Bezaleel (d) Jos Lib. 2. of Antiq. zaleel and Aholiab to make Golden Images of Cherubins and all the Ornaments of Architecture and Sculpture for the Tabernacle and the Ark of the Covenant CHAP. IV. The Egyptians Communicated these Arts to the Phoenicians and They carried them into Grece WE have no certainty that the Art of Designing was in Grece before the year of the World 2600 but that from the Egyptians it went to the Phoenicians under Agenor who Reigned at Tyre His Grandson Cadmus brought the first Letters and (a) About the Year of the World 2600. It was Cadmus who carried the first sixteen Letters of the Alphabet into Grece Palamedes added four about the time of the Trojan War Tacit. Ann. Lib. 11. Plutarch and Pliny Lib. 7. Chap. 56. Arts into Grece There he Built Thebes which he called so from the famous Thebes in (b) This City was so Famous that Germanicus made a journey on purpose to survey its magnificent Ruins H. R. de Coiseteau P. 276 and Cornelius Tacitus Lib. 2. says That in that one City were raised 700000 Soldiers Egypt About the end of the Third Age (c) In 2496 Athens was founded and it is supposed Argos was elder than that and Sicione then Argos Athens was founded by its First King Cecrops who came from Egypt where it is very probable he also laid the first Foundations of the Arts and Sciences It was here the famous Dedalus was born of the Royal (d) He lived about the year 2644 he was of the Race of the Kings of Athens Sons of Metion Cousin-German of Theseus according to Pausanias in his Attic. Diodorus Siculus and Eusebius Lib. 3. of P. E. and Plutarch in the Life of Theseus Diopenes and the Scylli were Sons of Dedalus Milo p. 828. They were Engravers and lived at Sicione Plin. L. 36. C. 4. Family excellent in the Art of Designing and Famous for his (e) It is thought the Beauty of his Statues gave occasion to the report of their Self-motion Machines and self-moving Statues he was also the first Engraver we have mentioned in the Grecian History This Learned Man Travelled into Egypt to see the Labyrinth from whence he formed the design of that he afterwards Built in Crete and though it was not the hundredth part of that in Egypt notwithstanding it was so famous for the Beauty of the Architecture and Sculpture that it was reckoned (f) Plin. Lib. 33. c. 13. among the Seven Wonders of the World Thirty four years after the Institution of the Olympick Games (g) In the year of the World 2836 began the Olympick Games from which time the Grecians computed Time by their Olympiads which returned every Five years happened the destruction of Troy at which time Architecture and Sculpture were much cultivated by the (h) Dedalus having lived near 200 years before the destruction of Troy his School brought up and sent several Engravers to Athens Sicione Candie and Sicily Milo and Pliny Lib. 36. c. 4. Grecians This is sufficiently evidenced by the structure of the Trojan Horse which an ingenious Engraver made for them who was also an excellent Architect (i) His Name was Epeus Dicrateus Justin Lib. 20. c. 2. Plin. Lib. 7. c. 56. after that he Built the City of Metapontus the Citizens (k) This City of Metapontus was in old Lucania which is Calabria It is now called Tore di Mare whereof to testify the Veneration they paid to his Memory kept the Iron Tools wherewith he made the Trojan Horse as venerable Relicks in the Temple of Minerva The elegant Description Homer gives us of the Buckler of Achilles is a sufficient evidence that the Arts of Cutting and Engraving were practised in Grece for that famous (l) Homer in his Iliads Lib. 18. It was held in great esteem in the year 3079. Ovid speaks also of this Buckler in the Thirteenth Book of his Metamorphosis Poet expresses so elegantly the Beauty of that Work that his Descriptions seem rather to be Engraven than Writ He moreover feigns by reason of its Excellence that it was wrought by Vulcan himself As for the Trojans it cannot be denied but that Engraving was in use among them for that Poet tells us that Eneas (m) Eneas went into Italy in the year 2872 he was the first King of the Latins after whom for 543 years there Reigned Nineteen Kings to the time of Romulus took particular care to carry his Penates or Houshold Gods along with him particularly the Palladium of (n) Plutarch in the Life of Fur. Camillus The Fifth Age began at the Foundation of Solomon's Temple and ended at the deliverance of the Jews out of the Babylonish Captivity containing from the year 2992 to 3468 which is 476 years Troy and the Idols of the Samothracians he took along with him into Italy CHAP. V. The Arts of Designing flourished under the Kings of Israel ONE hundred and fifty six years after the destruction of Troy Solomon being about to Build a Temple to the true God would not undertake that peice of Work till by diligent search he had found out all the most able and ingenious Workmen both in his own Dominions and elsewhere To this end he had recourse to the King of Tyre (a) Chron. Book 2. c. 2. The Temple of Solomon was finished in the year of the World 3000. his Friend who sent him Hiram whom through respect he called Father and who excelled in all Arts as appeared by the Architecture of the Temple and of the (b) Hiram made Two Palaces for Solomon the one in Jerusalem and the other in Mount Libanus Chron. 2. c. 9. Palaces which he inrich'd with innumerable Ornaments of Sculpture and Works of Gold In these spacious Buildings were to be seen the (c) This Throne was of Gold and Ivory with Figures and Lyons Magnificent Throne of Solomon the Cherubims the Vessels of Gold the Altar the Pillars and great (d) This Sea of Brass and several other rich Works were broke to pieces in the time of Nebuchadnezzar Sea of Brass which held 300 Measures of Water supported by Twelve Brazen Oxen All which rich Works demonstrate that Hiram was skilled in the Art of Founding as well as other parts of Designing Solomon after this led astray by his Concubines Built Temples to the Goddess of the (e) The Goddess of the Sidonians was Astarthon Sidonians to the Idol of the (f) The Idol of the Ammonites was Moloch Ammonites and to that of the (g) And that of the Moabites Camos Moabites After which Jeroboam and several of the Kings of Israel continued the Worship of false (h) They Sacrificed to the Idols of Baal and the Golden Calf and Jeroboam established that Worship 3 Kings c. 16. Ahab also Built a Temple to Baal in Samaria where he had 450 Prophets and 400 others who served in the Groves and all were fed at
in these Magnificent Works that he shew'd the Greatness and Vivacity of his Genius there is to be seen on the four sides of the Hall which is painted in Fresco the Overthrow of the Giants and on the Cieling Jupiter darting his Thunderbolts as also all the rest of the Gods amazed at their Boldness Julio moreover painted the Loggia or Gallery of this Palace where are the Histories of David and also Embellish'd the Great Hall with the Fables of Psyche and Bacchus He adorn'd several other Apartments with Pictures and Stucco-work which were all very admirable He painted moreover several Battels out of Homer's Iliads in the Palace of St. Sebastian and made fine Pieces of Tapistry for the Duke of Ferrara which represented the Combats and Triumph of Scipio Africanus whereof the King the Duke of Mantua and the Duke of Modena have each a Suit of Hangings very richly highten'd with Gold (a) These Tapistries were made in Flanders by Nicholas and John Baptista Roux very ingenious Workmen But as his Genius was universal and he excelled in all the Parts of Designing Architecture which is one of them took up most of his time at Mantua for besides the Palace of T. which he Built he made the Church of St. Peter and several others of a very regular Architecture It was he also who found the way of preserving that Noble City from the Inundations of Water of the Lake which runs round it he Built there several Magnificent Palaces and caused the great Streets to be enlarged which are very beautiful Julio Romano gained so much here by the Esteem of the Duke and of the Cardinal his Brother that he used to say this Painter was more Master of Mantua than he himself Thus the Esteem and Honour he received of these two Princes engaged him to stay there and not return to Rome although the Pope desired it to make him chief Architect of St. Peter's Church (b) Julio Romano died at the Age of 45. in 1546. There was made on him this Epitaph Romanus Moriens secum tres Julius Artes Abstulit haud mirum quatuor unus erat This great Painter had several Disciples the best were Primariccio a Bolognian John dal Lione Raphael dal Colle Borghese Benedict Pagni da Pescia Figurino da Faensa Rinaldo and John Baptista Mantuano and Fermo Guisoni At Cremona near Mantua Painting began to flourish ever since Pordenone made there some Pieces in Fresco and in Oyl which shew'd the true Gusto of Painting to Camillo Son of Boccacino to Bernard da Gatti called Soardo who work'd at Panna and to Galeazzo Campo who had three Sons Painters Julius Anthony and Vincent Julius became famous his Disciples were his two Brothers and Lactantius Gambaro of Brescia But those who did him the most Honour were Four Sisters of a Noble Family who learnt Painting of Julius Campo They were named Sophonisba Lucia and Europa and Anna Angosciola Sophonisba was carried by the Duke d'Atra into Spain and enter'd into the Service of the Queen the Beauty of her Works being made known to Pope Pius the IVth he desired to have by her Hand the Picture of that Queen which was admired by all Rome the Pope returned his Thanks to this Illustrious Paintress by a Letter her Two Sisters were also very famous for Painting Vasari Vita di B. Garosalo p. 561. In Sculpture as well as Painting there have been Women very famous particularly Porperzia de' Rossi of Bologna who was very much admired in that City for her Painting and by the Works she made in Marble she died in the time that Clement the VIIth came to Bologna to Crown Charles the Vth. This Pope had a great desire to see this Illustrious Lady but she died some days before that Ceremony At Breste there were also Jerom Mutiano Jerom Romanino and Alexander Moretti who gained considerable Reputation Milan also brought up some very good Painters one of the most Ancient of whom is Bramantine who work'd for Pope Nicholas the Vth. in the Vatican but his Painting was taken down and Raphael has since painted the same place He was also an Architect and made several Designs and Buildings at Milan which were of use to Bramante when he first studied Architecture in that City At the same time Busto Surnamed Bambaia distinguished himself among the Sculptors of his time by several Pieces he made at Milan and particularly by the Sepulchre of the Count of Foix which is in the Church of St. Mark which was made with extraordinary Care and Patience The Adam and Eve which are on the Front of the Dome at Milan is of Christopher Gobbo who was Contemporary with Bambaia there were also other Sculptors and Architects who Embellish'd that City and Dome with their Works as did Angelo Il Ceciliano Tofanon Lombardino Silvio da Fiesole and Francis Brambilati but Painting was perfected at Milan after the Works of Leonardo da Vinci appeared there One of the most Excellent Milanese Painters was Gaudence His Works are to be seen in that City at Versailles and at Veralla There were some who imitated Leonardo as Marco Uggioni but he to whom among the Milanese Painting is most obliged to is Paul Lomazzo who has writ very learnedly on all Parts of the Arts which Works of his are very useful for all Designers His Books were printed at Milan in 1584 and 1590. This shews us that not only Painting flourish'd in several Cities of Italy and at Mantua but also that Architecture has always been inseparable from Designing and more particularly to shew the Progress of Architecture after it's arrival I will begin with it from the time of Bruneleschi 100 Years before Julio Romano CHAP. XIII Architecture arrived to a very great Excellency at Rome THE famous Ser-Bruneleschi began to bring Architecture out of the rude Gothick Manner which had been practised at Florence and other places down to 1400. For he established in that City the use of the Dorick Ionick and Corinthian Orders in all their Purity and according to those just Rules he had studied at Rome in the Ancient Buildings Leon Baptista Alberti followed the Footsteps of this Illustrious Architect and Sculptor and in Imitation of him continued at Florence the true Gusto of Architecture by reason that he was an excellent Geometrician and good Designer His Treatise of the Orders and his Works of Architecture are a proof of it The famous Bramante by his Excellent Architecture continued to improve the latter part of this Age as Bruneleschi and Leon Baptista had done and also the beginning of the Age 1500. wherin he lived Bramante learnt Painting from his Youth and gained his Livelihood thereby for a long time in the State of Urbin where he was Born and in several Cities of Lombardy where he made several Pictures But as he had also a Genius for very great things he went to Milan to consider the Building of the great Church there then under the Conduct and
(d) Vigenerus Pag. 853. Perfection in them by reason they require a great deal of Knowledge to succeed well in the Practice of them For besides a natural Inclination for them the Rules of them must be very nicely studied and care must be taken to match good Instructions and a natural Genius for them together otherwise it will be impossible to become Excellent in them These difficulties in the three last Ages stirr'd up an Emulation among several great Princes jealous of their own Glory and the Qualifications of their Subjects They established Academies of Designing at Florence then at Rome and Bolonia and afterwards at Antwerp and lastly at Paris where the Painters Sculptors and Architects (e) The Royal Academy of Painting and Sculpture was founded in 1648. And His Majesty began in 1665 another Academy at Rome to perfect the Disciples of the Academy Royal which continues to this present time compose illustrious Bodies Those which (f) The King moreover established another particular Academy for Architecture in 1671. Lewis XIV has erected in his Metropolis have been the most powerful means that could be invented to make excellent Painters Sculptors and Architects There Youth is taught to Design after Nature There are also taught the Doctrines of Proportions Geometry Perspective and Anatomy And every Month there are Conferences upon whatever relates to the Instruction of their Disciples Among the Lectures which I have had the Honour to read there upon the Concours or Out-lines of Bodies upon Perspective Anatomy and the Motions of the Muscles And also on the Progress Fall and Re-establishment of the Arts of Designing I have chose these latter Conferences to Form out of them the History of the Arts which relate thereunto In the First Book I treat of the Original and Progress of Architecture Sculpture and Painting from the First Ages of the World till after the time of the Emperor Marcus Aurelius when these Arts began to decline Throughout all this Tract of Time we take notice of the Curiosity of the Kings of Assyria Egypt Phoenicia Persia and Israel to raise huge and extraordinary Buildings We there remark how these Arts went from the Phoenicians to the Grecians and Carthaginians And how afterwards they went into Italy and the Progress they made in Tuscany and at Rome in the Times of their Kings of the Republick and of the Emperors lastly we shew in what Esteem they were there and how far Protected till their decay In the Second Book we treat of their Fall and shew how the true Manner and Gust of Designing began to decline at Rome after Commodus down to Constantine and afterwards Architecture also decay'd Insomuch that an ill and rude Manner was introduced in Building in Painting and Sculpture The Zeal of the Christian Religion contributed very much to the Destruction of the ancient Temples and Images as did also the taking of Rome the Reigns of the Goths and Lombards who followed that rude Manner in Italy and propagated it almost throughout all Europe But the Magnificence of Architecture was maintained longer in the Eastern Empire than in other Places and especially at Constantinople by reason that the First Emperors were very much addicted to Architecture as we see in Constantius Theodosius and in Justinian who Employed vast Treasures in Building which for some time kept up Architecture Sculpture and Painting These two last suffered very much since the time of those Princes by the Iconoclastes who destroy'd the Images and barbarously persecuted the Painters and at length these Arts fell entirely in that Empire in the Reigns of the Mahometans who suffer none to Design the human Figure nor any thing that has life In the Third Book we shew that about the Year 1110 the Arts of Designing began to revive a little at Florence and in some other Cities of Italy the Protection they afterwards found under the Kings of Naples of France the Republicks of Venice and Florence the great Dukes of Tuscany and the Popes of that Illustrious House and several other Princes of Italy gave means and opportunity to several excellent Genius's to apply themselves with a great deal of Zeal to the Re-establishment of Painting Sculpture and Architecture In fine in the Year 1500 I conclude the Re-establishment of these Arts for it was in this happy Century that they were brought to Perfection by the Famous Designers who flourished about that time This has been acknowledged by all the Famous Designers of our Age Who have esteemed it their Glory to Imitate the Works of Raphael Correggio Julio Romano and Titian and several other Ingenious Men of the last Age. For it has been by means of this imitation that the true Way of Painting and Designing has continued down to us as also the right Manner of Sculpture and Architecture As has been practised from the beginning of this Century 1600. by the Famous Carraches and afterwards by their Disciples Domenichino Albani Guido Lanfranc Algradi Afterwards the true Way and Manner was continued in these Three Arts at Rome by Poussin Francis du Quesnoy Peter da Cortona and Bernini As also in Flanders by Rubens and Van Dyck Moreover France by de Brosse Le Mercier Le Sueur Sarrazin Mansard Bourdon Le Brun Mignard and several other great Men who have flourished in the Arts of Designing But this true and regular Manner is kept up very successfully at present by those Ingenious Men who compose the Royal Academies of Painting Sculpture and Architecture Having determin'd to follow the Footsteps of the Ingenious Ancients and the incomparable Maxims of those excellent Genius's who appear'd with so much Glory in the Age before them We may perhaps hereafter present the Reader with a Continuation of this History throughout the Century 1600 which we reserve for a Second Volume Nor ought it to surprize any That a Painter should undertake to write an History of Designing because among other Accomplishments he ought to be Master of that of being well versed in History is none of the least for thereby he makes his Works conformable to Truth and can give a Reason of his Representations And joining the Theory of his Art with the Practice he becomes expert enough to compose a System of the Rules of it far better than those who are not Designers This was practised by the most Famous Painters of Antiquity as Apelles and his Disciple Perseus and (g) Asclepiodorus Protogenes Euphranor and Praxiteles writ of Painting and Sculpture as did Argellius and Vitruvius of Architecture others The Illustrious Moderns have also written of the Arts of Designing as Leon Baptista Alberti Leonardo da Vinci and several others (h) The chief of the Modern Painters who have writ of Painting since Leon Baptista Alberti and Leonardo da Vinci are Vasari Armenini P. Lomazzo F. Zucchero Albert Dal Borgo San Sepolcro Albert Durer John Cousin Charles Alphonsus du Fresnoy and the chief of those who have writ of Architecture besides
where they learnt the true Gust of Painting as did the Fryer John da Fiesole Fryer Philip Philippini Alexis Baldovinetti Andrew dal Castagno Andrew dal Verrocchio Dominick Ghirlandaio Sandro di Botticello Leonardo da Vinci Peter Perrugino Fra. Bartholomew of St. Mark Marriotto Albertinelli Michael Angelo and Raphael Urbin it was here he began to learn the Principles of his admirable way and several other Painters after Masaccio Vasari V. delli Pitt p. 299. Masters and ingenious Disciples in the Florentine Academy who afterwards spread over other Cities of Italy where they contributed to the Re-establishment of these Arts. CHAP. V. The French and the Dutch apply'd themselves to make Painting reflourish and found out the Secret of Painting in Oyl THE Florentines and the other Italians were not the only Persons who labour'd to perfect Painting For some others on this side of the Mountains contributed much thereunto although they had not the same advantages for Designing as those of Italy in having for Models and Patterns the fine Bass-Reliefs of the Ancients The Generosity of Charles the VIth contributed very much towards it among the French and was the first means to engage our Nation to Employ more than ordinary care on Painting and particularly on Glass which is called Glass-Painting (a) This is so true that in the time of Pope Julius the Second there was at Rome Claudius Francis who was a Painter on Glass it was he who survey'd all those sorts of Works which were made in the Churches and the Pope's Palace But as Bramanti had heard talk of the Ingenuity of William da Marcilla he caused the Sieur Claudius to write to him which he did offering him a good Pension to come to Rome where he painted on Glass the great Windows which are in the Hall near the Pope's Chappel but they were broke in pieces at the Sacking of Rome by the Shot of the Arquebusses Marcilla did also some of the same sort of Paintings in the Apartments of the Vatican and in the Church of St. Mary and in that de l'Anima after which the Cardinal de Corton carried him to his City where he Painted both on Glass and in Fresco several Pieces which were very much esteemed for he was an Excellent Designer full of Invention and Variety in Composing of his Histories this appears particularly in the great Windows of the Chappel of the Albergotis in the Cathedral of Arezzo which Marcilla painted after having work'd at Corton they are so Excellent that Vasari calls them Divine both for the fine Expressions of Christ calling St. Matthew from the receipt of Custom and of the other Apostles as well as for the fine Architecture and the Landskips which adorn that History Marcelli was so much considered in that City that it obliged him to stay there till his Death which happened in 1537. He had several Disciples whereof George Vasari was one Vasari Vita of William da Marcilla and which is used in Churches wherein the French have surpassed the Italians and other Nations For this King to (b) It was in the Year 1430. that King Charles the 6th granted new Priviledges to Henry Mellein Painter and Glafier and to all of that Art in Confirmation of those that had been granted by the Kings his Predecessors to Painters and Glaziers which proves that there were then Painters in France and that if the Art was not then in its Perfection it was not for want of Protection from our Sovereigns since to animate their Subjects to the Exercise of so noble an Art they exempted them from all sorts of Imposts See the Book of the Establishment of the Royal Academy of Painting and Sculpture page 45. excite his Subjects to the Love and Practice of Painting granted them great Priviledges and Exemption from Taxes and Subsidies and Lodging of Soldiers Flanders which had been anciently a Province of this Kingdom apply'd it self at that time very much to Painting and above all to drawing of Portraits which drew the Flemings from the Gothick Manner and by this means Painting arrived to Perfection in that Province by reason of the great number of Painters which were in all the Low-Countries and of the considerable Commerce they made of their Pictures in Foreign Countries But among all these Painters he to whom the Art is the most obliged is John Van-Eick surnamed of Bruges because he came to inhabit there He was an Extraordinary Chymist and by help of that Art he found out new Varnishes for his Pictures that wanted it as do all those that are wrought in Distemper But one Day as he had finished a Picture with a great deal of Care and Time he varnish'd it and set it to dry in the Sun but as soon as he perceived that the Heat had warp'd it and crack'd it so that one might see through the Joints of it which spoil'd it To avoid such Accidents for the future he found he must seek out for a Varnish that might dry in the Shade and because he found that the Oyl of Wall-Nuts and Linseed were the most drying he made use of them with some other Drugs and so made a new Varnish which no Painter in the World had yet found out and which was so earnestly desired After this he tri'd to mix his Colours with these Oyls and seeing that they were not endamaged by Water but that that made the Colour sink somewhat the deeper and that it shined without Varnish He found out by this means with a great deal of Joy that profitable Invention of Painting in Oyl He made thereof several Pictures the Reputation whereof presently spread it self throughout all Europe and this excited a great Curiosity in Painters to know how John of Bruges made his Painting so perfect In the mean time he kept his Secret to himself and permitted no body to see him Work that he might make so much the more advantage of his Discovery But this Painter becoming old imparted his Secret to Roger of Bruges his Pupil and Roger communicated it to Ausse who was his which gave occasion to bring Painting in Oyl into use and to the Flemish-Merchants to make an advantageous Trafick of it throughout the World although the way of Painting in Oyl did not go out of Flanders for several Years till the time that certain Florentine-Merchants sent out of the Low-Countries a Picture of John of Bruges to Alphonsus the first King of Naples This Picture for the Beauty of the Figures and the Invention of the Colouring was very much esteemed by this Prince and all the Painters of his Kingdom and among the rest by Antonello da Messina who had so vehement a desire to learn the Secret of Painting in Oyl that he immediately went from thence to Bruges in Flanders CHAP. VI. Of the Invention of Painting in Oyl and its advantage in Painting and how the Secret went into Italy ANtonello da Messina was scarce arrived in Flanders but he contracted an acquaintance with
made for the King in the little Gallery of the Lowvre (i) These Works were destroy'd by a Fire which happen'd in the Gallery of the Louvre in 1660. There is also to be seen of Bunel's the Picture of the great Altar of the Mendicant Friers at Paris and also in the Church of St. Severin several Figures of the Prophets the Sibils and of the Apostles painted on a gold-Ground There is also to be seen at Blois in the Quire of the Capuchins a Picture which he painted of an excellent Beauty See the History of Blois by Bernier P. 521. which he painted together with Brevil This also appear'd in the Tuilleries and in the Picture of the Descent of the Holy Ghost in the Church of the Augustins at Paris The Excellence of this Picture gain'd him the Approbation of the illustrious Poussin who assures us that of all the Pieces in that City there was not one that equall'd this CHAP. XXI The Flemings perfected themselves in Painting after they had found the Invention of Painting in Oyl PAINTING in the two last Ages made a great Progress in Flanders And the Flemings cultivated it with a great deal of Care For after John of Bruges had found out the Way of Painting in Oyl in 1410 he brought up several Disciples and among the rest Roger Vanderverden of Bruessels and Havesse who taught this fine Secret to Lewis of Louvain Peter Cristo Justus of Ghent Hugo of Antwerp appear'd some time after They work'd only in the low Countries with Reputation about the End of 1400 and at the beginning of 1500. In the last of these Centuries several other Painters of that Nation began to make themselves known Lambert Lombard was at Liege of the first Rank for Painting and Architecture He there brought up some excellent Disciples the most Famous was Francis Florus who is looked upon as the Raphael of the Flemish by reason of his true Way of Designing William Cay of Breda was also a Disciple of Lambert Lombard he passed for a very good Painter There was not in his Works that Fire and Resolution to be seen as in those of Francis Florus but there appeared more of the Life and of Sweetness and good Grace There were about that time several Flemish Masters also who gain'd Reputation in Italy both by Painting and Architecture Michael Cockisian was one of them it was he who painted the two Chappels in Fresco in 1522 in the Church dell'Anima after the Italian Way There was also John de Calker who ought to be esteemed for his Manner of Painting and Designing He learnt of the Famous Titian and designed some excellent Stamps and Plates of Anatomy which made the Book of Andrew Vesalius so Famous Heemskirk Martin de Vos and John Strada studiin Italy the true Manner of Designing and Painting Strada made several Pieces at Florence for the Great Duke particularly several Patterns for Tapistry whereby he shewed that he had an universal Genius in all the different Parts of Painting his great Capacity procur'd him admittance into the Academy of Designing The low Countries produced several other Painters Divic and Quintin of (a) Vasari says that Quintin was of Louvain But A. F. thinks he was of Antwerp who from a good Blacksmith and Farrier became a good Painter through the natural Inclination he had from his Youth for Designing and the great Passion he entertain'd for a Young Woman who promised him Marriage on Condition he became a good Painter This encouraged him to learn Painting which he very successfully accomplish'd Louvain were very much esteemed for their true Imitation of Nature John deCleves was excellent in Colouring and drawing Portraits Insomuch that Francis the Ist took him into his Service during which time he drew a great many of the Lords and Ladies of the Court. In the same Provinces were John d' Hemeissein Martin Cook John Cornelis and Lambert Scoorel who was a Canon at Utrecht John belle Jambe Divick d' Harlem and Francis Monstaret were Excellent in Landskips and odd Fantastick Figures This last was imitated by Jerome Hertoghen Bos Peter Brueghel and Lancelot who was very Excellent at painting Fires In these Countries was also Peter Cocuek who had a great facility and readiness of Invention for he made several very fine Historical Designs for Tapistry he had a very good Way and a great deal of practice in Architecture which made him translate the Books of Serlio into Dutch But he who of all the Painters of the Low Countries ought to be the most esteemed was Anthony More Painter to Philip the IId King of Spain The Pictures and Portraits which are to be seen of this famous Painters Hand will always make him pass for an excellent Person he learnt Painting of Lambert Scoorel Several speak also with a great deal of Praise of Peter Le Long who made at Amsterdam where he was born a Picture of the Virgin with other Saints for which he had two thousand Crowns Mathew and Paul Bril were at that time very Famous for making Landskips they wrought a long time at Rome and in Flanders there appear'd with a very great Reputation Octavius Vanveen who is also called Otto-Venius He was Painter to the Duke of Parma who was Governour of the Low Countries and afterwards to the Arch Duke Albert It was he who was Master of the Famous Paul Rubens Peter Porbus of Bruges was also a Painter he taught Francis his Son to Paint who continued to learn under Francis Florus this last had a Son called Francis who wrought at Paris in the Church of St. Leu of the reformed Jacobins and in the Stadt-House where he shewed his great Capacity At the same time Sculpture flourish'd in the Low Countries as well as Painting for those two Noble Exercises are Originated from the same Principle which is Designing For this reason there were bred in that Country excellent Sculptors as William of Antwerp John de Dales William Cucur of Holland and James Brusca all Sculptors and Architects Brusca made several Pieces for the Queen of Hungary and he brought up John Bologna of Douay It was this Famous John Bologna who gain'd the most Honour of any to his Nation for Sculpture by the Beauty which appear'd in all his Works which have all of them the true Way and Gust of the Ancients wherein he perfected himself in Italy and particularly at Florence where he resided and held the first Place in that Art He was there employ'd by the Princes de Medicis to make several Pieces of Sculpture The fine Marble Statues and the great Groupes of Figures in Brass which adorn the Squares of Florence of Leghorn and of Bologna are very charming and so many proofs of his Excellence and Monuments of his Glory There are yet at Paris some Marks remaining of the Excellence of his Workmanship as the Brazen Horse whereon is the Figure of Henry the IVth in the Square of Pont-neuf Thus we may see that
both in the Low Countries and in France as well as Italy the Arts of Designing had their Revival by the Means and Ways we have shewn That which farther contributed towards it was the Genius and Application of several Ingenious Painters Sculptors and Architects who flourish'd in the Centuries 1400 and 1500. CHAP. XXII How Graving contributed towards the Re-establishment of the Arts of Designing TO finish this last Book it remains that we shew the Advantage which the Arts of Designing received by the Invention of Graving which was found out at Florence in 1460 for this Invention was and is very serviceable to bring those Arts to Perfection It is certain that the Way of Designing on Copper with the Tools called the Burin and Point was one of the happy Means for the Revival of the Arts For Graving multiplies and imparts Copies of the Designs and fine Ideas of Excellent Painters Sculptors and Architects insomuch that the Prints which are taken off from these Graved Plates were of excellent Use in the Revival of Designing in several Countries which have not had the Advantage like Italy of fine Examples of the Ancient Architecture and Sculpture and the Works of the most excellent Modern Painters and Sculptors which are happily communicated by the Help of Copper-Plates This has been and is still seen in France and other Places that the fine Books of Architecture have made a great many Good Architects who without going to Italy where are the fine Relicks of Antiquity have formed a true and good Manner and perfected their Studies in this Art by the Help of Graving which faithfully represents the Plans Profils the Elevations and Measures of the finest Buildings Painting has also the same Advantage by Prints as Architecture and has given that way solid Instructions to several Painters This may be remarked by the Prints of Mark Antonio graved after the Designs of Raphael which have taught the true manner of Designing to several very considerable Painters The Illustrious Poussin is an Example of this in the great Application he made in his Youth to Design by those Prints when he was at Paris It was here this Great Painter so happily imitated the manner of Raphael and the Ancients in his admirable Works The Sculptors moreover received the same advantage from Graving as the Painters for that made the Designs of the fine Figures of the Ancients familiar to them and all the fine Bass Reliefs of the Famous Columns and Triumphal Arches which are to be seen in the Palaces and Houses of Rome Graving was found out at Florence by Maso Fineguerra a Goldsmith who printed all that he grav'd on Silver Afterwards Baccio Bandinelli who was a Florentine Goldsmith continued that Art but as he was no good Designer he copied the Designs of Sandro Boticelli of that City The Invention of Graving being then come to the knowledge of Andrew Mantegna an Excellent Painter who was about that time at Rome he was so much enamour'd with it that he set himself to learn it and he graved Bacchanalians with the Burin and a great Triumph he cut in Wood which was very Admirable This Art went afterwards from Italy into the Low Countries Martin of Antwerp who was a Painter practised it and sent a great many of his Plates into Italy and continued to make them better and better After Martin of Antwerp Albert Durer in the same City began to Grave after a better Manner Design and Composition for he endeavour'd more nearly to follow Nature and approach the Italian way which he always esteemed the best About the Year 1503 he made a small Statue of the Virgin which surpassed the Works of Martin of Antwerp and he continued to make several Plates of Horses design'd according to Nature with anothere of the Prodigal Son But when he had graved several of these Plates with the Burin and saw that they took up a great deal of Time he set himself to Grave on Wood that he might publish a greater Number of his Works and in the Year 1510 he published of that Sort of Graving the beheading of St. John the Passion of our Lord and several other Pieces which went quickly off Albert by the esteem People set on his Works became very Rich and this engaged him to Grave again with the Burin and he made a Piece representing Melancholy three Notre Dames with the Passion of our Lord in thirty six Pieces About this time Francis Francia was esteemed at Bologna of the first rank of Painters he had several Disciples whereof Mark-Antonio Raimondi was the best by reason of his Capacity in Designing which gave him a great Facility in handling the Burin in Goldsmiths Works in which he was Excellent But according to a Resolution he took to Travel he went to Venice There he saw Stamps which Albert had made with the Burin and in Wood. They so pleased him that he bought of them as far as his Money would reach among the rest he had the Passion cut in Wood And after reflecting what Honour and Profit he should have gotten if he had employ'd himself to Grave after that way he at length determined to set himself wholly thereunto and he so well copied that Passion of Albert's on Copper that it was taken to have been done on Wood he also put the Mark of Albert A. D. thereon and so well imitated that Work that no body took it for Mark-Antonio's but for Albert's and it was bought and sold for such at Venice insomuch that some Copies were sent to Albert of the Passion that Mark-Antonio had done which made Albert so very angry that he went from Antwerp to Venice to complain to the Republick of the Wrongs Mark-Antonio had done him But he could obtain nothing thereby but only that his Mark should be no more put to Mark-Antonio's Pieces Albert at his Return to Antwerp found a Competitor Lucas van Leyden who (a) Lucas van Leyden had an extraordinary Inclination for Designing even in his Childhood he made Pictures at the Age of twelve Years he apply'd himself also to Graving at fifteen Years of Age he had grav'd several Copper Plates he died at thirty nine Years of Age in 1533. In the time of Lucas and Albert there appeared with a great deal of Reputation Han Holbein of Basil He practised also Graving there are of his Hand Wooden Cuts of the Bible and a Dance of the Dead which he painted in that City But his chief Occupation was Painting which he practised a long time in England where he was esteemed the most Ingenious of his Time he died at fifty six Years of Age in 1554. though he was not so good a Designer as himself he notwithstanding equall'd him in the Beauty of working with his Burin as he made it appear in 1509 by two round Prints the one was Christ carrying his Cross the other his Crucifixion Lucas continued to shew his Ingenuity by a Passion which he grav'd in sixteen Pieces and
Leon Baptista Alberti are Vignola Palladio Scammozzi Serlio Barbaro Cataneo Philbert de Lorme John Bullant and du Cerceau who have treated learnedly of these Arts for the Advantage of those who design to be Excellent therein The reason why we have rather given this Treatise the Title of the Arts that relate to Designing than the History of Painting Sculpture and Architecture is because Designing not only comprehends those Three Parts but also graving on Copper cutting in Wood and graving for Medals and Damask-work and Embroidery and Inlaying and several other Works all depending on Designing For this Reason all these Arts are put together and compose those Academies which are called in Italy Academies of Designing where Painters Sculptors and Architects take upon them successively the first Places And for this Reason they who intend for any of these Professions first of all learn Designing and then determine their Choice to some one in Particular or sometimes to more being capable of succeeding therein if they are first of all good Designers This has been evident heretofore in Daedalus Phidias Euphranor and several others who were as Excellent in Sculpture and Painting as in Architecture and also of late in Ghiberto who was a Painter Architect Sculptor and Goldsmith Verochio and Leonardo da Vinci were also Masters of all these Arts as likewise Bramante Raphael Julio Romano Baldassare Vignola and Pirro Ligorio who were Painters and Architects Michael Angelo was equally Excellent in Architecture Sculpture and Painting for he was an Excellent Designer Hence it is we have taken our Device on the Frontispeice of this Book which expresses that Designing is the Parent of Painting Sculpture and Architecture And now we cannot but expect that Criticks will be making Reflections on the Style we have used throughout this History But that the Reader may not stick or carp if he meets with any obsolete Terms or Words not much in use and if the Turn of the Phrase is not always so Nice as he might expect He must know that the Author's Design is only to make himself understood by those who learn Designing Wherefore he hopes that the unprejudiced Reader will not so nicely regard the Politeness of Expression since his Business is Painting and he looks upon the rest only as accidental Accomplishments If this History find a favourable Acceptance we design hereafter to give an Alphabetical Explication of the Terms most used in the Arts of Designing whence several Observations may be raised very necessary for the Instruction of the Disciples and Lovers of these Arts. THE CONTENTS BOOK I. Of the Original and Progress of ARTS that relate to Designing CHAP. I. GOd is the Author of the Design and Model of Man or of human Shape Page 1 CHAP. II. Of the Practice of the Arts of Designing and their Progress among the Assyrians p. 4 CHAP. III. Of the Heighth to which Painting and Sculpture arrived among the Egyptians p. 6 CHAP. IV. The Egyptians Communicated these Arts to the Phoenicians and they carried them into Greece p. 8 CHAP. V. The Arts of Designing flourished under the Kings of Israel p. 11 CHAP. VI. Sculpture was Practised by the Babylonians and Persians p. 12 CHAP. VII Of the Arts of Designing in Africa and Carthage p. 14 CHAP. VIII Of the time wherein Painting began to flourish in Greece p. 17 CHAP. IX At the same time that Painting was in its Perfection in Greece Sculpture and Architecture were so also p. 21 CHAP. X. How Painting went from Greece into Italy p. 24 CHAP. XI Of the Time wherein Sculpture began to be in Esteem among the Romans p. 28 CHAP. XII Of the Excellence of the Architecture of the Grecians p. 33 CHAP. XIII Of the Perfection of Architecture among the Romans in the time of the Republick p. 37 CHAP. XIV Architecture continued at Rome under the Emperors in the same Excellence it had done in the time of the Commonwealth p. 41 BOOK II. Of the Decay of the Arts of Designing CHAP. I. Under the Reign of Commodus the Arts of Designing began to Decline p. 47 CHAP. II. Architecture did not Decline till after Constantine although Painting and Sculpture did before p. 49 CHAP. III. The Empire removing to Constantinople and the setting up of the Christian Religion contributed to the Ruin of the Arts of Designing p. 52 CHAP. IV. The taking and Pillaging Rome by the Goths and Vandals contributed to the Ruine of the Arts of Designing p. 54 CHAP. V. The Images in the Primitive Church did not keep up the Arts of Designing at Rome but gave Birth to that manner which was afterwards named Gothick p. 56 CHAP. VI. The Arts of Designing declined less in the Eastern Empire than in the Western p. 58 CHAP. VII Of the Antiquity of Images in the Christian Religion p. 62 CHAP. VIII Of the entire Ruine of these Arts by the Sect of Mahomet in all the Parts of his Dominion p. 66 CHAP. IX Of the Injury Painting and Sculpture suffered by the Iconoclastes p. 69 CHAP. X. The Dominion of the Goths in Italy brought in the rude Manner p. 74 CHAP. XI In the time of the Lombards the Gothick Way continued in Italy and in several other Parts of Europe p. 75 CHAP. XII From the Time of Charlemain the true Manner of Building altered less in Tuscany than in other Countries p. 78 CHAP. XIII Reflections on the Fall of the Arts of Designing and on the Gothick Manner p. 80 BOOK III. Of the Re-establishment of the Arts of Design CHAP. I. The Arts began to flourish again in Tuscany in Architecture and Sculpture p. 83 CHAP. II. Of the Time when Painting began to be Re-established at Florence p. 88 CHAP. III. The Liberality of Princes to ingenious Artists has been a great Means of the Revival of the Arts of Designing p. 91 CHAP. IV. The Establishment of an Academy of Designing at Florence was a Means of Re-establishing the Art p. 95 CHAP. V. The French and the Dutch apply'd themselves to make Painting reflourish and found out the Secret of Painting in Oyl p. 101 CHAP. VI. Of the Invention of Painting in Oyl and its advantage in Painting and how the Secret went into Italy p. 105 CHAP. VII Painting was Re-establish'd in several Provinces of Italy p. 107 CHAP. VIII The School of Florence became very Famous by the great number of Excellent Men it produced p. 111 CHAP. IX Of the Perfection of Painting in the last Age. p. 118 CHAP. X. Of the Painters of Lombardy who contributed to the Re-establishment of the Art p. 124 CHAP. XI Painting in Point of Colours was brought to its greatest Beauty at Venice p. 128 CHAP. XII The same Curiosity was in all the Courts of Europe and chiefly in that of Mantua p. 133 CHAP. XIII Architecture arrived to a very great Excellency at Rome p. 137 CHAP. XIV Architecture began to revive in the State of Venice p. 141 CHAP. XV. Michael Angelo made Architecture Sculpture and the true
that after the Plays were done they might be turned round thereon and joyn'd into one Amphitheater to shew the Combats of the Gladiators of the Athletae or Wrestlers and of the wild Beasts There was nothing more glorious in Rome than the Temple of Jupiter Capitolinus Tarquinius Superbus (d) Tarquin in building the Foundations of the Temple of Jupiter Capitolinus laid out forty thousand Marks of Silver Plutarch in the Life of Publicola first built it and after it had been burnt the first time it was rebuilt by Scylla and enrich'd with the Columns of the (e) Plin. Lib. 36. Chap. 6. Temple of Jupiter (f) The Statue of Jupiter Capitolinus in the time of Tarquinius Priscus was made of Clay Plin. Lib. 35. Chap. 12. But under Trajan it was of Gold Martial Lib. 11. Olympius which he caused to be brought out of Grece and set up there in place of the Pilasters that were there before Afterwards having suffered damage by the Fire at the Vitellian Revolution Vespasian caused it to be mended But being a third time burnt it was built again by Domitian more Magnificent than ever it had been before For this Prince who excessively loved Building was so curious that he caused all the (g) The Bodies of these Columns were cut out at Athens of a very fine proportion but at Rome they were repolish'd which made them too slender and took away their Beauty Plutarch in the Life of Publicola Columns to be cut at Athens and he enrich'd this Temple to that degree that he caused it to be all over Gilded and laid out only for the gilding it twenty one (h) Twelve thousand Talents which the Temple of Jupiter Capitolinus cost building Plutarch in the Life of Publicela and Nardini P. 307. whereas the Antients had not the secret of beating Gold so thin as our Leaf Gold their gildings were excessive dear This is the reflection of Nardini millions and six hundred thousand Livres The other Buildings made by several Consuls before the Emperors were all according to regular Architecture as the Amphitheater of (i) Plin. Lib. 36. Chap. 15. This famous Amphitheater of Pompey was built after his Triumphs in Asia Five hundred Lions were killed there in five days time and armed Men engaged eighteen Elephants Demetrius his Freeman built this great Edifice and employ'd to that End the Mony he had gather'd up in following Pompey's Army H. R. de Xiphilin P. 14. This Amphitheater according to Pliny or according to others Theater was the first that was built at Rome Tacit. Lib. 14. Pompey which contained above forty thousand Men It was his Free man Demetrius who caused it to be built in imitation of that of Mitilene Pompey built near his Amphitheater the Temple of Victory and his Palace was an admirable piece of building as also the House of Lucullus and his Gardens Moreover in the Consulship of M. Lepidus and Q. Catulus it is certain that there was nothing finer at Rome than the Marble Buildings and Pieces of Painting that were done at the Charges of these great Men to adorn this City which at that time had in it an hundred Palaces that were equal in Beauty to that of Lepidus As (k) Plin. Lib. 36. Chap. 15. Pliny relates CHAP. XIV Architecture continued at Rome under the Emperors in the same Excellence it had done in the time of the Commonwealth JULIUS CAESAR no lefs affected building than those great Men who went before him His Palace and the Circus (a) The great Circus built by Caesar the Dictator was three Stadia or Furlongs in length and one broad and encompassed with all its appurtenances four Acres which he augmented are sufficient Proofs of it Augustus also had the same Affection for Architecture as was evident in his Palace which by reason of it's Beauty was called the great and magnificent Palace of Augustus Plutarch in the Life of this Emperor takes notice that he adorn'd Rome with several publick Buildings rebuilding those that had been ruined leaving them the Names of their first Founders His most considerable Buildings were the Temple of Apollo in his Palace the Porticus and a Library which he filled with Greek and Latin books the Mausoleum and a Park for the People to walk in Moreover he further finished the Temple of Jupiter Olympius begun long since at Athens All the (b) The Romans were so much given to building that it was the Custom for the Great and Noble Families to shew their Pomp and Magnificence by publick Edifices in building Palaces Galleries and Temples for the ornament and use of the City This made Augustus approve of and praise Stasilus Taurus Philippus and Balbo who laid out all the Spoils they had got by the Wars with the Surplusage of their Rents which they did not spend in sumptuous Buildings thereby to transmit their Memories and that of their Families to Posterity Tacit. Lib. 3. P. 134. Favourites of this Prince were great Admirers of this Art among whom (c) Agrippa left by his Will to the Romans his Baths and the Grounds belonging to them for their Entertainment He also built a magnificent Porticus in the City of Neptune in memory of his Naval Victories H. R. de Coiffeteau The great Herod who was also one of Augustus's Courtiers had a great Affection for Building He built in Judea the City named Caesarea in Honour of Augustus with several fine Palaces and a Haven by the Sea which he made one of the most commodious of all the East It was this King who embellish'd and augmented the Temple of Jerusalem so much regretted by Titus when he saw it burning at the taking of that City H. R. de Coiffeteau Agrippa appear'd to be one of the greatest who by a greatness of Soul truly Noble undertook to adorn the Campus Martis and all the Places round about it He brought down thither the Water named Aqua Virginis to make Baths and adorn'd that Place with Gardens Porticus's and a great Hall (d) Or Diribtorio to pay the Troops in and several other Buildings whereof the most Famous that is still to be seen entire is the Temple of the Pantheon (e) Pantheon called at present the Round Church by reason of the round Figure of it's Plan. Some have writ as Dion Lib. 53. that Agrippa did not found this Temple but that he only embellish'd and perfected it by making the Frontispiece whereon his Name is Engraved which has something a better relish of Architecture in it than the rest of that Edifice Ammian Marcellinus says that this Temple with that of Jupiter Capitolinus and that of Peace as likewise that of Venus at Rome were the first of all for Beauty in these words Velut regionent Teretem speciosa Celsitudine fornicatam and Plin. Lib. 36. Chap. 15. exalts above any other these Buildings And in Chap. 5. says that Agrippa adorn'd the Pantheon with several Figures made by
Diogenes the Athenian Thus magnificent Building was in very great Esteem in the time of (f) It was in Agustus's time that Vitruvius flourish'd to whom he Dedicates his Books of Architecture which are the only ones we have remaining of the Antients concerning this Art Augustus His last words when dying testify this he said That he found Rome built of Brick but he left it built of Marble This Magnificence of his inspired his Successors with the same Ambition For Tiberius was very curious and loved all the Arts of Designing Nero also took a great Phancy to fine Buildings this appears by his Palace which was call'd the gilded House the remains whereof are of the finest Architecture of Antiquity It continued in the same excellence under Vespasian and Titus This is evident by the Temple of Peace by the Amphitheater and Triumphal Arch which they caused to be made Domitian (g) Domitian not only rebuilt the Temple of Jupiter Capitolinus more Magnificent than it had been before but also his Palace where nothing was finer than the Galleries in the Porticus the Halls the Baths and Apartments for his Women he was so much enamour'd with Building that like Midas he could have wish'd every thing he touch'd might be turn'd into Gold and Stones Plutarch in the Life of Publicola imitated these Princes in their Love for magnificent Buildings He rebuilt the Temple of Jupiter Capitolinus more Magnificent than it was before for he ordered all the finest Pillars that could be found to be brought out of Greece He moreover built his House more magnificently than any that had been yet seen as also the Temple of Minerva and that of the Flavians The Regularity of Architecture continued and was practised in the same perfection in the time of Trajan (h) He apply'd himself to the Embellishing of Rome anew with magnificent Buildings Bridges Arches and Palaces the marks whereof remain to this day but there was nothing so remarkable as the Magnificence of the Circus which bears his Name Coiffeteau H. R. by Apollodorus his Architect The famous Bridge over the Danube which this Prince caused him to build was wonderful by reason of it's largeness and considering the Rapidity of that River The Palace of Trajan and his (i) At Ancone one of these Triumplal Arches is to be seen found by Le Serlio At Rome there was another which was pulled to pieces to adorn that of Constantine with it's excellent Sculptures Nardini P. 407. Plotina Wife of Trajan caused two Temples to be built which are to be seen at Nismes Triumphal Arches and his Magnificent Column whereon was Engraven the History of his great Actions against the Daci sufficiently testify the Skill of Apollodorus in the Arts of Designing This ingenious Architect continued to adorn Rome by his Art under the Reign of Adrian (k) Adrian also caused sumptuous Temples and other Buildings to be erected at Athens Pausanias in his Attit who not only loved Architecture but also practised it for he was jealous of the Merit of Apollodorus because he did not approve of the Model or Design of the Temple of Venus which that Emperor had made He also caused the Temple of Pantheon to be repaired as also that of Neptune and of Augustus and the Baths of Agrippa But his finest Piece was the Adrian Bridge with the Mausoleum of that Emperor which was an excellent Piece of Architecture Antonine the Successor of Adrian was no less Magnificent in his Buildings for he erected a stately Temple to Adrian his Father He repair'd his Tomb the Amphitheater the Temple of Agrippa the Bridge of the Tiber the Gate of Gaiete that of Terracina and the Baths of Ostia the Aqueduct of Antium and the Temples of Lavinium Marcus Aurelius was also a great lover of the Arts and Sciences he took particular care to Educate therein his Son Commodus causing him to learn Designing Architecture also continued to flourish under several of the latter Emperors even down to Constantine The love (l) Among the other buildings of Severus he caused an Eptizone to be made See Nardini to know what it is P. 406. Some have thought it was an Edifice that had seven Orders of Architecture the one above another and all Corinthian Thus in the Amphitheater of Vespasian they placed Corinthian upon Corinthian because in the Orders of Architecture there is none more beautiful as to the Composit which the Moderns prefer to the Corinthian there is no Example of it in Antiquity they only made use of it in their Triumphal Arches as in that of Titus it ought to be placed between the Ionic as participating of that and the Corinthian Severus entertain'd for this Art appear'd in the beauty of his Triumphal Arch and in the Model he made of a great Hall which contain'd above a hundred Toises or six hundred Foot The Circus of Caracalla was great and splendid and also under Gordian Aurelian and Dioclesian there were very considerable Buildings But after the Reign of Constantine and his Son Constantius Architecture began to decline at Rome there were no more skilful Architects left nor Princes whose curiosity led them that way Hence Architecture lost it's antient Splendor and began to decline as Painting and Sculpture had done before whereof we shall treat in the second Book of this History BOOK II. Of the Decay of the Arts of Designing CHAP. I. Under the Reign of Commodus the Arts of Designing began to Decline IN the First Book of this History we have discours'd of the Original and Progress of the Arts that relate to Designing until the time they began to decline and afterwards to fall in this Second Book we shall continue to relate the causes of their Decay and Ruin The Roman State in the time of the Republick and of the first Caesars was in very high Reputation for having raised the Arts to their highest Perfection But this Monarchy after the death of Marcus Aurelius began to lose the Grandeur it had before gained For several Emperors succeeding in a short time one after another tarnish'd the Glory of the Empire by their Cruelties and Debaucheries and Civil Wars which caused insensibly the Ruin of the Arts of Designing It was no fault of Marcus Aurelius that the Arts began to decline after his Reign for he took particular care to Educate his Son Commodus therein making him learn to Paint (a) Coiffeteau in his Roman History Pag. and Engrave while he was young finding his Genius easy and capable of Learning any thing whatsoever But this good Education was soon stifled by reason he abandon'd himself to all sorts of Debaucheries as soon as he succeeded him in the Throne which makes us look upon the Reign of Commodus as the beginning of the declension of Painting and Sculpture and this is evident in the Statue of this Emperor which is called Hercules Commodus which is still to be seen at Rome in the Palace of Belvidere
(b) This Statue is placed in a Court of the Palace of Belvidere with those of Antinous of Apollo of Laocon and of Venus of Cleopatra of the Nile and of the Tiber and of Torce all ancient Figures One may note by this Figure that the Art declin'd for although it be of a just and true Proportion and the Head of it very fine yet there is not that nicety and perfection which appears in the Statue of Antinous and other Figures that preceeded it and are to be seen in the same Palace This Art of Engraving continued to decline in the following Reigns for it is certain that under Severus (c) This Emperor began to Reign in the Year of our Lord 195 from whose Reign to Constantine's is 115 Years it was very much fallen from the Beauty it had arrived to in the time of the first Caesars This is visible by the Triumphal Arch of that Emperor which is still to be seen at Rome for in this Work the Sculpture that represents the Historical part is much altered for it neither has the Designing nor any thing of the curious Workmanship of the Excellent Ancients CHAP. II. Architecture did not Decline till after Constantine although Painting and Sculpture did before IN this Decay of the Arts of Designing Architecture did not so soon decline as the other Arts For in the Arch of Severus it is in its perfect Beauty and equal to what was done in its most flourishing State On which account it was happier than Painting or Sculpture for it maintained its just Regularitie till the time of Constantine the Great The Triumphal Arch of that (a) The Triumphal Arch of Constantine was made 120 Years after that of Severus near the Year of our Lord 310. It is thought it was finished the Tenth Year of his Empire others say not till a little before he Died. Among the Eight fine Statues of the Slaves on the Cornish there are wanting the Heads which were privately carried to Florence by Laurentius de Medicis according to the report of Giouco Nardini page 407. These Figures of the Slaves and all the great Bass Relief which adorn'd this Arch were taken from the Arch of Trajan Emperor is a proof it The Corinthian Order is therein used in its Purity and Perfection on the contrary the Sculpture is very rude and gross This may be observed in the Bass Relief of the imbossing and of other small Figures below the Compartments which shews evidently that Sculpture and the Art of Designing in Human Figures were declined at Rome and reduced to the worst condition they had ever been in Architecture did not decline so soon as Painting and Sculpture because it was longer protected by the Princes by reason of its necessity and usefulness This is to be seen by Ammianus (b) In his 26th Book he takes notice that That which caused the greatest Admiration in Hormisda was the wonderful Fabricks of the Temple of Jupiter Capitolinus the Amphitheater the Pantheon the Temples of Peace and of Venus the Theatre of Pompey and the Forum of Trajan Marcellinus who writ the arrival of the Emperor Constantius (c) This Emperor taking Pleasure in surveying these famous Buildings told Hormisda That he could not undertake so great things as these but that he would at least endeavour to imitate the making such a Brazen Horse as that of Trajan which was in the middle of the Forum To which this Architect answer'd That he would first Build him a proportionably fine Stable to put that fine Horse in V. il biondo Italia Illustrata Nardini Rom. Antiq. p. 126. the Son of Constantine the Great He tells us that this Prince brought to Rome Hormisda a famous Persian Architect to shew him the famous Buildings of the Ancients both in that City and in all Italy But the truest reason of the continuance of true and well-order'd Architecture is that the study of it is founded on Measures and Proportions of Geometry and Arithmetick which makes the imitation of it much more easy than that of the Human Figure for besides the Measures and Proportions therein to be observed it is necessary to study the different Postures the lively Expressions the Passions and Motions of the Muscles and an infinity of other Parts which must be known to be Excellent in Painting and Engraving These fine Parts and Turns wherein the Excellence of the Arts consists began first of all to be lost in Designing which continued without that relish of Art down from the time of the latter Empire and of Constantine This is evident in his Triumphant Arch by his Medals his Statues in the Capitol and the Images of Christ Jesus (d) Vasari in his Preface to the Lives of the Painters and the Apostles which this Emperor caused to be made in Silver and set up in the Church of St. John of Latran which are of an ordinary and common Sculpture These Faults are also to be seen in the Mosaick Painting and other Pieces which this Prince caused to be made On the contrary it was observed that till that time the Beauty and Art of Architecture and its Ornaments remain'd as may be seen in the Capitels of Constantine's Arch in those of his Baptistery (e) Anastasius gives the Description of it in the Acts of St. Sylvester as is yet to be seen Nardini Rom. p. 102. and the Bases of their Columns where there are Foliages and other Flourishes very well Cut. It is for the same reason we have noted in Architecture that Sculpture also preserved its Perfection and Beauty longer than the other Arts of Designing because the aforesaid Sciences are of such use therein CHAP. III. The Empire removing to Constantinople and the setting up of the Christian Religion contributed to the Ruin of the Arts of Designing THAT which contributed to the destruction of the Art of Designing at Rome was the removal of Constantine to establish the Empire at Bizantium For he hired the best Artists in Rome and carried away an infinite number of (a) Among the Statues which Constantine carried from Rome to Bizantium were the Four Brazen Horses which are on the Frontispiece of St. Mark at Venice The Venetians after the taking of Constantinople carried them along with them Statues and every thing that was fine and rich to embellish his new City At the same time the Zeal for the Christian Religion very much contributed to the declension of Painting of Sculpture and of Architecture for the Christians to extirpate Idolatry seeing themselves Masters of the Empire overthrew and broke down the most considerable Statues of the Gentile Gods and demolished their finest (b) The Popes and particularly St. Gregory the Great spoiled the Gentile Temples and broke the Statues P. T. de Vasari p. 75. Temples This also caused the decay of Architecture for the Christians transported the Columns of Adrian's Mole to Build therewith the ancient Church of St. Peter at Rome They
did the same by several other celebrated Temples (c) The Pope Honorius the First took by Permission of the Emperor Phocas the Brazen Tiles of the Temple of Romulus to cover the Church of St. Peter and turn'd that Temple into the Church of Comus and St. Damian Il Biondo Roma ristaurata Page 12. This makes it appear That the Emperors of Constantinople were yet the Masters of Rome since the Popes could not take away the Brass without asking them leave Also Boniface the Fourth asked leave of the Emperor Phocas to take and Dedicate the Pantheon to the Blessed Virgin and to all Saints V. the same Biondo p. 56. Focas Reigned about the Year 590 about 100 Years before Charlemain had established the Temporal Grandeur of the Church Il Biondo has Dedicated his Book to Pope Eugenius the Fourth of that City to Build the Church of St. Paul without the Walls that of St. Mary the Elder and of several others which they embellish'd for the most part with the curious Relicks of the ancient Architecture But in all these great Structures it is to be observed that the just Proportions and orderly distributions of the Ancients are not to be found Thus all the Arts of Designing after Constantine had left Rome decayed continually and that before the Northern Nations came to ravage and waste the Empire and its Capital But after that those People compleated the Ruine of the ancient Beauty and Orders of those noble Professions as appear'd afterwards CHAP. IV. The taking and Pillaging Rome by the Goths and Vandals contributed to the Ruine of the Arts of Designing ABOUT One hundred Years after Constantine Alaricus King of the Goths Ravaged Italy and took Rome Odoacer King of Italy sack'd that City and pillag'd it as also Gensericus King of the Vandals who with Three hundred thousand Men that he brought out of Africa laid it waste and almost quite desolate which was not effected without the destruction of most of the Pieces of Designing But their greatest Ruin happened in the time of (a) Alaricus took Rome about the Year 412 and Odoacer after that and then Gensericus in the Year 456 he also ravaged great part of the Kingdom of Naples principally the Coasts of the Gulph where there were several fine Pieces of Architecture of the ancient Romans as at Messina Cumes Saia and Pouzzole Antiquit. di Pouzzole di S. Mazzella Justinian when Totila King of the Goths made that City sensible of his Indignation He was not contented to demolish the Walls and the proudest Structures but he burnt it and in Thirteen days time it was in great part consumed by the Fire This did so ruin the Statues and the Paintings the Pieces of Mosaick Work and the Imagery that all of them lost their good Grace and Beauty For this reason the lower Apartments and the first Floors of the Palaces and other Buildings enrich'd with Pieces of Designing were wholly buried under the Ruins Those who afterwards inhabited that desolate City having Planted Gardens on those Ruins they there buried those fine Pieces of Painting and Sculpture which being found again after three hundred years served for the re-establishment of the Arts of Designing For under those Ruins were found Subterranean Cavities called Grotto's where were found several Pieces of Imagery and Painting which on that occasion were named Grotesque It is remarkable that at this taking of Rome by Totila every thing concurr'd to the destruction of what was most curious in Sculpture for the Grecians who Fortified themselves in the Mole of Adrian (b) Rom. Antiq. of Nardini p. 480. In the Year 545 Rome was taken by Totila broke in pieces all the fine Statues wherewith that place was Adorned and made use of those Pieces to repel the Assaults of their Conquerors Notwithstanding as this City had been filled with such immense Riches and excellent Statues so it was almost inexhaustible for about One hundred Years after the sacking of it by Totila the Emperor Constantius the Second (c) He was also called Constantine the Third went thither and though he was well received by the (d) About the Year 650 110 years after the taking it by Totila Romans yet he did not desist from taking away whatever he found of any considerable Value and laded therewith several Vessels which were by a Tempest driven into Sicily where he was Killed and the Saracens who went thither took those rich Spoils and carried them to Alexandria But if the Arts of Designing met with such ill treatment at Rome in the Declension of the Empire they could expect no better in most of her Provinces for the Visigoths in Spain the French in Gaul and the Vandals in Africa ruined all those stately Structures which the Romans had built in their Colonies for the flourishing of Arts which set forth the Splendor of their Empire CHAP. V. The Images in the Primitive Church did not keep up the Arts of Designing at Rome but gave Birth to that way which was afterwards named Gothick ONE would have thought that the Excellence of Designing ought to have kept up at Rome by reason that from the beginning of the Christian Religion the Christians made use of Painting and Sculpture to represent the Histories of the old and new Testament to adorn their Churches and Tombs This is indeed True but then considering that these Paintings and Sculptures were only for the Instruction of Christians in solitary and subterranean Places where they celebrated Divine Service they did not trouble themselves with the Curiosities of Designing nor giving their Pieces that nicety and beauty as those did who lived under the first Caesars insomuch that when the Christians in the Reign of Constantine had the liberty of erecting Temples to the true God the Arts of Designing were already declined and almost lost Thus all the Paintings and Sculptures and Imagery and Pieces of Mosaick Work which they made and were found in the antient Church were degenerated from the true relish of Designing And those Pieces of Sculpture (a) On the Mountain Cicilo is to be seen the Church of St. John and St. Paul built in the time of Julian the Apostate which is a very ill Piece of Architecture and Architecture (b) At the Church of St. Agnes without the Gate Pia there is to be seen a Tomb of Porphyry and because the Sculpture in Bass Relief which is there represents Children with Vines and Grapes the Vulgar have falsely supposed it to be the Tomb of Bacchus This fine piece of Porphyry was the Tomb of the Princesses Constantia's Daughters of the Emperor Constantine in this Church are also the Tombs of other Princesses of the same Family It is also the place where they were Baptized and which was expresly Built by Constantine Nardini Rom. Antiq. P. 174. These Bass Reliefs are of no excellent Designing which shews that Sculpture was much fallen from it's Excellence as also Painting (c) The
Great they chose out the most Learned Man in all the Empire to be the first Master or Director Here was that famous Library which contained six hundred thousand chosen Books but which perished partly in the Fire in the time of Basilicus and Zeno. Among those that were saved there was a Dragon's Skin of twenty six Foot long whereon were written in Letters of Gold Homer's Works It is remarkable that in this Fire several Antient Pieces and among others the Venus of Praxiteles which he made for the Gnidians were burnt But after this Library was rebuilt and fill'd with three hundred thousand Volumes it was entirely consumed by being set on Fire by Leo Isaurianus Cedren Zonar Constant Manass College of the Orthodox therein to Burn the head Master and twelve Professors for having reprehended him for his Errors And all these generous Defenders of the Faith were therein consumed with every thing that was of any Value in that Academy which had the finest Library of all the East He moreover caused all the Paintings in the Churches to be defac'd and those which could be taken away whether Pictures or Statues he caus'd to be pil'd up together in the great Square in Constantinople where they were burnt with all those that could be found in private Houses Constantine called Copronimus (b) He was so called for having defiled the Church wherein he was baptized by laying his Ordure in it Maimb Hist Iconeclast Son of Leo succeeded him both in the Empire and in the hatred he bore to Images For it was this Constantine who caused all the admirable Paintings of Mosaick in the Church of Nostre Dame to be cut to pieces as also those of the Palace of the Blaquernes which the Empress Pulcheria had caused to be there made and which even Leo himself had spared and in their Room this Emperor ordered to be drawn on fresh Plaister Landskips and Birds They broke down and defac'd all the Remains of any Images on the Altars and Walls of the Church and even on the sacred Vessels and Ornaments Nicetas the false Patriarch to please this Prince caused all the fine Mosaick Paintings in his little Hall of Audience to be broke to pieces as also a great Wainscot that reached all along the great Auditory of his Palace enrich'd with Bass Relief and he also caused all the Walls of the Churches to be plaistered over where there were Images painted that he might not leave the least Footstep of any Images in the Patriarchal Palace as his two Predecessors had done After Constantine Copronimus his Son Leo continued to destroy Images during the five Years which he reigned But under the Regin of Constantine and Irenaea his Mother they were re-established But afterwards Nicephorus after having dethron'd this Princess persecuted the Catholicks as did his Predecessors The Emperor Michael Curopolatus re-establish'd Religion and Images for a short time for he was dispossess'd by Leo the Armenian who was also an Iconoclast who caused to be defaced broken and cast into the Sea and the Fire all the Images which had been re-established Michael furnamed the Lisping his Son continued in the same Error But Theophilus who succeeded this last was yet a greater Enemy to Images and Painting For he was not contented to take away those that had escaped the fury of these Emperors and which only served for Ornament but also declared himself an utter Enemy to and Persecutor of all Painters and forbid them the Exercise of their Art This Prohibition was made in particular to the glorious Monk Lazarus who was an Excellent Painter who notwithstanding did not desist from painting Pieces of Devotion Theophilus irritated at this caused him to suffer great Torments but he continuing notwithstanding his pious Exercises therein he caused red hot Plates of Iron to be apply'd to his Hands to burn his Flesh thinking thereby to spoil his Working and that he could thereafter Paint no more which made him without any difficulty grant this Excellent Painter to the requests of the Empress Theodora who begged him Lazarus being cured of the Wounds he had receiv'd by these cruel Torments and privately shut up in the Church of St. John the Baptist he there notwithstanding his burnt Hands made his Image This happy Lazarus surviv'd Theophilus and after the Death of this Prince Lazarus painted excellently well the Image of our Saviour which was set upon the principal Gate of the Imperial Palace which was called the brazen Gate in the room of that (c) This Image of our Saviour was by Constantine set upon the Gate of his Palace where there was at the Entrance of it a Porch covered over with Tiles of Brass this Image was broke by Leo Isaurianus and afterwards made again by Constantine and Irenaeus afterwards taken away by Nicephorus but set up again by Michael Curopolatus and lastly taken away again by Leo the Armenian and made again by St. Lazarus after the Death of Theophilus the last Emperor of the Iconoclastes this St. Lazarus was a Monk and a Painter and he painted Images till his Death Cedren Curopol which Leo the Armenian had caused to be taken away Hence we may conclude that the Iconoclastes were the ruiners of Painting and Sculpture in the Grecian Churches which perfected the destruction of the Arts of Designing which continued in that Condition to the Fall of the Grecian Empire The Servitude they were afterwards reduc'd to did not permit the revival of those Arts but only to continue in their Churches the Worship of Images painted after an ill Way after the (d) That Way which the Italians call the Antient Greek Way and not the Antient Way has always been in Use in the East since the declension and fall of the Arts. This appears in Venice in the Church of St. Mark for which the Doge Peter Orseolus caused the best Architects of Greece to be sought out in the Year 997. to rebuild it as it is at present where there is not to be seen any Footstep of good Architecture nor beauty in the Mosaick Paintings which were then made There is likewise no more beauty to be found in the Paintings of that Sort which were there before that time in the Choir of the Chapel of our Saviour in the Year 828. Riosti delle Maraviglie dell'arte P. 12. But farther to illustrate what we mean by the Antient Greek Way and not the Antient Way we understand by the word Antient all the Works of Design that were made before the Emperor Constantine both in Greece and Italy and in the other Countries where these ARTS flourished Thus all the Statues we have of that Time are of the Antient Manner But for the Old Greek Way it is that which was brought into Italy since St. Sylvester by certain Greeks to the Year 1200. for in all their Works both of Painting and Sculpture there is nothing to be seen of Curious but on the contrary of a monstrous Design such
as are the Works in the Churches on this side the Mountains which are called Gothick Thus the Old Greek Way and not the Antient Way and the Gothick are the same the one being as ill as the other And in all Europe these two ways of working continued till some ingenious Painters out of Emulation one to another discovered and revived these ARTS as shall be seen in the third Book Greek and not the Antient Manner CHAP. X. The Dominion of the Goths in Italy brought in the rude Way AFTER the Arts of Designing were declined at Rome in the time of the latter Empire by all those unhappy Accidents that happened to that City they also underwent the same Fate in the Provinces of Italy where the Goths and other barbarous Nations destroy'd the fine Roman Buildings whereof there remain only some famous Footsteps of their Ruine Theodoricus one of their Kings having established the Seat of his Kingdom at Ravenna his Reign was long glorious and peaceful and as he very much loved Building he apply'd himself in his Capital at Rome and in the principal Places of Romania and Lombardy to build several Palaces and Churches which are yet to be seen all of them of a rude Way very remote from good Principles of Architecture and the exact Rules of the Antients For these Buildings are after the Gothick Way which had spread it self through all Italy and in several other Places of Europe The Gothick Architects chiefly embellish'd their Works with Capricious Ornaments which were to be seen on the Capitels of their Pillars They adorn'd their Works with a great number of small delicate Parts and several Threds which resembled Osiers quite contrary to the Antient Architecture This Gothick Way is still to be seen in the Churches of Ravenna and other Places which Theodoricus built (a) King Theodoricus caused Palaces to be built at Ravenna Pavia and Modena after a barbarous Way which were rather great and rich than well built or of good Architecture The same may be said of the Church of St. Estienne de Rimini of that of St. Martin at Ravenna and the Temple of St. John built in the same City in the Year 438. by Galla Placidia In the same City the Church of St. Vital was built in 547. The Queen Theodolinda caused the Church of St. John the Baptist to be made at Monza where she caused to be painted the History of the Lombards her Daughter Queen Gundiperga caused one also to be built at Pavia they are all of the Antient Gothick This is remarkable in the Round Church of St. Mary near this City The Vault of this Edifice is one only Stone which also made the Cupolo which is thirty (b) This Author speaks with certainty thereof having measured it himself Foot in Diameter this causes Admiration in those who are not acquainted with the Beauty of Architecture nor Designing nor their Proportions This Church was built by the Queen Amalasonta Daughter of Theodoricus for a Sepulcher for this Prince CHAP. XI In the time of the Lombards the Gothick Way continued in Italy and in several other Parts of Europe THE Gothick Way in the Arts was continued in Italy after the Goths by the Lombards who drove them out thence and reigned there two hundred and eighteen Years This appears not only in the Churches of Pavia of Milan of Bresse and other Buildings built by Luitprand and their other (a) Luitprand built at Pavia the Church of St. Peter il ciel dauro Didier who reigned after Astolphus built the Church of St. Peter Olivate in the Diocess of Milan that of St. Vincent in the City and that of St. Julia at Bresse all these Edifices were built at a great Charge but of a rude and disorderly Way Vasari P. 77. Kings but also in all the other Churches in France that were built about that time For after the French had got the Mastery of the Romans they banish'd thence the Arts of Designing and no more regarded the Excellent Idea's of the Antient Architecture such as was to be seen at Orange Nismes St. Remi Bordeaux and other Places where the Romans had made good Architecture to flourish But far from that these French Artists forgot and laid aside the true Method and Rules of the Antient Architecture Insomuch that the Way called Gothick grew into Use with all the Nations of the West Hence it is that the Church of St. Peter and St. Paul built at Paris by Clovis the first Christian King and called at this day St. Genevieve is of this Gothick Way and quite contrary to the Rules of good Architecture One may also take notice of this rude Way of Architecture in the Church of St. Germain-des-Prez built by Childebert Son of this King here one may observe the ill State and Condition of Designing and Sculpture on the Capitels and four Bass Reliefs of the Choir of this Church and in the Figures of the Porticus For all the Sculptures there are done without Design Relish or Art We may pass the same Judgment on the Painting of those Times as on the Sculpture for when the true Genius of Design was wanting in the one it was also deficient in the other The Church of St. Martin de Tours is a Proof of this There is to be seen over the great Vault a Crucifix of a sort of Painting not at all exceeding the Graving in the same Church which is after the antient Gothick Way In the Reign of Dagobert was built the Church of St. Dennis in France which is of the same Sort with those other Buildings though made with great care and neatness This Prince built several Churches after the same Way in Alsatia and several other Provinces of Germany which he Conquered and where he left as Marks of his Piety several Abbies which he founded CHAP. XII From the Time of Charlemain the true Relish of Building altered less in Toscany than in other Countries THIS rude Way of Building continued during the first and second Race of our Kings as is evident by the Churches Charlemain built in several Cities of his Empire which are all after the same Way This Great Emperor after having been Crown'd at Rome and regulated the publick and private Affairs of that City and even those of the Pope and the Church as to temporal Affairs he visited the Cities of Italy and left as a Testimony of his good Will to Florence the Church of the Apostles which he there built of a better and finer Order than those that were built before the Reign of this glorious Prince or the others that were made since the decay of Architecture to the revival of the Arts of Designing For the Bodies of the Pillars the Capitels and the Arches of the Church are done with a great deal of Grace and true Proportion This Church has always been esteemed by Architects to be of singular Beauty and Ser-bruneleschi one of the most famous Artists thought
fit to take this Church for a Model of the Churches of the Holy Ghost and St. Laurence at Florence which are of his Designing In the Church of the Apostles may be read on the side of the great Altar the Foundation of it Engraven on Marble in these Words In the Year eight hundred and five the 6th of April Charles the King of France at his return to Rome entred into Florence He was receiv'd with a great deal of Joy and presented by the Burgers with several Chains of Gold There is yet to be seen on the Altar of this Building a Plate of Brass whereon is written the Foundation and Consecration of it by the Archbishop of Turpin in the Presence of Roland and Oliver VII Die VI. Aprilis in resurrectione Domini Carolus Francorum Rex à Roma Revertens ingressus Florentiam cum Magno gaudio tripudio susceptus Civium copiam Torqueis aureis decoravit Ecclesia sanctorum Apostolorum in Altari inclusa est lamina plumbea In qua descripta apparet praefata Fondatio Consecratio facta per Archiepiscopum Turpinum Testibus Rolando Uliverio Vasari proëmio delle Vite. CHAP. XIII Reflections on the Fall of the Arts of Designing and on the Gothick Way THE Gothick Way continued after Charlemain during the second Race of our Kings and under the Reigns of most part of the third under these last Princes there was no Change neither in Architecture nor Sculpture which is the reason we see nothing well ordered in their Palaces This is apparent in the Palace of King Robert at St. Martin and that of St. Lewis at Paris These Buildings have nothing but the Gothick Way in them This method continued after this King And is to be seen in Nostre-Dame at Paris which his Successors finished All the Beauty of this Church consists in its vast Greatness and fine Plane and ingenious Cutting of the Stones and some delicate small Parts or Pieces of Architecture which notwithstanding sustain great Weights Notwithstanding the true Orders of Architecture and good Sculpture is there wanting every thing is after the Antient Gothick Way which was followed in France till the Reign of Lewis the XII By what has been said in this Book we may conclude that the Arts of Design decay'd as soon as the Princes of the latter Empire grew out of love with them and no longer protected them This Neglect of them began the Ruine of these Arts which encreased during the Civil Wars by the sackings of Rome and the desolation of the Provinces of its Empire The Infidels and the Hereticks contributed much to this Misfortune in several Places and that even to the total Destruction of these illustrious Professions But that the Reflections we make on the Fall of these Arts may be useful to those who learn Designing it will be necessary to know wherein consists the ill and rude Way which was introduced in the time of their Declension that it may be avoided for the Future It may be remarked in the first Place in the Gothick Pieces that what they had of Rude or Ill in them proceeded from the Ignorance of those that made them in the just Proportions of the human Figure which is the solid Foundation of just Designing since all their Statues are disproportionate For the most Part have their Heads either too great or too little the Hands and the extreme Parts too thin and slender their Postures without any choiceness nay without intention or expression Also in the cloathing of their Figures are to be seen Cloaths cut in Pleats and Folds where naturally there are none in short their Works have nothing that can please the View or deserve the Attention of those that are Curious These are faults which ought to be avoided as wrong Principles by the Pupils of Designing Who ought to apply themselves immediately to the just Proportions of the Antients for therein consist the true Beauties of the Art They ought to begin with the Studies of Geometry and Perspective and with the Postures which naturally express the different Actions of the Body and Passions of the Soul They ought to take care to learn Anatomy that they may know the Motions of the Muscles and observe their just Contorsions These are the means which ought to be followed to arrive to the Knowledge of the true Beauty and Excellency of these Arts It has been hereby that the excellent Modern Painters and Engravers and Architects have made such advances to whom we are obliged for the Re-establishment of Painting of Sculpture and of Architecture Which shall be the Subject of the Third BOOK of this History BOOK III. Of the Re-establishment of the Arts of Design CHAP. I. The Arts began to flourish again in Toscany in Architecture and Sculpture AFTER having shewed in the Second Book of this History the causes of the declension and fall of Painting and Sculpture and Architecture by the ill and rude Methods and decay from that Excellence which they had arrived to among the ancient Grecians and Romans we will shew in this Third Book how these Arts by little and little emerged from the rude Gothick way and continued their Re-establishment from the year 1013 to the end of 1500 wherein they arrived to their primitive Perfection and passed from Italy into several other Parts and particularly into France by the singular Favour they found under our Kings Francis the First Henry the Fourth and Lewis the Great who now esteems it as a part of his Glory to have made the Arts of Design to Flourish These Arts of Designing began first to be revived in Toscany before they were known in other Countries For as the Tuscans were the first among the Ancients who practised them so they had the advantage of being the first in Italy who raised them from the low state to which they were fallen Thus in the year 1300 there began to appear at Florence a better sort of Architecture than the ancient Gothick for in the Church of St. Miniate Built in that time Architecture may be observed to creep out of its barbarous Methods and to Imitate in all the parts of that Building the way of the Ancients After this happy beginning the Arts of Designing continued on to their Perfection in Toscany and the Pisans in the year 1016 Founded their great Church called the Dome of Pisa The Commerce they had by Sea and particularly into Greece was a favourable means for the Re-establishment of Architecture and Sculpture for they brought thence several Columns and Fragments of ancient Architecture of Marble which they made use of in the Fabrick of this Church They brought together by these means several Engravers in Italy and also Grecian Painters who Work'd after their own old Methods for only using in their Painting simple Lines which they Coloured all over equally without any Shadowing their Works were not very Artificial notwithstanding these Remainders of Art taught the Italians the practice of Painting in
Management of Caesarianus a very Ingenious Architect and Bernardino da Trevio a Milanese also a good Painter and Architect and Engineer who was very much esteem'd by Leonardo Vinci though his way of Painting was somewhat dry The Reflections which Bramante made on this famous Church together with the knowledge he gained by those two Architects who were the Managers and Designers of it made him have a mind to apply himself wholly to the Study of Architecture whereupon he went to Rome where having kept together what he had gotten by Painting he survey'd with a particular Care and Curiosity the magnificent Ancient Buildings of that City those of Tivoli and of La Villa Adriana his Affection to Architecture led him also to Naples to observe all the fine Remainders of Antiquity which are there and thereabouts He there met with the Protection of the Cardinal Archbishop who had such an Esteem for him that a little after he Engaged him to make at Rome the Cloyster of the Church of Peace Afterwards he was employed by Pope Alexander VIth and he shew'd his Skill in the Architecture of the Palace of the Chancery and of the Church of St. Laurence in Damaso He embellish'd moreover several Churches in Rome by Frontispieces of his own Designing that of St. James of the Spaniards of St. Mary del l'Anima and of St. Mary del Popolo are convincing proofs of it as also the little Temple of the Dorick Order which is consecrated to St. Peter in Mont-Orio These Works and several others gain'd him so much reputation that he was ackowledged the best Architect of his time insomuch that in 1503. Julius the Second being Pope took him into his Service where he continued to gain Admiration by his Buildings in the Lodgings of the Vatican and by those of the Palace of Belvidere But that whereby this famous Architect got the greatest Credit was his Design of the (a) The Design of St. Peter's Church by Bramante is to be seen on the Reverse of the Medals of Julius the Second and of Leo the Tenth excellently well Engraven by Carradosso who made also a Medal of Bramante great Church of St. Peter at Rome and the Foundation he laid of that incomparable Building (b) Bramante died in 1514. Aged 70. He was buried in St. Peter's Church and very much regretted by all the Ingenious in the Arts of Designing it was he who brought Raphael to Rome and instructed him in Architecture This Architect besides the Beauty of the Orders which he brought into use again found out several fine things in Architecture as the way of making Vaults in Plaister which was also used by the Ancients Vasari Vit. del Bramante Raphael Urbin after the Death of Bramante took care of the Architecture of that Church and there is also to be seen of his the Chappel of Chigi in St. Mary del Popolo but Death which at 37 Years of Age put a period to his Life has deprived us of those excellent Works which otherwise he would have left to Posterity Architecture continued at Rome in its Excellence by Baldassare (c) Baldassare Peruzzi of Siena from his Youth learned Designing and Painting at Siena afterwards he went to Rome and painted in Fresco the great Altar of St. Humphry and two Chappels at St. Roch afterwards Augustine Chigi contracted a Friendship with him which first induc'd him to study Architecture and make him the Model of his Palace de Chigi in the Street of Longare where he painted several Figures and fine Pieces of Perspective wherein he was Excellent Julius the Second employ'd him to Paint in the Vatican and he painted several Fronts of Palaces at Rome after which he was sent for to Bologna to Design the Portico of St. Petronio and to several other Parts in Italy as to Carpi where the great Church is of his doing as also that of St. Nicholas afterwards he returned to Rome where he built the Palaces which are next that of the Farnese's and Pope Leo the Tenth employ'd him also in several things and among the rest to Paint some Scenes for Comedies which were so much the more surprizing because it was Baldassare who first brought them into use for he was very Excellent in placing Lights true in Perspective It was he who continued on the great Chappel of St. Peter which Bramante had begun But in 1527. when Rome was sacked by the Spaniards Baldassare was so unfortunate as to be taken Prisoner and not only lost all he had but was very ill treated Because he had a good Presence the Spaniards took him for a Priest in disguise and having afterwards understood that he was a Painter and one of those who were esteemed by Charles de Bourbon they made him draw the Portrait of that Prince after his Death by which means Baldassare obtain'd his Liberty and went to Siena strip'd of all he had After the Wars were ended he return'd to Rome where he continued to Work and Comment on Vitruvius which he did not finish by reason Death prevented him He was buried in the Rotunda near Raphael with this Epitaph Balthasari Perutio Senensi Viro Pictura Architectura aliisque ingeniorum artibus adeo excellenti ut si Priscorum occubuisset temporibus nostra illum felicius legerent Vix Ann. LV. Menses XI Dies XX. Lucretia Jo. Salustius optimo Conjugi Parenti non sine lacrymis Simonis Honorii Claudii Aemilioe ac Sulpitiae minorum filiorum dolentes posuerunt Die 4 Januarii M. D. XXXVI Peruzzi where are to be seen of his designing some Palaces of a fine and elegant Proportion which command the Attention and Admiration of the Spectators filling them with an agreeable pleasure in considering their Beauty the effect of a rare Designment for Balthazar excelled in Painting and Perspective before he practised Architecture and had in that Art several Disciples Serlio was one of the first who made any Proficiency by the Designs of Balthazzar for he composed those Books we have under the Name of Sebastiano Serlio Bolognese CHAP. XIV Architecture began to revive in the State of Venice GOOD Architecture began to revive in the Provinces of the Republick of Venice according to the true Gusto of the Ancients for there were several Illustrious Architects who came from Verona who were happy in being Born in a City where there were so many Relicks of fine Architecture For it is most certain that the best Precepts which can be given in the Arts of Designing are fine Examples whereon Youth Casting their Eyes and Thoughts with a particular Inclination for Designing cannot but succeed And this is an Advantage which the Italians have had above other Nations who have render'd themselves famous in Architecture Sculpture and Painting insomuch that it is not a wonder that in the last Age they have surpassed others Those Ingenious Veronese Architects were Joconde Michael San Michael and John Maria Falconetti Joconde was called Fryer John Joconde
this manner his fine manner of Painting and filied Venice with his admirable Pictures he died in 1594. Marietta his Daughter was an excellent Paintress she died at the Age of thirty Years in 1590. Ridol Vite di Pittori Veneti Tintoret continued to embellish the Palaces and Churches of that City and of the Venetian State with a great Number of excellent Pieces Insomuch that these Pieces both then and still cause admiration in the Curious and serve for Examples of Study to young Painters who love this fine Way of Painting and Colouring For it may be said in Praise of these two excellent Persons that they were those who brought Colouring at Venice to its highest Perfection Jerom Mutiano of Brescia was also of this State and learnt the Principles of Painting Afterwards he perfected himself at Venice by the Pieces of Titian where he learn'd the true Way of Colouring and drawing Landskips wherein he was Excellent After this he went to Rome where he continued to Study his Art with so much Ardor that to beat Love out of his Head which he found somewhat to hinder him he cut off his Hair and never stirr'd from home till his Picture of the Resurrection of Lazarus was done and his Hair grown again This Work which is to be seen at St. Mary Majore was very much praised by Michael Angelo and acquired a very great Reputation to the Painter who made it as did also that which he painted in St. Peter's which represents the Visit of St. Antony to St. Paul the first Hermit He work'd for the Cardinal d'Este who had a very great Esteem for him he made several other Pictures at Rome at Orvieta and at Loretto Among the other good Qualities of Mutiano he had an extraordinary Way of teaching Youth and by his Will he left two Houses to the Academy of St. Luke and also something to build Apartments for the Students of Designing who were Poor it was he who by his Credit with Pope Gregrory the XIIIth obtained a Brief of him to found that Academy and who caused the demolish'd Church of St. Luke on the Mount Esquilino to be changed into that of St. Martin which stood at the Foot of the Capitol and which has been since rebuilt and embellish'd according to the Designing of Pietro da Cortona a famous Painter of this Age. Architecture which had been brought to a very high Degree of Perfection at Venice by the famous Architects we have mentioned was continued there after the true and fine Way of the Antients by Daniel Barbaro Scammozzi and Andrew Palladio who excell'd the others as the fine Churches he built at Venice sufficiently testify as also the Palaces and Seats of Pleasure and other Buildings he made in the Venetian State which are all of a true and fine Way This together with the ingenious Books of the Orders of Architecture and of the Temples of the Ancients which are extant of his are as so many perpetual Monuments of the Merits of Palladio This Art (e) Among the best Architects of the last Age who preceeded these last of all and were contemporary with Michael Angelo may be reckoned the two Brothers Julian and Anthony da san Gallo of Florence They were employ'd by the Republick of Florence and by the Popes Alexander the VIth Julius the IId and Leo the Xth and several others to build several Forts and other Structures Anthony had the management of the Building of St. Peter's after the Death of Bramante Julian died at seventy four Years of Age in 1517 and Anthony in 1534. These Verses were made in their praise Cedite Romani Structores Cedite Graii Artis Vitruvi tu quoque cede Parens Hetruscos celebrate viros testudinis arcus Urna tholus statuae templa domusque petunt About this time lived also John James della Porta a Milanese Architect and Sculptor who built the Dome at Milan He brought up his Nephew William della Porta to Sculpture Michael Angelo got him to work at Rome and procured him the making of the Sepulcher of Paul the IIId which is to be seen in St. Peter's as also the Office of Frate del Piombo after the Death of Sebastian Venetiano in 1547. has continued at Rome in the same Excellence Michael Angelo brought it toâ— Republick by means of several excellent Architects chiefly Pirro Ligorio and Vignola Painters and Architects Pirro Ligorio was of a noble Family of Naples from his Youth he studied Designing and Painting He so passionately loved Ancient Buildings that he designed only with Pen and Ink near forty Books full at (f) There are several of those Books of Designing in the Duke of Savoy's Cabinet Naples and Rome and all the Provinces where there were any of those Old Buildings or any Fragments of them remaining This great Designer and excellent Painter as is evident by his ancient Rome Engraven at large composed also a Book of Circus's Theaters Amphitheaters which he published Painting was also one of his Employments at Rome He there painted several things in the Oratory of Mercy as also the Front of the House of Teodoli and another Front of a Palace in Campo Martio painted in Camajeu (g) By Camajeu is to be understood a Sort of Painting of a Colour wherein the Light and Shadow are both the same which the Italians call Claro oscuro the Greek Word Monocromata which Authors use signifies one Colour in Yellow and Green he moreover made several Pieces in diverse Parts of that City Afterwards Pirro Ligorio apply'd himself entirely to Architecture and his great Capacity procured him to be Architect of the Pope and of St. Peter's under the Popes Paul the IIId Paul the IVth and Pius the IVth But after the Death of Michael Angelo Vignola was chosen with Pirro Ligorio to survey and manage the Building of St. Peter and that with Order to follow entirely the Design of Michael Angelo Ligorio pretended notwithstanding to make some alteration in it and thereby offended Pope Pius the Vth who turned him out of his Employ and so the whole management of that great Edifice remained only to Vignola This great Man James Barozzi da Vignola went when he was Young to Bologna there to learn Painting but finding that for want of Means and Instruction he did not much profit therein he resolved to set himself wholly to study Architecture for his inclination led him most that Way He had also a particular Fancy for Perspective wherein he found out by his Study those fine Rules he published But as he knew that to become an excellent Architect it was not enough to study Vitruvius and to fill himself with Ideas of several fine Sciences but that the Study also of the antient Buildings was absolutely necessary thereunto so he resolved to go to Rome to design them In the mean time his Skill in Painting was a great help to him For at whiles he still painted and thereby got sufficient to maintain his
Philip and Cornelius Gall of the same Country grav'd there and afterwards in Italy with a great deal of Reputaion This Art appear'd also in great Splendour in France in the time of Rosso and of the Abbot St. Martin for Renè engraved the most Part of their Works which are at Fountainbleau Insomuch that in all the Countries where the Arts of Designing flourished Graving flourish'd also and was esteemed as a considerable Part of those Arts. But the Person who most advanced Graving about the End of the last Age and improved it beyond what had been till then done was the Famous Augustin Carrache For not to mention the Correctness and excellent manner of Designing he was Master of to a very high Degree he made the Strokes cut with his Burin extreme even and extraordinarily well managed according to the chief Turns and Forms of his Object even to Landskips which he touch'd incomparably well From his Youth he learnt Painting at Bologna of Prosper Fontana afterwards he studied Graving and Architecture under Dominick Tibaldi In a short time he exceeded his Master who got considerably by the Ingenuity of his Disciple Augustin had also a great Love for Sculpture which made him work in Relievo under Alexander Minganti a Bolonian Notwithstanding which he did not leave off Graving for he had a general Genius which led him to Learning to Geometry and all its dependencies He went afterwards with his Brother the Famous Hannibal Carrache to study Painting in Lombardy and to learn the charming fine Manner of Painting of Correggio But he left his Brother at Parma and went himself to Venice where he employ'd himself in graving the Pictures of Tintoret and Paul Veronese and thereby render'd their Works more Famous by the Beauty of his Designing which made his Prints more perfect than those of other Gravers He moreover grav'd several Pieces after Correggio after Baroche and made also several Plates after the Life of his own Invention which are all very admirable It is also True that toward the End of the last Age Augustin Carrache advanced Graving beyond those who had preceeded him and that which farther distinguish'd him from other Gravers was the excellence and correctness of his Design For he had so passionate a Desire to make those Arts Flourish that he with his Illustrious Brother Hannibal and their Cousin Lewis Carrache establish'd an Academy at Bologna It was this Famous School which brought up the most Ingenious Designers and Famous Painters of Bologna who maintained the excellence of Designing and Painting in the highest Pitch those Noble Arts have arrived to since their revival It is to these Carraches we are obliged for having hindred Painting at the beginning of our Age from a total Declension at Rome which then threatned it by reason that the Mannerists of the School of Joseph Arpino and those of the School of Caravage who were their Antagonists got the better of those who followed the Gusto of the Ancients and the noble Manner of Raphael But at last the Ingenious Disciples of the Academy of the Carraches got the day both from the one and the other and Re-established the true way of Designing and Painting which has ever since happily continued down to us And throughout all this Age of 1600 these Arts have appear'd and continued in Perfefection which shall be the Subject of the Second Part of the History of these Arts. By the Ingenious Gravers we have mentioned in this last Chapter it may be noted that we reckon Graving among the Arts that depend on Designing and Painting as Consequent to them for the Painters first began the right Practice of it and to advance it to that high Degree wherein now we see it We may moreover see that the Way of making the Punchions and Dies for striking of Medals is one Sort of Graving which depends on Sculpture And that the most Excellent Gravers have been all well versed both in Sculpture and Painting for they never Grave their Coins till they have first modell'd their Works Thus Sculpture preceeds Graving The ingenious Medallists in the Time of Henry the IId and Henry the IVth were Sculptors and we commonly hold that John Goujon made the finest Medals of this first King and of Catharine de Medicis which are to be seen John Rondelle and Estienne Lanne are also Famous who made the Coin under Henry the II and those fine Testoons of that Prince As to the Medals of Henry the IVth the finest are those of ...... du Pres who was an ingenious Graver and excellent Sculptor the Bass Relief which is to be seen in the King of Sicily's Street in Paris is a Proof of this Graving has been always very much Esteemed and gain'd a great deal of Credit as well as the other Arts of Designing the Emperor Commodus besides Designing which he learnt learnt also to Grave as we have shew'd in the beginning of the Second Book And we can't but believe that his End therein was to make Medals the Knowledge whereof has always been so much Esteemed both among the Ancients and Moderns and that which farther proves this is that we find no other ways of Graving among the Ancients than that of Graving very deep for making Medals and Graving fine Stones for Rings and others for Seals which are often to be met with in the Cabinets of the Curious FINIS A TABLE OF THE NAMES of the ARTISTS mentioned in this HISTORY P. After the Name signifies Painter S. Sculptor A. Architect G. Graver or Goldsmith S and A. Sculptor and Architect P. S. A. Painter Sculptor and Architect A ABacco A. G. Page 189 Abbot de Clagni A. Page 175 Aetion P. Page 20 Adrian A. P. S. Page 44 45 Agesander S. Page 113 Angelo S. Page 136 Agnolo Sanese S. Page 90 Aldigieri de Levio P. Page 119 Aldegrave P. G. Page 186 Alexander Moretto P. Page 124 Alexander Minganti S. Page 190 Alexander Moretti P. Page 136 Albert Durer P. G. Page 183 184 185 186 Alphonsus Lombardi S. Page 160 Alterius Labeo P. Page 26 Alexis Baldovinetti P. Page 101 Alcamenes S. Page 22 Andrea Mantegna P. G. Page 108 133 Andrew de Solario P. Page 115 Andrea Del Sarto P. Page 116 144 Andrea Pisano S. Page 93 94 Andrea Orgagna P. S. A. Page 93 Andrea Verrochio S. P. Page 99 112 Andrea del Castagno P. Page 101 Andrea Taffi P. Page 89 Andrea Squarzella P. Page 116 Andrea Lewis d'Assise P. Page 117 Andrew Contucci S. Page 160 Amico P. Page 164 Andrea Palladio A. Page 68 167 Anthonio da Correggio P. Page 125 Anthony More P. Page 180 Anthonio da san Gallo A. Page 142 167 168 Antonio Pollaivoli P. S. Page 111 Anthony Filaret S. Page 98 Antonello da Messina P. Page 105 106 107 Androcida P. Page 18 Hannibal A. Page 16 Hannibal Carrache P. Page 190 Apelles P. Page 19 20 23 Apollodorus A. S. Page 44 45 Apollonius P. Page 89 Argellius A. S. Page 34 Archiphron
Julius Caesar Procacino P. Page 187 Julian da Sangallo A. Page 167 Justus of Ghent P. Page 178 L LActantius Gambaro P. Page 135 Lancelot P. Page 180 Lanfranc P. Page 126 Lapo Gucci P. Page 95 Lambert Lombard P. A. Page 178 Lambert Scoorel P. Page 180 Lavinia Fontana P. Page 187 Laurence Piccard S. Page 173 Laurence Hercules P. Page 108 Laurence Costa P. Page 107 118 Laurence Lendinara P. Page 108 S. Lazarus P. Page 71 72 Leocares A. S. Page 22 Leonardo da Vinci P. Page 99 101 112 114 115 120 129 136 138 Leon B. Alberti A. Page 100 133 Liberale P. Page 124 Libon A. Page 33 Lippo Dalmaso P. Page 119 Lisippus S. Page 23 24 29 Lorenzetti P. Page 95 Lewis Lippo Florentin P. ibid. Lewis Malino P. Page 108 Lewis Vivarino P. Page 124 Lewis of Lovain P. Page 178 Lucas van Leyden P. G. Page 185 Lucas Signorelli P. Page 112 Luc de la Robbia S. Page 97 Lucia P. Page 135 Lucian S. Page 20 M MAderni A. Page 171 Claudius Page 102 Mark Mariotti Albertinelli P. Page 101 Mark Zoppo P. Page 108 119 Marcellus Mantuanus P. Page 155 Mark Bassarini P. Page 124 Marcello Cervino Page 170 Mark Antonio Raimondi P.G. Page 184 Mark de Ravenna Page 187 Marco Uggioni Page 136 Marin S. Page 119 Marietta P. Page 196 Matthew Bril P. Page 180 Matthew Luchese P. Page 97 Mattheo P. Page 119 Masaccio P. Page 101 Maso Fineguerra G. Page 183 Martin Rota G. Page 189 Martin of Antwerp P. G. Page 184 Martin Cook P. Page 180 Martin de Vos P. Page 179 Metagenes A. Page 36 Metrodorus P. Page 21 Methodius P. Page 61 Michael Angelo Buonarotti P. S. A. Page 100 101 111 120 131 146 147 148 Michael San Michael A. Page 109 141 Michael Angelo Anselmi P. Page 126 Michael Angelo Carravaggio P. Page 164 Michael Cockisien P. Page 179 Michellozzo Michel A. S. Page 97 Michelino A. Page 114 Mino S. Page 106 Miron P. Page 18 N NAldino A. Page 173 Noah A. Page 3 Nicholas Pisan S. Page 86 90 Nicholas da Bologna S. Page 97 Nicholas Beatrix G. Page 189 Nicholas and John Baptista Roux makers of Tapistry Page 134 Nicolo of Modena P. Page 116 174 O OCtavius Vanveen called Otto-Venius P. Page 180 Octaviano da Faenza P. Page 93 Aholiab A. S. G. Page 8 Orson P. Page 119 P PAcuvius P. Page 27 Palma the eldest P. Page 164 Palma the younger P. ibid. Pamphilus P. Page 19 Parrasius P. ibid. Paris Bordone P. Page 132 Paul Veronese P. Page 165 191 Paul Farinati P. Page 165 Paul Cavazzuola P. Page 124 S. Paulus Romanus S. Page 106 Paul Uccello P. Page 101 Paul Aretino S. G. Page 90 Paul Lomazzo P. Page 136 172 Pasquino Cenni P. Page 95 Peneus P. Page 18 Pelegrino Tebaldi P. A. Page 162 163 Pelegrino d'Udine P. Page 154 Perrin del Vaga P. Page 153 155 156 158 Pietro Cavalini P. Page 93 Peter Cocuek P. Page 180 Peter Cristo P. Page 178 Peter Pollaivolo P. S. Page 111 Peter John a Spaniard P. Page 117 Peter Perugino P. Page 99 101 117 Peter Cosimo P. Page 116 Peter Brueghel P. Page 180 Pietro da Cortona P. Page 167 Pigmalion S. Page 14 Pilon S. Page 176 Pirro Ligorio P. A. Page 168 169 Pisanello P. G. Page 109 Pitis S. Page 22 Policletes S. Page 23 Phidias Page 18 21 22 36 Polignotus P. Page 18 Polidore S. Page 165 Polidore da Caravaggio P. Page 126 127 Pontius S. Page 176 Protogenes P. Page 20 23 Praxiteles S. Page 23 du Pres S. G. Page 192 Properzia de Rossi P. Page 136 Prospero Fontana P. Page 190 Primaticco Page 135 159 170 173 174 R RHolo A. Page 33 Raphael Sanzio d'Urbin P. A. Page 101 117 118 120 122 139 142 Raphael dal Colle Broghese P. Page 135 Raphael Sadeler G. Page 189 Rinaldo Mantuano P. Page 135 Rinaldo G. Page 100 178 Roger da Bruges P. Page 104 Rondinello P. Page 109 Rosso or le Roux P. A. Page 190 171 173 159 S SAlviati P. Page 116 159 Sandro Boticello P. Page 101 183 Sansovino S. A. Page 144 145 146 Scammozzi A. Page 167 Scilli S. Page 9 Scopas S. A. Page 22 35 Sebastian Frate del Piombo P. Page 130 153 188 Sabastiano Serlio A. Page 141 Sebeto P. Page 124 Severus A. Page 45 Severus P. Page 119 Silvio da Fiesole S. Page 136 Simon P. Page 119 Simon Brother of Donatelo S. Page 98 Simon Sanese P. Page 93 Sofonisba P. Page 135 Sognio Dantignano P. Page 95 Solosmeo P. Page 116 Spinello P. Page 95 Squarcione P. Page 108 T TAdeo Gaddi P. Page 93 Tadeo Bartoli P. Page 95 Tadeo Zuchero T. P. Page 161 Terentius Lucanus P. Page 27 Theodorus A. Page 33 Titian of Cadore Page 130 131 132 Timotheus A. S. Page 22 Tofanon S. Page 136 Tintoret see James Robusti Page 166 Turpilius P. Page 26 V VAlerius P. Page 132 Valerio Cioli S. Page 152 Vanni Cinazzi P. Page 95 Vannius P. Page 163 Vellano S. Page 106 Ventura P. Page 119 Vignola P. A. Page 169 170 171 172 Vilamen G. Page 188 Vincent Campo P. Page 135 Vincent Zuccheri P. Page 132 Vincent Verochio P. Page 124 Vincent de Bresse P. ibid. Vital P. Page 119 Victor Bellin P. Page 124 Victor Scarpaccio P. ibid. Vulcan an Engraver Page 10 X XEnocles A. Page 36 Z ZEno a Veronese P. Page 124 Zenodorus S. Page 30 Zeuxis P. 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