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
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
(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
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
(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
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
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
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
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. Page 18 27 BOOKS Printed for Thomas Bennet Bookseller at the Half-Moon in St. Paul's Church-Yard THE Lives of all the Princes of Orange from William the Great Founder of the Commonwealth of the united Provinces To which is added the Life of His Present Majesty King William the III. from His Birth to his Landing in England By Mr. Thomas Brown together with all the Princes Heads taken from the original Draughts by Mr. Robert White A Voyage to the World of des Cartes Translated from the French by Mr. T. Taylor M. A. of Magdalen College Oxon. Thirty six Sermons upon several Occasions in Three Volumes By Robert South D. D. The Second Edition The Certainty and Necessity of Religion in General Or the First Grounds and Principles of Human Duty established in Eight Sermons preached at St. Martins in the Fields at the Lectures for the Year 1697. Founded by the Honourable Robert Boyle Esq By J. Gastrill B. D. and Student of Christ-Church-College Oxon. The Certainty of the Christian Revelation and the Necessity of believing it established in Opposition to all the Cavils and Insinuations of such as pretend to allow Natural Religion and Reject the Gospel By J. Gastrill B. D. and Student of Christ-Church-College Oxon. BOOKS Printed for Dan. Midwinter and Tho. Leigh at the Rose and Crown in St. Paul's Church-Yard AN Historical Account of the Manners and Behaviour of the Christians and the Practices of Christianity throughout the several Ages of the Church written originally in French by Mr. Cl. Fleury Preceptor to Monseigneur de Vermandois and to the Dukes of Burgundy and Anjou Octavo Price 4 s. Advice to Young Gentlemen in their several Conditions of Life By way of Address from a Father to his Children by the Abbot Gossault Counsellor in Parliament with his Sentiments and Maxims upon what passes in Civil Society Price 1 s. 6 d. The History and Reason of the Dependency of Ireland upon the imperial Crown of England rectifying Mr. Molyneux's State of the Case of Ireland being bound by Acts of Parliament in England Octavo Price 2 s. The Lives and Characters of the English Dramatic Poets Also an exact Account of all the Plays that were ever yet printed in the English Tongue their double Titles the Places where acted the Dates when printed and the Person to whom dedicated with Remarks and Observations on most of the said Plays first begun by Mr. Langbain improved and continued down to this Time by a Careful Hand Price 3 s. The Education of Young Gentlewomen Written originally in French made English and improved for the Use of a Lady of Quality Price 1 s. The Merchants Magazine Or Tradesman's Treasury Containing 1st Arithmetick 2dly Merchants Accounts 3dly Book-keeping 4thly Maxims concerning Bills of Exchange Factors and Factorage The Law concerning Brokers c. 5thly The Port of Letters to and from Forreign Countries 6thly An Account of the Commodities produced by all Countries 7thly A Merchant or Traders Dictionary explaining the most difficult Terms used in Trade 8thly Presidents of Merchants writings as Bills of Lading c. The Third Edition with Improvements by E. Hatton Philomercat Price 4 s. 6 d. Comes Commercij or the Traders Companion Containing 1st A Table of the Value of any Quantity of any Commodity ready cast up 2dly A Table calculated for universal Use resolying Questions in Multiplication Division c. 3dly The manner of casting up Dimensions in General c. 4thly The several Customs used by Surveyors and Measurers of Glass Wainscot c. 5thly Instructions for entring Goods at the Custom-House c. 6thly Concerning Waterside-Business and the Constitution of Keys c. 7thly Practical Rules concerning Freights c. 8thly Rules concerning insuring of Ships c. To which is added a Supplement concerning simple and compound Interest c. by E. Hatton Philomercat Price 2 s. The Art of Glass Shewing how to make all Sorts of Glass Chrystal and Enamel likewise the making of Pearls precious Stones China and Looking-Glasses To which is added the Method of Painting upon Glass and Enameling Also how to extract the Colours from Minerals Metals Herbs and Flowers A Work containing many Secrets and Curiosities never before discovered With an Appendix containing exact Instructions for making Glass Eyes of all Colours Price 5 s. BOOKS Sold by R. Knaplock at the Angel and Crown in St. Paul's Church-Yard ARchbishop Tillotson's Works Folio Tyrrel's History of England Folio Dryden's Virgil. Folio Juvenal Octavo Sir R. Lestranges Tully Octavo Seneca Octavo Puffendorf's Introduction to the History of Europe Octavo Mr. Holes Letters about the Gifts and Forms of Prayer Octavo Mystery of Fanaticism Octavo Kennet's Roman Antiquities Octavo The Government of a Wife Octavo The Life of Lewis the Great Octavo Ludlow's Memoirs Octavo The Art of Swiming Twelves FINIS