Brass and Marble in the Church and considering all the fine Structures wherewith he enrich'd Venice we may say of him that he advanced Architecture in that City to its highest Perfection CHAP. XV. Michael Angelo made Architecture Sculpture and the true Way of Designing flourish at Rome THE great Michael Angelo Buonaruoti had the same Honour at Florence and Rome as Sansovino at Venice For he shewed his Capacity in Architecture in those two Cities and in the last Age advanced that Art to its highest Perfection The reason of this is very evident and no ways surprizing for being the greatest Designer of his Time he became also the greatest Architect when he apply'd his Time wholly to it as he did during his last Years Michael Angelo was born at Florence in 1474 with a natural Inclination for Designing for although in his Youth he was brought up to Learning notwithstanding he busied himself always in private about Designing And as his Father saw that he had a very great Inclination for Painting he put him to Dominick Ghirlandaio for him to instruct him therein and in a little time Michael Angelo distinguish'd himself from other Disciples by the surprizing Facility wherewith he designed This great Genius was very fortunately favoured by Prince Laurence de Medicis by reason of the great Passion this Prince had to assist the Revival of the Arts by assisting Men skilled and learned therein This generous Temper made him establish in the Gallery of his Gardens an Academy which he fill'd with fine Pictures and Pieces of Sculpture both Ancient and Modern Afterwards he caused to be sought out at Florence those Young Designers who promised most to whom he allow'd Pensions to promote the conveniency of their Studies Those of the School of Ghirlandaio were chosen the first and particularly Michael Angelo who had so lively a Genius for all the Parts of Designing that one day having taken up a piece of Marble he set about making a Head tho' as yet he had never handled a Chisel which so much surprized Prince Laurence that he conceived so great an Affection for Michael Angelo that besides the Pension he allow'd him he did him the Honour to admit him to his own Table and gave him a Lodging in his Palace After the Death of this Prince his Successor Peter de Medicis continued to Michael Angelo the same Affection he had been favoured with by the Great Duke his Father Signor Soderini Gonfaloniere of the same Republick had no less esteem for this ingenious Man than these two Princes and about the same time Michael Angelo made a Cupid of Marble which was sent to Rome and hidden under Ground to pretend that it was an Ancient one It was afterwards dug up and sold for such to Cardinal St. George and this Cupid passed for one of the most rare and fine Pieces of Antiquity Hereby this famous Sculptor acquired a great Reputation at Rome whither he went for the first time He continued Sculpture there with a great Application and made a Bacchus of Marble with several other admirable Statues At his return to Florence he apply'd himself with the same diligence to that fine Art and made a Marble David which was set up before the Palace Peter Soderini and all the Citizens were so charmed with this Piece that they obliged this famous Designer to make some more of them some in Brass and others in Painting Then Gonfaloniere ordered him to Paint one half of the Council Hall and Leonardo da Vinci the other It was here that Michael Angelo made a Piece to Parallel that of Leonardo da Vinci which was so famous Michael Angelo in this Work gave proofs of the Excellence of his Designing both in respect of the composition of the Subject which was the War of Pisa and in his correctness in naked Figures And to have an opportunity of shewing it the better he chose the time when several of the Soldiers used to bath themselves in the River Arno to introduce into his Designing naked Figures in which he was Excellent it was this famous Piece that gave Raphael and several others an insight to the Perfection of Designing Julius the IId being raised to the Papal Chair sent for Michal Angelo to Rome resolving to engage him to make him a Mausoleum in St. Peter's ad vincula Here is to be seen that fine Figure of Moses and several others and the excellent Architecture which joined together make this fine Sepulcher This great Design was not executed according to the largeness of its first Model but was reduced to what it is whence France has the Honour of two Statues of Marble which were to be placed on each side of the Sepulcher and which are at present in the Castle of Richelieu The working of this Mausoleum was for a long time interrupted because the Pope set Michael Angelo to Paint in Fresco the arched Ceiling of the Chappel of Sixtus the IVth which so much raised his Reputation that besides the general Applause he received at Rome he received considerable Presents from Pope Julius He deserved both the one and the other for he alone painted that Vault after so admirable a way that the famous Caraches who came after him took thence their magnificent Ideas in the Painting of the Palace of Farnese at Rome Julius the IId being dead Leo the Xth his Successor honoured Michael Angelo no less than he had done for he employ'd him in the Architecture of the Front of St. Laurence at Florence and his Model gained more Esteem than any other After this in the Popedom of Clement the VIIth he made in the Vestry of the same Church the Sepulcher of the House of Medicis and that Sepulcher even till this time has passed for a wonder both of Architecture and Sculpture This excellent Person moreover shewed that he was Ignorant in nothing in all the Arts of Designing for he also fortified the Mount St. Miniate at Florence and thereby hindered their Enemies from becoming Masters of it But when the Wars of Italy in 1525 obliged several ingenious Artists to leave Rome and Florence Michael Angelo was one of that Number and went to Venice where the Doge Gritti to whom he had the honour to be known caused him to make the Design of the Bridge of Realto which is one of the Masterpieces of Architecture He painted in that City some Pictures and among others that of Leda which he gave to the Duke of Ferrara who sent it to Francis the Ist The Wars of Italy being ended Michael Angelo returned to Rome and there finished the Sepulcher of Julius the IId after which he painted by order of Pope Paul the IIId the great Front of the Altar whereon he represented the last Judgment and it was this only which was not finished of all the Paintings of this Chappel The Fame of this great Work in Fresco which is all over the World sufficiently denotes its Excellence Michael Angelo in his old Age
d'Urbin his Master To the same City of Udine and that of Frioul we are obliged for a great Number of good Painters as Pellegrino and John Martin d'Udine who were Disciples of John Bellin Pellegrino was the most Ingenious and very much beloved by the Dukes of Ferrara he brought up several Disciples But the most Famous of the Painters of this Province was John Antony Licinio born at Pordenone a Village distant from Udina twenty five Miles he had no other instructor than Nature which he imitated from his Youth he very much practised Painting in Fresco in the neighbouring Villages Afterwards he went to Udina where he painted several Pieces in Oyl and in Fresco as as also at Venice and Genoua He was commonly called Pordenone The way of Georgeone pleased him better than any other He died in 1540 aged fifty six Years Ridolfi V. de Pitt Veneti are so fine that it is questioned whether those of the Ancients were more Excellent for this John was not only an excellent Painter but also a very ingenious Sculptor and worker in Plaister as is apparent in the small Figures of that sort of work which he has mixed among the Ornaments of the Apartments of the Vatican insomuch that he deserves to be esteemed as the Reviver of Stucco-Work for the perfection to which he carri'd it For it was he who by a through examination of the Materials whereof the ancient Plaster was composed found that it was made of Lime mixed with Powder of Marble to give it duration and make it receive a fine Polish and Shining as Plaster will have when it is worked with care John Francis surnamed Il Fattore of Florence was a Disciple of Raphael with Julio Romano and may be justly considered as a Disciple of so worthy a Master for after the death of that famous Painter they jointly finished he and Julio the great Hall of the Vatican where they painted the Histories of Constantine Perrin (c) Perrin del Vago was also buried in the round Church in 1547 at the Age of forty seven the Principal Disciples of Perrin were Jerom Siciolante de Sermonette and Marcellus Mantuanus del Vago a Florentine and his Brother-in-Law were also Disciples of Raphael for Perrin being at Rome where he then studied Antiquities John d'Udine proposed to Raphael to work in Plaster and on Painting the Rooms of the Vatican which were then doing and he painted several of them with Histories out of the Old Testament which were very well done He afterwards made at Rome after the death of Raphael some fine Pieces in Fresco at the Church of the Trinity on the Hill at St. Marcellus and several other Churches But the most considerable Piece of Perrin del Vago was the Palace which Prince Doria caused him to build at Genoua after a Model of this famous Painter's wherein he also did the Painting and the Plaster work which still render that Building the finest and most considerable in all that City CHAP. XVII At Florence the true Way of Sculpture and Painting was continued by some ingenious Men. BACCIO (a) Baccio was born in 1487 and died at seventy two Years of Age He is accused of having taken to pieces the fine Paintings of Leonardo da Vinci and Michael Angelo which they had done in the Council Hall whither all the Disigners of Florence went afterwards to Study and that out of Envy to Michael Angelo Among the rest who studied this fine Piece of Michael Angelo Sebastian called Aristotle of St. Gal drew it in little and kept it very carefully especially since the Original was ruined Afterwards in 1540 at the perswasion of Vasari his Friend he painted it in Oyl in two Colours only Giovo sent this Picture into France to King Francis Bandinelli although he died before Michael Angelo may notwithstanding be accounted one who imitated his Manner For after he had learn'd the Trade of a Goldsmith at Florence he very eagerly studied Designing and especially that famous Piece of Michael Angelo which was in the Council Hall so that he had the Advantage of acquiring a correct Way of Designing to which he joined the Study of Anatomy Baccio gave proof of his Skill by his Works and by some Stamps he caused to be engraved by Augustin Venetianus He also practised Sculpture with a great deal of Applause for on account of that and a fine Print of the Martyrdom of St. Laurence which he procured Mark Antony to Engrave Pope Clement the VIIth honour'd him with the Order of Knigthood of St. Peter His chief Works in Marble were the great Figure of Hercules with Cacus which is in the Square of the Palace of Florence He made this Piece to accompany that of Michael Angelo and that of Benvenuto Cellini which stood in the same Square The Piece of Adam and Eve which is at the Altar in the Cathedral of Florence is one of his best and most considerable Works Benvenuto Cellini was a Person of particular Merit he was an excellent Goldsmith and composed a Book which treats of that Art and the way of casting Figures in Brass He came into France to serve Francis the Ist for whom he made several Pieces in that Metal And he had a peculiar Excellence in engraving Coins for Medals and Money We ought to place among the Illustrious Tuscans of that time Daniel da (b) Daniel da Volterra died at fifty seven Years of Age. Volterra equally Excellent in Painting Sculpture and Architecture he learnt of Baldassare Perruzzi afterwards he was employ'd under Perin del Vaga in the Church of Trinity del Monte And there built the fine Chappel of St. Helen in that Church and painted over against it another just like it The Pictures in Fresco which he there made cannot be enough admired chiefly that of the Descent from the Cross of our Saviour the Beauty whereof is sufficiently known throughout the World by reason of the great Number of Copies of it which are to be seen throughout all Europe The Excellence of this Picture appears in the Composition lively Expression and correctness of Design and the excellency of the Painting One of his best Pieces of Sculpture is the Brazen Horse in the Royal Square at Paris Robert Strozzi had Commission from Queen Katharine de Medicis to procure Michael Angelo to make it but he excused himself by reason of his great Age and advised this Lord to get Daniel da Volterra to do it who accordingly undertook it but he was so unfortunate as to miss the first Cast but the second time he succeeded But Death prevented him before he had finished the Statue of Henry the IId who was to be set on the Horse Thus this Work remain'd imperfect by the Death of Daniel da Volterra and a long time after under Lewis the XIIIth it was carried away from Rome and the Figure of that King set up in its room as we see it at this day in the
John of Bruges by Presents which he made him of several Pieces of Designing after the Italian way and John seeing himself Old resolved to teach Antonelle to Paint in Oyl and he did not leave off till he had perfectly attain'd that way Antonello after the Death of John van Eick returned into Italy to impart the Secret he had learnt but when he had been some Months at Messina he went to Venice (a) Antonello dy'd at Venice at 49 Years of Age and the Painters of that City perform'd his Obsequies with a great deal of Honour and in Memory of the Secret which he had shewed them of Painting in Oyl they Engrav'd on his Tomb this Epitaph Antonius Pictor proecipuum Messaniae suae Siciliae totius Ornamentum hac humo contegitur Non solum suis Picturis in quibus singulare artificium venustas fuit sed quod coloribus oleo miscendis splendorem perpetuitatem primus Italicae Picturae contulit summo semper Artificum Studio celebratus About this time appear'd at Padua Vellano the Sculptor Disciple of Donatello who finish'd in that City the Work which his Master had left imperfect he was at Rome and work'd for Pope Paul the Venetian in the Year 1464. Also Paulus Romanus a Sculptor distinguish'd himself at Rome he was Employed by Pope Pius the Second the Figure of St. Paul which is at the Entrance of the Bridge of St. Angelo is his This Paulus was also an excellent Worker in Gold he made also the Apostles in Silver which were on an Altar in the Pope's Chappel and which were pillaged by the Imperialists at the taking Rome One of his Contemporaries in Sculpture was Mino he made the two Figures of St. Peter and St. Paul which are placed in the Entrance of that Church and the Sepulchre of Paul the Second in the same Church where he establish'd himself and made several Pictures which were esteemed by the Nobles and by all those of the City which acquired him a great Reputation Among the Painters that flourish'd at Venice at that time Dominicus Venetianus was one of the most celebrated he very much caressed Antonelle at his Arrival and thereby acquired his Friendship insomuch that he shew'd him the way of Painting in Oyl After which Dominick in the Year 1478. carried this way of Painting in Oyl to Florence He there made several Pieces after this new way but he was unfortunately Assasinated by Andrew dal Castagno who became Jealous of his Knowledge although he had learnt from him the way of Painting in Oyl Thus Antonello and Dominick carried this way to Florence and Venice and the way of doing it became known throughout all Italy which was very advantageous to this Art in bringing it to the Perfection it arrived to in the Year 1400 and the whole Century 1500. CHAP. VII Painting was Re-establish'd in several Provinces of Italy IN the other Provinces of Italy as well as in Tuscany and the State of Venice there were several Persons at the same time apply'd themselves to revive the Honour of the Arts of Designing but not in so great a number as at Florence where their Genius's were naturally inclined to learn it and who also had among them the advantage of an Academy of Designing which was in no other Cities Thus we see that the Art began to come to Perfection not only at Venice but also at Ferrara at Mantua and at Bulloign where Francis Francia was of the first Rank Laurence Costa of Ferrara his Disciple made several of the finest Pieces that had yet ever appear'd there although they were only painted in Distemper Costa was very much honoured by Francis Gonsague Marquiss of Mantua who caused him to Paint a Chamber in his Palace of St. Sebastian This Painter had several Pupils (a) Costa had moreover for his Disciples Laurence Hercules da Ferrara and Lewis Malino Laurence had so great Friendship for his Master that he did not leave him during his Life He designed better than Costa as is apparent by the Pieces he made in the Chappel of St. Vincent in the Church of St. Petronio at Bulloign Dosso also learnt of Costa and excell'd particularly in making Landskips Benvenuto Garofola was also his Pupil before he went to Study at Rome and it was he who taught the first Principles of the Art to Old Dosso da Ferrara Andrew Mantegna learnt Painting about this time of James Squarcione (b) Besides Andrew Mantegna who was a Disciple of Squarcione Laurence da Lendinara Dario da Trevisa and Marco Zoppo a Bolonian were his Disciples also Andrew Mantegne was Knighted and dy'd at Mantua in the Year 1517. This was his Epitaph Esse Parem hunc noris si non praeponis Apelli Aenea Mantinéae qui simulachra vides of Padua who lived at Mantua Andrew was very much esteemed by Gonzagues Marquiss of that State The Triumph which he painted in his Palace of which there is to be seen a Print gain'd him so much Reputation that Pope Innocent the Eighth sent for him to Rome to Paint the Palace of Belvidere and after having acquired a great deal of Honour at the Court of Rome he returned to Mantua where he ended his Days Gentil da (c) Gentil da Fabriano made some Pieces that were highly praised by Michael Angelo Pisanello a Painter of Verona was Contemporary with Gentil and he was very much esteemed by Michael St. Michael Architect of Verona he excell'd also in graving Medals which he made appear by those he did at Florence of all those Illustrious Persons who assisted at the Council held there with the Grecians Il Biondo and Il Giovio very much extolled the Medals of Pisanello In the same Age 1400. there flourished in Tuscany several Excellent Painters in Miniature who were the Fryer John da Fiesole Don Bartholomew Abbot of St. Clement and Gherardo Fabriano practised Painting at Verona and taught it to James Bellini who was contemporary with Dominick Venetianus but when this last left Venice to dwell at Florence there was no body left at Venice to dispute with him the Precedency He had two Children (d) John Bellin made several Pieces at Venice and lived 90 Years he had also for his Disciples James da Montagna Rondinello da Ravenna Benedict Coda da Ferrara and several others of Lombardy and Trevisan as for Gentil Bellin he dy'd at 80 Years of Age. Vivarini was one of his Contemporaries and he work'd with the Bellinis in one of the Halls of the Palaces of St. Mark but he dy'd young Francis Mosignori a Veronese was Disciple of Andrew Mantagna he wrought at Mantua where he made several Pieces and at Verona he dy'd in the Year 1509. John and Gentil whom he taught to Paint they surpassed their Father in a little time and we may truly say it was these two Brothers who introduced the right Method of managing Colours in the Venetian School after having brought up several
apply'd himself more to Architecture than Painting and Sculpture because after the death of Antony Sangallo Architect the Pope preferr'd Michael Angelo to any other and made him chief Architect of the Fabrick of St. Peter and of the Apostolick Chamber although he would have excused himself from it Having accepted this Charge he went to St. Peter's to see the Model of Sangallo to finish what remain'd to be built of that great Church and after having examined it he publickly declared that that Architect had made the Model of it without any Art because without side he had made too many Pillars one upon another and unncessary Spires and too many small Branchings and little Members which are quite contrary to good Architecture lastly that this Model was of a Gusto rather Barbarous than Ancient Besides this he shew'd that the execution or performance of it would cost a Million more than one that he would make Michael Angelo caused another Model to be made in fifteen days time which cost only five hundred Crowns whereas that of Sangallo cost four thousand and several Years work so that at last this great Church was finished according to the Design of Michael Angelo in the beauty we see it now excepting the Front which is not his nor so well done as the Architecture of the outermost Tower and the back Part of that Church While Michael Angelo carried on this Building he also made several others which make part of the beauty of Rome Such as the Palace of Farnese and the Capitol which excite the Admiration both of Architects and other Ingenious Men. The fine Pieces of (a) Michael Angelo died at Rome the 17th February 1564 He was almost ninety Years of Age. This great Man besides the Affection of seven Popes whom he served gained a very great Reputation with Solyman Emperor of the Turks with Francis the 1st Charles the Vth the Republick of Venice and all the Princes of Italy particularly with the great Duke of Tuscany who reigned at the same time this illustrious Designer died For when his Body was in the Church of Sancto Apostolo and the Pope was about to set up a fine Sepulcher for him This great Duke caused his Body to be privately fetch'd away to bury it in his Capital City and since he was not so happy as to have him alive he was resolved to have him dead And performed his Funeral obsequies with all imaginable Pomp and Splendor This Pomp was celebrated in the Church of St. Cross at Florence attended by all the Gentlemen of the Academy of Design who on that occasion gave sufficient Testimony of the Esteem they had for this their Master by the magnificent Representation which the Italians call Catafalco and adorning the whole Church with Painting and Sculpture and Lights A Panegyrick was there pronounced over him by Messr Benedetto Varchi and on the Representation was to be read this EPITAPH Collegium Pictorum Statuariorum Architectorum auspicio opeque sibi prompta Cosmi Ducis auctoris suorum commodorum suspiciens singularem virtutem Michaëlis Angeli Bonarotae intelligensque quanto sibi auxilio semper fuerint praeclara ipsius opera studuit se gratum erga illum ostendere summum omnium qui unquam fuerint P. S. A. ideóque monumentum hoc suis manibus extructum magno animi ardore ipsius memoriae dedicavit After these sumptuous Obsequies the Great Duke order'd an honourable Place in this Church to build the Tomb of Michael Angelo according to the Design of George Vasari It is inrich'd with three great Marble Figures representing Painting Sculpture and Architecture which were made by Baptista Lorenzi and Giovanni dell'opera and Valerio Cioli all three ingenious Florentine Sculptors Michael Angelo in Painting and Sculpture and Architecture and his other good Qualities had gain'd him such an Esteem with the Popes whom he had the Honour to serve that Julius the IIId used to make him sit by him and talk with him concerning the Arts of Designing And oftentimes this Pope would take his Part against those who criticiz'd upon him By all these Honours which Michael Angelo received and the universal Applause that was given to all his Works we may conclude that it was this famous Designer who in that Age advanced Sculpture and Architecture with the true Way of Designing to the highest degree of Perfection that ever they arrived to at Rome and Florence CHAP. XVI Several Disciples of Michael Angelo and Raphael continued the Excellency of Painting and Architecture at Rome IN the time of Michael Angelo there was at Rome Sebastian (a) Sebastian the Venetian was surnamed Frate del Piombo which is a Charge of the Apostolick Chamber which he obtain'd of the Pope on condition to pay a Pension to John d'Udine who had been assistant to him in obtaining that Office This afforded means to Sebastian to live without his Profession and made him almost leave off Painting He had a secret Composition which he made of Lime mixed with Mastick and Grecian Pitch melted down together and laying that mixture on the Walls mixed with slack Lime that had been heated red hot in the Fire prevents Painting in Oyl on the Walls from growing Black and being spoiled by the Wet He died in 1547. Vasari V. di Fra. S. Veni the Venetian afterwards call'd Frate del Piombo He had learnt of John Bellin at Venice the Principles of Painting and of Georgeone his second Master the true Way of Colouring This fine Way of Colouring gain'd him the Friendship of Michael Angelo when Sebastian came to Rome Michael Angelo thought that this his grand Manner of Designing join'd with that of Colouring would excel the Pieces of Raphael d'Urbin but it did not succeed But the favour and protection which Sebastian received from Michael Angelo made him Prefer him to Baptista Franco to Perin del Vago to Baldassar Perruzzi and other Disciples of Raphael But these ingenious Disciples tho' they did not equal him yet they had Qualities which made them always esteemed and they very much contributed to the perfection of the Arts of Designing as did also John d'Udine who had been one of them who Painted all the Animals the Flowers and Fruits which are in the Works of Raphael This John had also a great Genius at inventing those sorts of Ornaments which are called Grotesque This is to be seen by those he painted in the Rooms in the Vatican and by the excellent Designs for Tapistry which he made of that sort of Work although it is agreed that it might have been done after the ancient Plaster as some was which was found about that time in the Rooms in the Gardens of Titus and those which were still remaining in the Temple of Peace and in the City Adriana and other ancient Buildings Notwithstanding all the Designs which were made by John d'Udine (b) John d'Udine died at Rome in 1564 and was buried in the round Church near Raphael
Royal Square There were other famous Tuscan Painters (d) Dominick Beccafumi of Siena was also one of the best Painters of Tuscany He had a natural Inclination for Designing which made him often of his own acccord Design on the Sand as he kept his Flocks Afterwards he studied at Siena the Works of Peter Perugin and after that at Rome he studied those of Michael Angelo and Raphael then he went to dwell at Siena where he did several Pieces of Painting in the Church of the Dome and in other Places which were very much esteemed His Assistant at Siena was Sodoma who gain'd a very good Reputation Beccafumi died in 1549 at sixty five Years of Age. appear'd at Florence at the same time as niel da Volterra at Rome among whom were Jacob (e) James da Puntormo was born in 1493 and lived 65 Years Bronzin learnt of him and may pass for his Disciple da Puntormo Francis Bronzin his Disciple and Salviati Puntormo began under Leonardo da Vinci and in 1512 he continued to perfect himself with Andrew del Sarto Bronzin was in nothing Inferiour to him and there are to be seen of his Hand some Pictures excellently well done Salviati (f) Francis Salviati was born in 1510 and died at Rome in 1563. learnt Designing in the School of Baccio Bandinelli and Painting of Andrew del Sarto After having work'd for some time at Florence and at Rome he came in the Year 1554 into France where he was very well received by Primaticcio then chief Painter and Architect to the King but as soon as Salviati saw the Works of Rosso who had been chief Painter to the King and those of other Painters he affected to find Faults in them which raised great Expectations of what he would do He was emploied by the Cardinal de Lorrain to Paint in his Castle of Dampierre but not being pleased in France he returned to his own Country CHAP. XVIII The Cities of Ferrara and others of Lombardy and Urbin furnish'd the World with several good Painters FLORENCE was not the only City of Italy which bred Excellent Painters for Ferrara had several Dosso and Baptista his Brother were very ingenious Dosso was very much extolled by the famous Ariosto and cherished till his Death by the Generous Prince Alphonsus of Ferrara Alphonsus Lombardi an Excellent Sculptor was also Born in the same City he made several Portraits witness that which he made at Bologna of the Emperor Charles the V. whereby he gain'd very great Applause with an honourable Recompence from that Prince But one of the best Painters of Ferrara was Benvenuto Garofalo (a) Benvenuto Garofalo was Born at Ferrara in 1481. Besides Raphael who was his Friend he also contracted Friendship with Georgeone Titian and Julio Romano he grew Blind towards the latter end of his Life and continued so for nine Years he died in 1550. at Seventy eight Years of Age one of his best Pupils was Jerom de Carpi who went to Copy the fine Pieces of Correggio at Modena and at Parma afterwards he work'd at Bologna and Ferrara where he made a large Venus with Cupids which the Duke sent to King Francis this Picture is very much praised by Vasari he dy'd in the Year 1556. 55 Years of Age. There was also of Ferrara Jerom a Sculptor he work'd since Andrew Contucci his Master several Pieces in Marble in the Church of Loretta where he was employed twenty six Years without any Interruption he began to learn Painting Ferrara and Cremona and at Mantua under Corta Ferrara At nineteen Years of Age he went to Rome for fifteen Months then he return'd to Mantua and thence to Rome again where the Works of Raphael and Michael Angelo's grand Gusto of Designing charmed him so much that he repented he had spent his Youth in studying the Lombard Manner This made him resolve to leave them and become a Disciple and Imitator of Raphael during the space of two Years because he found himself very much in favour with that great Man whom he very unwillingly left for some Affairs of his Family which obliged him to dwell at Ferrara Benvenuto Garofalo was there very much esteemed by the Duke and the principal Personages of that City for whom he painted several Pieces in the Churches and in particular Houses his Works were very beautiful by reason he followed very good and just Principles which he received from Raphael and took particular care to joyn thereunto the Imitation of the best Nature The State of Urbin continued to yield ingenious Men and the Dukes of Urbin like them of Ferrara of Mantua and of Florence contributed to the revival of the Arts of Designing For Jerom Genga an Excellent Painter was in great favour with these Dukes He had studied under Peter Perugino with Raphael Urbin his Illustrious Countryman he practised also Architecture and the Duke Guido-baldo employ'd him to build and paint his Palaces of Urbin and Pisaro and to fortify this last City Bartholomew the Son of Genga was also an Architect and Engineer as well as his Father From this State of Urbin came those famous Brethren Taddeus and Frederick Zucchero and the celebrated Baroche Taddeus (b) Taddeus Zucchero Born in the Year 1529. dy'd in 1566. so that he lived but 37 Years learnt the Principles of Painting in the City of St. Angelo in Vado which was his own Country but as his Masters were but ordinary Painters he resolved at fourteen Years of Age to go to Rome there to study this Art where having nothing to live upon he was obliged to work for Picturesellers and when he had got some Money he employ'd himself in Designing and particularly to Imitate and Copy the Works of Raphael which he chiefly studied by these means he became very Excellent which may be seen in his fine Works which he has painted in the Castle of Caprarola and the Church of Trinity on the Hill at Rome His (c) Frederick Zucchero bequeath'd his Goods to the Academy of St. Luke Vite de' Pittori del C. Baglione p. 124. He also made Models very well and was a good Architect which made him to be so much the more considered by those great Men whom he served He published a Book Del'Idea de' Pittori Scultori Architetti del Cavaliero Frederico Zucchero divisa in duo lobri In Torino 1607. Brother Frederick followed the same way of Painting for he finish'd the Pictures which Taddeus had begun and at his Death left imperfect and was in nothing inferior to him Philip the II. sent for him into Spain where he was well receiv'd by that Prince who employ'd him to work in the Escurial (d) Frederick Zucchero was not the only Person who embellished the Escurial by his Painting for Pellegrino Tibaldi wrought several Pieces in the Cloyster and the Library He was born at Bologna in the Year 1522. His Father was of Walsada a Country of the Milanese Pellegrino after
by his other Works Albert at this grew jealous of Lucas's Knowledge and because he would not be excell'd he redoubled his Application and Industry in Graving He made several fine Prints as St. Eustachius St. Jerom and several others which augmented his Reputation For he was not only a good Graver but also a good Painter Geometrician and Architect This may be seen by his Treatise of the Proportions of an human Figure of Perspective and Architecture His Works have made his Name (a) Albert Durer died at Nuremberg his own Country in 1528 at fifty eight Years of Age. This Epitaph is to be read on his Tomb. Quicquid Alberti Dureri mortale fuit conditur hoc tumulo Emigravit VIII Idus Aprilis 1528. This ingenious Man was very much honoured by the Emperors Maximilian Charles the V. and Ferdinand King of Hungary One of his Disciples was Aldegrave a Painter and Graver at Nuremberg Illustrious for they contributed to the Re-establishment of the Arts in Flanders and Germany and also in Italy for they were the Prints of Albert which engaged Mark-Antonio to follow Graving and made him Grave so happily the Works of Raphael that are so necessary to all Designers Thus by the Opportunity Mark-Antonio had of Copying at Venice the Prints of Albert he acquired a facility and readiness in Graving and went afterwards to Rome where the first Thing he grav'd was a Lucretia after Raphael This was shewn to this great Painter who at the same time contracted a Friendship with Mark-Anthonio and set him to Grave a Plate of the Judgment of Paris another of the Death of the Innocents and several others This was very Advantageous to Raphael and gained him as well as Mark-Antonio a great Reputation throughout all Europe and created an Emulation among several Designers who apply'd themselves to Graving and became Disciples of Mark-Antonio The most Ingenious were Mark de Ravenna and Augustin Venetianus who grav'd several Designs of Raphael and Julio Romano Mark-Antonio after the Death of Raphael graved the Designs of Julio Romano which are obscene Postures for which he was arrested at Rome and as he escaped from Prison he went to Florence where he finish'd his Plate of St. Laurence after the Design of Baccio Bandinclli In the mean while Baccio complain'd to Pope Clement the VIIth that Mark-Antonio spoil'd instead of imitating his Designs This came to his Knowledge and after his Prints were finished he carried them to this Pope together with the Designs of Bandinelli and as his Holiness was very Skilful in and a great Lover of Designing he judged quite otherwise and acknowledged that this ingenious Graver had very much mended the Faults that were in the Designing of Bandinelli Insomuch that by the Beauty of that rare Print Mark-Antonio regain'd the Favour of this Pope which the Postures of Aretin had unhappily caused him to lose But about this time happened the sacking and taking of Rome which reduced Mark-Antonio almost to Beggary For to redeem himself out of the Hands of the Imperialists who had made him Prisoner he was oblig'd to give them all the Money he had and so went from Rome whither he returned no more About this time was found out the way of Graving in Wood with Chiaro-scuro which make the Prints appear as if they were heightened with White by the Pencil and the Person who found out this Invention was Hugo de Carpi an indifferently good Painter but who had a Genius for several Things There are some of these sorts of Prints after Raphael of Parmegiano of Baldassare and of Beccafumi and others The way of Etching with Aqua-fortis began also to be practised about this Time by Parmegiano and Beccafumi who etch'd several Plates After them Baptista del Moro a Painter of Verona etch'd with Aqua-fortis fifty fine Landskips He was a Disciple of Titian and would have been one of the most Famous of his Age if he had not died before he was thirty Years of Age. Jerome Cock Graved in Flanders the seven liberal Arts and at Rome several Prints after the Designs of Sebastian Frate del Piombo and after those of Francis Salviati At Venice Baptista Franco an ingenious Painter graved several of his Works In the mean while Graving continued at Rome by James Caraglio of Verona whom Rosso the Painter caused to Grave several Prints after his Designs he also Graved some more after Perin del Vaga Parmegiano and Titian But Caraglio after he had thus wrought set himself to Grave on Crystals and Cornelian wherein he had no less success than on Copper and the King of Poland sent for him to Work in Graving and Architecture which he successfully practised in that Kingdom John Baptista Mantuano of the School of Julio Romano apply'd himself to Graving with the Burin and made some fine Prints after the Works of his Master which are very much esteem'd there are to be seen some Prints done by his Daughter Diana which are well grav'd Aeneas Vico of Parma was also a Graver and wrought with the Burin he copied the Designs of Rosso of Michael Angelo of Titian of Salviati and of Bandinelli and grav'd several Portraits That of Charles the V. enriched with Trophies by which he got a great deal of Praise and a large Reward is one of the most considerable of his Works At Rome Nicholas Beatrix Lorain continued this Art he work'd after Mutian after Michael Angelo and after Ghiotto the Boat of St. Peter with several other Prints very much esteemed There were other Italian Gravers who distinguish'd themselves by their Prints at Rome as Cherubin Albert who grav'd the fine Frizes after Polydore And also Vilamen d'Assise for the correctness of his Designing and the liberty of his Burin The same Esteem is due to Antony l'Abacco who measured and graved a Book of the ancient Buildings which is one of the most regular Pieces of Architecture that has been published There were several other ingenious Engravers in the Low Countries Hubert Goltius of Venlo was there Famous He learnt Painting of Lambert Lombard afterwards he graved several Books of Medals of the Emperors entituled Fasti and Sicilia and Magna Grecia and others of which also he composed a Discourse in Latin and because he was very well versed in History he was honoured with the Quality of Historian and Painter to Philip the IId He died at Bruges in 1583. Of the same Family of Goltius was also Henry who employ'd himself much in Graving and Painting having made two Voyages into Italy to perfect himself besides his Ingenuity in Painting and Graving he Designed incomparably well with his Pen. He was born at Venlo in 1558. Saenredam Matam and Peter Jode were his Disciples Cornelius Cort and Martin Rota shewed their Capacity by some Pieces they grav'd after Michael Angelo Mutian and others as also John Raphael and Giles Sadeler who were of Brussels promoted very much the Art of Graving by the Beauty of their Prints Collaert