
 Robert Van Audenaerd. 
 
 John Faber, the younger. 
 
 Matthew Pool. 
 
 Wolfgang Philip Kilian, 
 
 J. Wandelaar. y « 
 
 Simon Gribelin. 
 
 George White; fon and pupil of Robert 
 White. 
 *73° John Audran. 
 
 Peter Rotari. 
 
 John James Frey. 
 
 Francis Pilfen ; difciple of Robert Van. 
 Audenaerd. 
 
 Edme Jeauret. 
 
 John Baptift Ondry, 
 
 John Raymond. 
 
 Peter Gualter. 
 
 Bernard Lepicie. 
 
 Nicholas Larmeffin. 
 
 Francois Chereau. 
 
 James Chereau. 
 
 Count de Caylui. 
 
 Charles Dupuis. 
 
 Frederic Hortmels. 
 
 Jacob Mannl. 
 
 Jacob Houbraken. 
 
 George Vertue. 
 
 James Chriftopher le Blond, 
 
 John Vandergucht. 
 1740 Henry Gravelot. 
 
 J. B. Chatelain, 
 
 Count Hagedorn. 
 
 Charles Nicholas Cochin. 
 
 J. B. JackfoQ. 
 
 Arthur Pond. 
 1753 Philip Andrea Kilian, 
 
 J. Baptift Papillon. 
 
 1750 Matthew 
 
[ 454 3 
 
 J 7 5© Matthew Oeftereieli. 
 Peter Aveline. 
 John Philip le Bas. 
 John Moyreau. 
 James Mac Ardel. 
 John Jofeph Balechou. 
 pavid Sornitjue. 
 Giovanni Batifta Tiepolo, 
 Francois Joullain. 
 . Nixon. 
 
 Claude Donet Jardenier. 
 
 Rooker. 
 
 Simon Francois Ravenet. 
 Francois Vivares. 
 William Hogarth. 
 George Knapton, 
 Giovanni Domenico Tiepolo, 
 Domenico Maria Canuti, 
 Antonio Maria Zanetti. 
 Louis Lempereur.. 
 John DauUct 
 
 ijrjo Francois Chauveau, 
 
 Stephen Feflard. 
 
 Des Marteau. 
 
 Jaques Nicholas Tardieu. 
 
 Francois Edward Weiroter, 
 
 Laurence Cars, 
 
 Stephen Ficquet. 
 # John Godfrid Haid. 
 
 John Elias Ridenger. 
 
 George Frederick Schmidt, 
 
 William Elliot. 
 
 Thomas Worlidge, 
 
 Richard Houllon. 
 
 Thomas Watfon, 
 
 Jofeph Goupy. 
 
 Edward Fifcher. 
 17^0 Giovanni Batifta Piranefe, 
 
 John Mortimer. 
 
 William Wynne Ryland» 
 
 William WboUett. 
 
 f 
 
[ 455 ] 
 CORRECTIONS and ADDITIONS. 
 
 VOL. I. 
 
 Preface, page vi. line 4, /or Virtue riadVtrXMS. 
 
 Effay, page 5, 6 lines from the bottom, for aqua tinto readzt^adi tinta. 
 
 .9, 1.7, rffli/or an other duftilefubllance. 
 
 21,, 1. 28, for Giovanna Mariae rearf Giovanni Maria. 
 
 ' 28, in the Latin Prayer, Stanza L 1. 5. for In read In. Stanza IL 1. 2. /of 
 
 Augelorum rf^^ Angelorum. Stanza IIL 1. 5. for vix read V\i2i, Stanza IV, 
 1. 3, for Luceus read Lucens. Stanza V. for auglorum read angelorum. 
 Stanza VII. 1. 6. for Geus read Gens. 
 
 Page. 
 2, line 9, read the defigns. 
 7, — — I, yir Giovanna ?r«^ Giovanni. 
 
 Immediately above FRANCESCO ALBANI hfcrt the name of Angela Alhanaft. 
 
 The account of this artill: is given by miftake under the firft name ANGELO. 
 
 i^.j .1 I. Under the article of Corregio add^ there are, however, fome few doubtful etchings 
 
 marked Ant. Correg, fee. which are very ilightly executed, and in a ftyle greatly 
 
 inferior to what one might have expedted from the hand of that mafter. 
 
 ih. 26, for ALLEGINI read ALLEGRINI. 
 
 19, 10, for Bifcanio read Bifcaino. 
 
 25, Under the article Marco Angeli add, Marco Angelo is mentioned by Florent I9 
 
 Comte as an engraver of ornaments and grotefque fubjedts. 
 
 26, i 16, Giovanna )Yi?i/ Giovanni. 
 
 39, 6, for difingenious read difingenuous. 
 
 34, 3, /or Marquis rfijrf Marquife. 
 
 42, — — 39, for Edelink read Edelinck. 
 
 48, — — 34, r^ar/ and other mailers. 
 
 60, II, for 1638 read 1600. 
 
 ib, 24, the fame. 
 
 64, ^^— 22, Belifarius, this print is by Scotin and not by Baron. 
 
 66, lafl: line but one, for Adniirandi read Adiniranda. 
 
 68, — — 10, after the date 1591 add, and all the vignettes reprefenting his life anddeathj from 
 his own defigns. 
 
 •J I, —— 5 from the bottom, /or length- was r^a^/ length-ways. 
 
 88, ■ 9, for 1642 read i 742. 
 
 94, 35, for Bilibard Pyrckmeiel r^a*/ Bilibald Pyrckhelmer. 
 
 99, 24, /or this laft rfii(/the lart. 
 
 126, 31, dele Bom 1630. Died 1681. and read Flourifhed 1615. 
 
 ii. 36, dele andhe died a. d. 168 i, aged 51 years. 
 
 129, 2 from the bottom, after the words "//jc art ofdraxving'^ add, and another Treatife 
 
 upon the Art of Engraving, the bell edition, &c. 
 
 "I4j,i 1 1 4, after the words " initials P. B." a^W and often figned his name at length, as for 
 inftance, to two middling-fized landfcapes, length-ways, in one of which is 
 reprefented the fall of Icarus ; and in the other. Mercury carrying Pfycbe ta 
 Heaven; they are flight, hafty etchings, and figned Peter Breugel tiec. Romae, 
 
 1583- 
 read fraall plate, length-ways, conjointly with Matheus. 
 
 Giovanna Mariae read Giovanni Maria. 
 
 I 562 read 1503. 
 
 Giovanna read Giovanni. 
 
 , after the word Flouriflied add 1600. « 
 
 , for Vinckboons read Vinckenbooms. 
 
 !2, for a middling-fized upright plate, rc^di^o middling-fized upright plates. 
 
 4 171 
 
 146, 
 
 
 4' 
 
 ih. 
 
 
 22, 
 
 ib. 
 
 
 23. 
 
 147' 
 
 
 », 
 
 »53 
 
 
 5. 
 
 ib. 
 
 
 37i 
 
 JW, 
 
 
 22, 
 
[ 456 ] 
 
 Page. 
 
 171, line 4 fiom the bottom, <r^^</, . Domenico Campagnola did engrave fome few 
 
 dcfigns on copper, but they are executed with the graver only, and among 
 others are the toUovving : yln old man in armour, ivith a youth leaning againji a 
 tree, holding a Fan^i pipe in hii hand, and a dog is lying at his feet ; a fmall up- 
 right plate, marked DO. CAP. and a Iniall plate, length-ways, repreienting 
 children at piny, marked Domenico Capagnola, 15x7. 
 
 172, — — 25, /or C. D. Oampigi.ia /(it;/ Giovanni Dof^ENico Campigha. 
 
 173, 17. /«• CANTAGELLINA nW CANTAGALLINA. 
 
 174, 28, /»;DOMlNlCOw(/ DOMENICO. 
 
 176, — — 21, after the words " is wanting" W*/, he fometimes figned his plates with his bap- 
 
 liimal names only. I fliall mention a battle, from Raphael, a middling-fized 
 plate, length-ways, in the fiont of which is reprefented a man nxnth a javelin, 
 and another man on horfeback, ivith aj'abre in his hand, riding over a third, ivho 
 is lying upon the ground: in the fore ground are depiHed a fpear and a J};ield. 
 This print is infcnbed I. Iacobus Ver. F. which in Englifli we fliould read 
 John James of Verona fecit, 
 
 177, I 35, rcadQ. K. V. S. fecit Mejfana 1735. 
 
 178, -" 4, for I 500 read 1 5 lO. 
 
 ih. 24, for Valbri read Valari. 
 
 191, 6 from the bottom, for CHAPREON ccW CHAPERON. 
 
 201, > 6 from the bottom, after the words " not fpecified," add, I have feen a fmall por- 
 trait of J. Tintoretto, the painter, engraved in a ftyle refembling that of 
 Cornelius Cort, infciibed Alexandra ViHorio ClaJJicofculp. 
 
 2 1 Ij — ■ 4, after the words, " upon the firlt If roke," add, I have ieen by him a copy from the 
 fmall print by Martin Rota, of the loft judgment, after Michael Angelo ; it is 
 not however a capital performance. 
 H316, 23, after the words, " are fpecified," add, Mr. Evelyn indeed tells us that he en- 
 graved the heads for the Lives of the Painters, by Vafari, and that Vafari him- 
 ielf made the defigns. They aie certainly very mafterly performances, but 
 exceedingly flight. 
 
 221, 4, fir CORTERI rcWCORTESI. 
 
 ib, —— 22, the fame. 
 
 ib. —— 27, for Tobias jrai^ Tobit. 
 
 229, ■■ line the laft, add, but his great work was the engravings which he made for the 
 
 elegant publication, entitled Le Pitture di Pel. Tibaldi, which was publiflied at 
 Venice i7i;5, and thefe prints, though not corredtly drawn, have great merit. 
 
 261, - Under the article DOUGHTY, it is proper to add, that he was pupil to Sir 
 
 Jofhua Reynolds, and died on his pafiage to the Eaft-Indies. The abilities of 
 this young man were fuch, that great expettations were entertained in his 
 favour. 
 
 264, 24, GASPER DUCHE, the abbreviated name of DUCHET. See Duchct the 
 
 next page, who was the fame artift. 
 
 269, 39, after the word " plate" flriV/, it is certainly a reprefentation of Fortune.- 
 
 270, 18, leave out the particle OH, 
 
 ib. ^-^ ^1, for Venet read Vernet. 
 
 271, — — 17, to the word Flouriflied rtoW, 1520. 
 
 ib, — — 24, after the word " animal" add, I have Ieen a fmall upright plate reprefentlng the 
 annunciation of the Vitgin ; the Deity appears at the upper part of the print, 
 furrounded with fmall angels, who are playing upon niufical inftruments ; it 
 is executed in a flight icratching Hyle, with the graver onlv, and the word 
 loHANNES is infcribed upon a tablet, beneath which is the name Dv. Vet. 
 Upon one of the columns is affixed the date 1520, 
 
 286, 17, GIOVANNArf^,^ GIOVANNI. 
 
 ii. • 29, the fame. 
 
 293, 30, FIALATTI ff,^// FIALETTI. 
 
 294, .^ 13, FIQUET rea,/ FICQUET. 
 
 397j »— To the article HENRY FLETCHER I wifli to add. That in a letter to Sir Hans 
 
 Sloane from Henry Fletcher, it appears that he relided next door to the 
 
 Wheat 
 
 r ■ ■ 
 
[ 457 3 
 
 Pa<?e. Line. 
 
 7' 
 
 Wheat Sheaf, White Mart Coiner, Holborn, ncnr the end of Driii-y-Lane ; 
 
 this letter bears date July 19, 17^9. Seethe Sloanian MS3. at the Britifh 
 
 Mufeurn, No. 4044. 
 302, ■ ■ ' at the bottom'of the page infert the name of Antonio FoNTUzzi. The account 
 
 of this artift is referred to in the Diftionary from Fantuzzi, but was omitted 
 
 by accident in its proper place ; it is given in the fecond table, page 367, 
 
 315, lafl but three, for Giovanna ^cat/ Giovanni. 
 
 353, laft but fix, the fame. 
 
 363, — — 2 1 , /or the fixth chapter ?-f«^ fourth chapter. 
 
 V O L. ■ IL 
 
 r, ■ 5, after the words, " the old man" aJJ, he alfo engraved an emblematical print in 
 
 the ftyle of Anthony Maffon, which he dedicated to that artill. 
 
 2, 8, leave out the word I-louriflied. 
 
 a. 2 3, A. HAELWEGHrr«iADRIANHAELWEGH. 
 
 - 16, C. HAGENS read CHRISTOPHER HAGENS, 
 
 — 32, after the word "j?i?;kj" add, and views of gentlemens feats, in conjundlion 
 with J. Kip, large plates, length-ways, in folio. 
 
 16, 24, after the words " this volume," /«/iT/, I have feen the name of Jacobus ab 
 
 Heyden, to which is added, Chalcog. et Civis Argent 1634, affixed to a large 
 upright portrait of the Landgrave of Thurlys, very neatly engraved ; and to 
 feveral other portraits. 
 
 20, 22) FRANCIS HOFFMAN; this name fliould have been inferted after James 
 
 Hoefnagle. 
 
 ib. — 32, after the words " aqu.\ forte," add, I found a very curious portrait in Mr. 
 Gulfton's Collection, of Francis Hoffman, drawn and engraved by himfelf, 
 in which he is ftyled the inventor ofjhips vjith three bottoms. 
 
 27, ■ 17, for an E and an R. read an E and a F. 
 
 30, — 20, after the words " end of the volume," add, to a portrait of John, King of 
 Portugal, he affixed this infcription Wilhelmus Hondius Calchographus Regi. 
 
 33, ^— 27, for Jerom read ]o\in. 
 
 ^3, 17, after the word '■'■comedian'" add, with this infcription, T. Johnfon, ad vivum 
 
 pinx. et fculp. a half fheet print. 
 
 87, 7 from the bottom, for a fmall o read a fmali d. 
 
 89, 13, after the word Flourifhed (7(i^ 1623. 
 
 ib. —^ 16, after the words " mention them" add, I have fince feen by him 'Ca.t frontif piece 
 to a book of perfpeftive, printed at Nuremberg, a. d. 1623. 
 
 97, — — 34, prefix thebaptifmal name of DAVID to the family name of LOCKLEY. 
 
 103, I 3 from the bottom, for 1660 r^'a^ 1600. 
 
 110, 2, inftead of the word Flourifhed, /«/?»-/' Born, 1584. Died, 1669. 
 
 J34, — — 14, after the words, " and other mailers," add, he has affixed the following in- 
 fcription to a Francifcan Friar, etched with great fpirit, froma dcfignof his 
 own, Lud. Matthiolus Acad. Ctementinus del. et fculp. 1714. 
 
 151, 22, for DOMINICO read DOMENICO. 
 
 160, — — 33, for F and M read P and M. 
 
 17.2, m 15, after the words Cornelius Tromp, add, To feveral portraits for books this name 
 
 (for I fufpeft it to be the fame per Ion) is written J. V. Munnichu)'fen. They 
 are very indifferent. 
 
 18.3, 3, for GIACOPO rf«^ JACOPO. 
 
 i86, 2, for P and M read P and N. 
 
 212, 7, after the words " other mafters," infert,'Bz^an fpeaking of this artift informs 
 
 us that he engraved La Vierge a la Rofe, from Parmigiano, with fo much art, 
 that it paffed for the work of Agoftino Carracci. 
 
 223, —^ 22, after the word "colleger," add, this artift may be referred to in the firft 
 volume, under Pietro Antonio. 
 
 VOL. II. 3 N 2-^J^ 
 
fagt 
 
 [ 458 ] 
 
 Wnt 30, I wifli this pafTage to be read as follows, I have given one mark attributed to 
 him by profeflbr Chrift, and others, at the end of the volume, which is the 
 only one that can properly be faid to belong to him as an engraver. 
 ;-0, ■ 29, for 1610 read 1 Jio. 
 
 :.S4, — 14, for L. P. read L. R. 
 
 DIRECTIONS tt> the E I N D E lU 
 
 VOL. I. 
 
 The Patera, a plate unmimbered, to face the Title. .- , 
 
 Plates I. II. III. IV. V. VI. VII. placed together, to face page 32 of the Eflayt 
 
 Plate VIII. to face page 365. 
 
 Plate IX. to face page 366. 
 
 ^■^ 
 
 V 
 
 o 
 
 n. 
 
 Adam and Eve, a plate unnumbered, to face the Title. . 
 
 Plates I. II. III. IV. V. VI. Vil. placed togetlier, to face page 16 of the Eflay. 
 
 Plate VIII. to face page 44.4. 
 
 Plate IX. to face page 446. 
 
'4 
 
5 
 
 jX^( 
 
 
w^^ .«''?■• r 
 
 ^_.^Sf»%?, 
 
 ' •'•■'* ,>'/M. 
 
 ^i 
 
 
 ^^\ 
 
 
 -m 
 
 Irt-i