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
Philip and Cornelius Gall of the same Country grav'd there and afterwards in Italy with a great deal of Reputaion This Art appear'd also in great Splendour in France in the time of Rosso and of the Abbot St. Martin for Renè engraved the most Part of their Works which are at Fountainbleau Insomuch that in all the Countries where the Arts of Designing flourished Graving flourish'd also and was esteemed as a considerable Part of those Arts. But the Person who most advanced Graving about the End of the last Age and improved it beyond what had been till then done was the Famous Augustin Carrache For not to mention the Correctness and excellent manner of Designing he was Master of to a very high Degree he made the Strokes cut with his Burin extreme even and extraordinarily well managed according to the chief Turns and Forms of his Object even to Landskips which he touch'd incomparably well From his Youth he learnt Painting at Bologna of Prosper Fontana afterwards he studied Graving and Architecture under Dominick Tibaldi In a short time he exceeded his Master who got considerably by the Ingenuity of his Disciple Augustin had also a great Love for Sculpture which made him work in Relievo under Alexander Minganti a Bolonian Notwithstanding which he did not leave off Graving for he had a general Genius which led him to Learning to Geometry and all its dependencies He went afterwards with his Brother the Famous Hannibal Carrache to study Painting in Lombardy and to learn the charming fine Manner of Painting of Correggio But he left his Brother at Parma and went himself to Venice where he employ'd himself in graving the Pictures of Tintoret and Paul Veronese and thereby render'd their Works more Famous by the Beauty of his Designing which made his Prints more perfect than those of other Gravers He moreover grav'd several Pieces after Correggio after Baroche and made also several Plates after the Life of his own Invention which are all very admirable It is also True that toward the End of the last Age Augustin Carrache advanced Graving beyond those who had preceeded him and that which farther distinguish'd him from other Gravers was the excellence and correctness of his Design For he had so passionate a Desire to make those Arts Flourish that he with his Illustrious Brother Hannibal and their Cousin Lewis Carrache establish'd an Academy at Bologna It was this Famous School which brought up the most Ingenious Designers and Famous Painters of Bologna who maintained the excellence of Designing and Painting in the highest Pitch those Noble Arts have arrived to since their revival It is to these Carraches we are obliged for having hindred Painting at the beginning of our Age from a total Declension at Rome which then threatned it by reason that the Mannerists of the School of Joseph Arpino and those of the School of Caravage who were their Antagonists got the better of those who followed the Gusto of the Ancients and the noble Manner of Raphael But at last the Ingenious Disciples of the Academy of the Carraches got the day both from the one and the other and Re-established the true way of Designing and Painting which has ever since happily continued down to us And throughout all this Age of 1600 these Arts have appear'd and continued in Perfefection which shall be the Subject of the Second Part of the History of these Arts. By the Ingenious Gravers we have mentioned in this last Chapter it may be noted that we reckon Graving among the Arts that depend on Designing and Painting as Consequent to them for the Painters first began the right Practice of it and to advance it to that high Degree wherein now we see it We may moreover see that the Way of making the Punchions and Dies for striking of Medals is one Sort of Graving which depends on Sculpture And that the most Excellent Gravers have been all well versed both in Sculpture and Painting for they never Grave their Coins till they have first modell'd their Works Thus Sculpture preceeds Graving The ingenious Medallists in the Time of Henry the IId and Henry the IVth were Sculptors and we commonly hold that John Goujon made the finest Medals of this first King and of Catharine de Medicis which are to be seen John Rondelle and Estienne Lanne are also Famous who made the Coin under Henry the II and those fine Testoons of that Prince As to the Medals of Henry the IVth the finest are those of ...... du Pres who was an ingenious Graver and excellent Sculptor the Bass Relief which is to be seen in the King of Sicily's Street in Paris is a Proof of this Graving has been always very much Esteemed and gain'd a great deal of Credit as well as the other Arts of Designing the Emperor Commodus besides Designing which he learnt learnt also to Grave as we have shew'd in the beginning of the Second Book And we can't but believe that his End therein was to make Medals the Knowledge whereof has always been so much Esteemed both among the Ancients and Moderns and that which farther proves this is that we find no other ways of Graving among the Ancients than that of Graving very deep for making Medals and Graving fine Stones for Rings and others for Seals which are often to be met with in the Cabinets of the Curious FINIS A TABLE OF THE NAMES of the ARTISTS mentioned in this HISTORY P. After the Name signifies Painter S. Sculptor A. Architect G. Graver or Goldsmith S and A. Sculptor and Architect P. S. A. Painter Sculptor and Architect A ABacco A. G. Page 189 Abbot de Clagni A. Page 175 Aetion P. Page 20 Adrian A. P. S. Page 44 45 Agesander S. Page 113 Angelo S. Page 136 Agnolo Sanese S. Page 90 Aldigieri de Levio P. Page 119 Aldegrave P. G. Page 186 Alexander Moretto P. Page 124 Alexander Minganti S. Page 190 Alexander Moretti P. Page 136 Albert Durer P. G. Page 183 184 185 186 Alphonsus Lombardi S. Page 160 Alterius Labeo P. Page 26 Alexis Baldovinetti P. Page 101 Alcamenes S. Page 22 Andrea Mantegna P. G. Page 108 133 Andrew de Solario P. Page 115 Andrea Del Sarto P. Page 116 144 Andrea Pisano S. Page 93 94 Andrea Orgagna P. S. A. Page 93 Andrea Verrochio S. P. Page 99 112 Andrea del Castagno P. Page 101 Andrea Taffi P. Page 89 Andrea Squarzella P. Page 116 Andrea Lewis d'Assise P. Page 117 Andrew Contucci S. Page 160 Amico P. Page 164 Andrea Palladio A. Page 68 167 Anthonio da Correggio P. Page 125 Anthony More P. Page 180 Anthonio da san Gallo A. Page 142 167 168 Antonio Pollaivoli P. S. Page 111 Anthony Filaret S. Page 98 Antonello da Messina P. Page 105 106 107 Androcida P. Page 18 Hannibal A. Page 16 Hannibal Carrache P. Page 190 Apelles P. Page 19 20 23 Apollodorus A. S. Page 44 45 Apollonius P. Page 89 Argellius A. S. Page 34 Archiphron
Desire to see the Works of Raphael whom he only knew by Fame and by the great Reputation he had gotten was glad of this Occasion but he had no sooner taken the Picture out of its Case but he was so surprized at its Excellence and thereupon conceived such a Melancholy by finding himself so much Inferiour to Raphael that he fell Sick and in a few days dyed Vasari Vita de Pitt c. Francis Francia was born in the Year 1450 he was brought up a Goldsmith wherein he excell'd in working in Enamel and graving of Coins for Money his Medals equall'd those of Caradosse as is to be seen by those of Pope Julius the IId of the Seignior Benti-Voglio and by all the Coins of the Money of Bologna which he cut as long as he lived He took up Painting after he was acquainted with Andrew Mantegna he was the first Painter of Bologna and excelled all the Bolognians that went before him his School was so Famous that by relation of Malvasia he had brought up two hundred Disciples one of the best who learned of Francia was Laurence Costa whereof we have spoken in the VIIth Chap. Malvasia Vite de' Pitt This Author denies what Vasari relates of the Death of Francia because this Painter had seen other Pictures of Raphael before he received that of St. Cecilia and had testified to Raphael in Letters that passed between them the Esteem he had for him as the Painter of Painters which he takes notice of in these Words che tu solo il pittor sei de' pittori Malvasia moreover complains of Vasari That he would not own that there were Painters at Bologna at least as soon as at Florence for he says that in the Year 1115 to 1140 there appear'd at Bologna Guido Ventura and Orson who embellish'd with Pictures the Churches of La Madonna de Lambertazzi of St. Estienne and several others of that City Afterwards appeared Marin the Goldsmith and Engraver and Franco de Bologna Painter contemporary of Giotto who notwithstanding follow'd the Gothick Way in the mean time they were very much praised by Dante Franco work'd for Pope Benedict the IXth in the Vatican It was he who set up the first School of Painting at Bologna and brought up several Pupils and among the rest Simon Jacob de Avanzi and Vitale who surpassed him This last flourished about the Year 1345 and the others in 1370. At first Simon only painted Crucifix's whence he got the Name of Simon of the Crucifix and as for Jacob he only drew Pictures of the Virgin Their Works have been praised by Michael Angelo and the Characci At the same time appeared Galeazzo of Ferrara and Christosano da Modena these Painters wrought in the Church called La Case di Mezzo without the Gate Mammola And all their Works appear'd in the Year 1400. Jacob moreover work'd with Aldigieri de Levio a Famous Painter Lippo Dalmasio was Disciple of Vitale and taught Painting to M. Galante the Bolognians This Lippo as Malvasia pretends painted in Oyl From the Year 1400. Painting grew more and more to Perfection at Bologna by Mattheo one of his most famous Pieces was at St. Francis which he painted in Oyl in 1443 under the little Gate of the Fishery Afterwards Severus of Bologna wrought in 1460. James Ripenda painted several Pieces at Rome and Designed the whole Trajan Column there were at that time several very good Bolognian Painters whereof Marco Zoppo was One his Works appear'd about the End of the Age 1400 he was Disciple of Squarcione But his greatest Glory was to have brought up Francis Francia who revived Painting at Bologna from the low Estate whereunto it was fallen and introduced the true Method and Gusto of Designing and Painting as we have shewn and in France are illustrious Proofs of it and give Subject both for our Admiration and Study This rare Person had a very happy Genius and from his Infancy a great Inclination for Painting He learn'd the Principles from his Father in the City of Urbin which was his Native Country But his Father seeing that from his Youth he exceeded him put him to Peter Perugino one of the most renowned Painters of Florence Whom Raphael in a short time so well imitated that oftentimes the Work of this Disciple surpassed that of his Master After Raphael had left Perugino he travelled to Siena where he heard of the great Esteem that was made at Florence of a Piece whereon was designed a Battel which the Famous Leonard da Vinci made for the Council Hall He understood also that there was another Piece of Designing very much admired which Michael Angelo had done in the same Hall where Leonard and Michael Angelo had painted each one half This obliged Raphael to leave his Work to go to Florence to see these two Famous Pieces Which he had no sooner seen but he bethought himself that he must study hard to acquire those Excellences in Designing wherein he then acknowledged himself inferiour to those two Ingenious Painters Thus he studied very hard to acquire the true Idea of those fine Airs of the Head that roundness force and perfection of the Works of Leonard he also observed the Beautiful outlines of the naked Figures in the Designs of Michael Angelo and that that Beauty and Correctness proceeded from the true Proportion and natural Situation of the Muscles and the just observation of their Motions Raphael that he might acquire this Knowledge set himself diligently to study Anatomy and his whole Design was to quit the manner of his Master Peter Perugino wherein he happily succeeded For it was generally more petite a dryer and a harder manner than that of Leonardo or Michael Angelo This Method of Perugino had not that roundness nor true Gusto as the Pieces of Frà Bartholomew (b) Bartholomew according to the Language of that Country called Baccio began to learn Painting under Benedict de Maiano and afterwards under Cosimo Rosselli and at last he set himself to Study the Works and Method of Leonard da Vinci He was perswaded by the Famous Jerom Savonarola a Dominican to quit Temporal Affairs and to burn all his Works and Designs among which were several naked Figures and by a Vow became one of that Religious Order in the Convent of St. Mark at Florence whence he was since named Frà Bartholomew of St. Mark he dyed at the Age of 40 Years in 1517 his Disciples were Cechino del Frate Benedictus Ciamfanini Gabriel Rustici and Frà Paolo Pistolese of St. Mark one of the Imitators of Leomard Bartholomew by help of his Studies and the great Esteem he had for the Works of that Excellent Man arrived to that degree of Perfection in true Designing that he was one of the most Excellent Painters of his Time Several Pictures which are at Florence and at Lucca in the Churches of St. Martin and St. Romanus are illustrious Proofs it They appear to this Day as
(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
Greece by Cecrops and Cadmus who carried them along with them out of Egypt and Phoenicia to the Grecians Painting being one of those Arts and which had appeared down from the Time of Semiramis with Architecture and Graving went also to the Greeks since that is inseparable from Designing But the happy Time when Painting began to be in it's greatest Splendor in all the States of Greece was in the eighteenth (a) You must Note That they did not compute the first Olympiad from the Institution of the Olympick Games But from the Year of the World 3400 which is about the Time of Azarias King of Israel thirty Years before the Foundation of Rome according to Vigenere in the Tables of Philostratus p. 328. The Painter Bularchus flourished about the Year of the World 3400 about 300 Years before Alexander the Great Olympiad when the famous Painter Bularchus lived who is most Celebrated of any of those Times He drew the Battel of the Magnesians and the Picture was Sold for it's (b) It was King Candulus of Lydia who bought this famous Picture He was the last King of the Race of the Heraclides Plin. Lib. 35. Chap. 8. This King was before Nabuchadnezzar ninety Years Pliny says that he died at the same Time as Romulus Lib. 35. Chap. 8. weight in Gold which shews that Painting was then in very high Esteem which was about the Year of the World 3400. Some Ages after appeared the Works of (c) In the eighty third Olympiad according to Pliny Lib. 35. Chap. 8. Peneus filled the Temple of Jupiter Olympius with his Pieces Pausaniar in his Eliac Androcida a Painter of Cizicenia painted for the City of Thebes the Battel of Leuctrum Plutarch in the Life of Pelopidas They count the sixth Age of the World from the deliverance of the Jews by Cyrus in the Year 3468 and that Age lasts till the Year 4000. Peneus Brother of Fidias who painted the Battel of Maraton which the Athenians gain'd over the Persians with great Applause And in this excellent Piece which was in the Porch of Pecilla he represented the Captains of both sides in the heat of the Battel (d) Pliny Lib. 35. Chap. 10. Miron and Polignotus in the ninetieth Olympiad had so great Reputation that the Athenian Senate ordered them to Paint the Delphick Temple and that which was called the Porch of Athens The Amphitrions who were the Heads of the Senate were so pleased with their Performances that as a further acknowledgment of the Merit of these two Painters they assign'd them very fine and handsome Lodgings At this Time there were a great many very Famous Painters and among the rest (e) Zeuxis lived in the fourth Year of the ninetieth Olympiad He raised his Fortunes to that Pitch that he would sell no more of his Pictures but gave them away Thus he presented his Alemena to those of Agrigentium and Pan to Archelaus Plin. Lib. 35. Chap. 9. Zeuxis famous for the Excellence of his Pencil and the Riches he acquired He had Contemporary with him Eupompus Timanthus Androcida (f) Pliny farther mentions several other Greek Painters and among others Euphranor of the Istmus who flourish'd in the hundred and fourth Olympiad He was also an ingenious Engraver having made several Pieces in Marble and some Colossus's He writ of Symmetry and Colours Plin. Lib. 35. Chap. 11. And Pausanias in his Atticks P. 4. tells us of a Gallery where this Painter painted on the Wall the twelve Gods Theseus the Lawgiver the Battels of Cadmus of Leuctrum and Mantin Euphranor Parasius and several others the last excell'd particularly in the Justness of his Proportions Eupompus brought up Pamphilus the Macedonian Master of Apelles Pamphilus was instructed in all the liberal Arts particularly Arithmetick and Geometry without which he esteem'd it impossible to Succeed in Painting By his Authority and the Regulations he made in the Academy of Painting (g) Diagraphicon Pliny calls it Diagraphice Lib. 5. Chap. 10. he engaged the most considerable Youth of the City of Scicione and of all Greece to learn the Arts of Designing which then were esteemed Liberal and had in so high Veneration that only the (h) Plin. Lib. 35. Chap. 10. Nobility and Gentry were permitted to Exercise them Hence this City became very Famous for the great Number of excellent Painters and Engravers that were bred in it Apelles who was the Scholar of Pamphilus carried Painting to that degree that the Antients allow'd him one of the first Places among Painters by reason of his great Qualifications Which honour obliged (i) Protogenes was no less esteemed by King Demetrius than Apelles by Alexander This Prince having besieged Rhodes went to see him Work in a House he had a little without the City and as he familiarly asked him how he could Work so Tranquilly he answer'd him That he knew indeed that he was come to make War against Rhodes but not against the Arts. This Prince set so high a Value on the Pieces of Protogenes that he would not Burn the City for fear of burning them chusing rather not to take the City than to be the cause of their loss Plin. Lib. 35. Chap. 10. Protogenes his Rival to acknowledge him for his Master Thus Alexander the Great justly chose Apelles for his chief Painter he gave him great Riches and made him a Present even of his own Mistress (k) Her Name was Campaspe Alexander gave her to Apelles when he had Painted her Plin. Lib. Chap. 10. This Author takes Notice that this was one of Alexander's greatest Victories thus to overcome himself in giving that which he so much loved to this glorious Painter He painted his Venus Anadiomenes by this Woman Plin. Lib. 35. Chap. 10. Apelles writ of the Art of Painting as did also his Pupil Perseus Vigenerus on the Pieces of Philostratus P. 55. because he perceived that he was passionately in Love with her The Persons of Quality had the same Esteem for Painting as this great Prince wherein they followed his Inclination This is verified in the Story of Aetion who after having Painted the Nuptials of (l) Lucian in his Dialogue entituled Herodotus describes the Beauty of this Picture which was yet to be seen in his Time in Italy This Author's Authority is sufficient to assure us of the Excellency of this Painter because he himself was very well skilled in the Art of Designing and had learnt Engraving in his Youth afterwards he became Intendant in Egypt for Marcus Aurelius Alexander and Roxana exposed the Work to publick View in the great Assembly of the Olympick Games where Proxenidas one of the Deputies of Greece then presided He was so charm'd with the Beauty of this Picture and thence conceived so great an inclination for the Painter that he gave him his Daughter in Marriage CHAP. IX At the same time that Painting was in it's Perfection in Greece Sculpture and Architecture were so also
36. Chap. 15. was no less beautiful than that of Olympius for it was so rich and curiously made that between all the Joints of the Stones there were inlaid threds of Gold to separate them As for the Temple of Trallius (f) Vitruvius in his Book of Architecture He there tells us also that an Architect ought to be learned and skilled in designing built by the Architect Argellius it must needs have been of an extraordinary Beauty for he composed a whole Treatise of the proportions of the Ionic and Corinthian Orders according to which that Edifice was built and consecrated to Esculapius Argellius work'd with his own Hands the most important Parts of it which shews that he was an Engraver as well as Architect But of all the Temples of Grece and all its Colonies the most Famous was that of Diana of the (g) The Temple of Diana of the Ephesians was not built by the Amazons but by Craesus and Ephesius who gave his Name to the City which was a Colony of the Eleans It was in the Country of the Ionians who built there several Temples Pausanias in his Achaia P. 274. Ephesians which deserved to have been reckoned among the seven Wonders of the World The first Model of this Temple was made by the ingenious Archiphron after him Ctesiphon had the management of it and Dinocrates (h) It was one named Herostratus who set it on Fire to gain himself a Name Dinocrates rebuilt it it was he also who built Alexandria by order of Alexander He was a great Designer or Modelist for he proposed to that Prince to form the Mountain Athos into his Statue which should hold a City in one Hand and in the other a Vessel to empty the superfluous Waters into the Sea By means of his great Design he was brought into Alexander's presence and entred into his Service Vitruv. Proem Lib. 2. rebuilt it after it had been burn'd down This Structure was four hundred and twenty five Foot long two hundred and twenty Foot broad and had one hundred and twenty seven Columns each sixty Foot high They were the Gifts of so many Kings whereof thirty six were Engraven and one was done by the hand of the famous (i) Vigenerus on Philostratus P. 127. Scopas The Mausoleum which Artemisa caused to be built whereof this Engraver worked one of the four sides was no less admirable for the Architecture than for the Sculpture of it it contained four hundred and eleven Foot circuit and was Sixty Foot high up to the Platform whereon was set a Piramid sustain'd by thirty six Pillars which made that Superstructure equal in heigth to the rest and was made by four of the most ingenious Architects and Engravers of all Grece Architecture continued there in its full heigth not only during the time of the (k) Plutarch in the Life of Pericles tells us that he was one of the greatest Lovers of Sculpture and Architecture among the Grecians For this reason the Edifices which he caused to be built at Athens were very wonderful both for their beautiful and agreeable Air and for the diligence wherewith he caused them to be raised they were built with that care that in the time of Trajan wherein this Author writ they seemed as but newly done They were so very agreeable that they seemed every day more and more beautiful He who survey'd and took care of all the Buildings of Pericles was Fidias who was there Survey or General though there were several Master-builders and excellent Workmen present at each Work For the Temple of Pallas which was called Parthenon or the Virgins Temple and surnamed Hecâ—â—ompedon because it was a hundred Foot every ways was built by Ictinus and Gallicratidas The Chappel Eleusin wherein were performed the secret Ceremonies of their Mysteries was founded by Caerebus who set up the first Order of Pillars next the ground and join'd them by their Architraves but after his death Metagenes born at the Town of Xipetes made the Cornish and set up the Pillars of the second Order and Xenocles of Cholarg built the Cupolo which covered the Sanctuary Pausanias in his Attis speaks also of this Temple of Pallas P. 1. Grecian Republicks and of their Kings but also under the Reign of the Roman Emperors and particularly under that of Adrian who built several famous Edifices at Athens CHAP. XIII Of the Perfection of Architecture among the Romans in the time of the Republick AFTER Marcellus had (a) Marcellus besides the buildings he erected at Rome and Gatan in Sicily made a Park to Exercise the Youth in â— and in the Isle of Samothracia in the Temple of the Gods they called Cabires he set up Statues and Pictures brought from Siracuse Plutarch conquered Sicily Architecture grew more and more perfect at Rome and that which demonstrates this is the Theatre which bears his Name and which he built For it is one of the finest and most regular Pieces of Architecture the Antients have left us This Art came from Grece into Italy with Painting and the other Arts of Designing about four hundred and sixty Years before Marcellus which was in the time of Porsena King of Tuscany This Prince was so magnificent in building that he gave orders to make a Labyrinth (b) Plin. Lib. 36. Chap. 13. in Imitation of the Grecians in the place he design'd for his Burial It was so curious that it was no ways inferiour to the Labyrinth of Crete or that of Lemnos Which makes it evident that Architecture flourishing in Toscany soon went to Rome after the Romans were Masters of that Province Insomuch that the Buildings which were erected in that City in the time of the Republick were nobler than those that were built under the Reign of the Kings For the great Men of that Republick endeavour'd to exceed one another in sumptuous and magnificent Buildings Marcellus did not content himself only to build his famous Theater but he built also a Temple to Vertue and another to Honour Marius was no less zealous to leave to Posterity marks of his Victories His two Trophies in the Capitol are witnesses of this as also the excellent Architecture of his triumphal Arch at Orange which is a glorious Memorandum of the Battel he obtain'd over the Cimbri But Marcus Scaurus's Son in Law was of all those illustrious Personages who bore a part in the Government of the Commonwealth the most noble in his Buildings for during the time he was an Edil he embellish'd Rome with surprizing Edifices His great Theater is an illustrious Mark of this It could contain eighty (c) Plin. Lib. 34. Chap. 15. thousand Persons There were three Scenes the one above the other with three hundred and sixty Columns Those of the first Rank were of Marble and thirty eight Foot high the second Rank were of Crystal and the third of gilded Wood. This illustrious Person made two other Theaters of Wood sustain'd on great Axle-trees
(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
to Constantine and Irenaeus He assures us that there were kept in the Basilicum and in the Vatican the (i) Had. 1. Epist to Const and Irenaeus Baron Annal. to 3. An. 324. and to 3. An. 785. Portraitures of St. Peter and St. Paul which are those which Saint Sylvester shewed to the Emperor Constantine (k) Constantine to adorn his new City set up on all the Gates the Image of the holy Virgin and upon that of his Palace the Image of our Saviour which Leo Isaurianus caused to be taken away He also caused to be raised in the middle of his Palaces fine Statues of our Saviour in the form of the good Shepherd and that of the Prophet Daniel in the Lyons Den. H. of the Iconocl of Maimbourg the Great after he was converted Hence we may believe that the Worship of Images had its rise at the very beginning of the Primitive Church and that it continued till the time of the Emperor Leo Isaurus in the East which continued the Practice of the Arts of Designing although degenerated from their Excellence yet less so in the Provinces of the East than the West CHAP. VIII Of the entire Ruine of these Arts by the Sect of Mahomet in all the Parts of his Dominion THE advantage which the Arts of Designing had to maintain themselves longer in the East than in the West did not last long for they suffered an entire overthrow in several Provinces of the Grecian Empire by the Sect of Mahomet which begun to appear in the Year 624. This false Prophet took Damas and ruined Syria and his Sect encreasing in Arabia Egypt Libia Barbary Spain and even on this side the Pyrenean Hills destroy'd all the antient Buildings and Pieces of the Arts of Designing which escap'd the Visigoths and the Vandals But the greatest Desolation was made by the Saracens in (a) They took also about this Time the Isles of Candy Cyprus and Rhodes in the Year 640. It was they who broke to pieces that famous Colossus of Brass made by Chares the Indian which was set up at the Entrance of the Port of Rhodes where Ships passed between the Legs of this great Statue which was at last thrown down by an Earthquake and the Saracens having broken it to pieces carried it to Alexandria the Brass of it laded nine hundred Camels This was about the Year 655. Dict. Histor Italy they ruled Sicily for a considerable Time And were Masters of a great Part of the Kingdom of Naples for the space of thirty Years principally from the City of Regge to that of Gath. Moreover these Infidels carried their Arms even to Rome and took the Town of Vatic and burnt the Church of St. Peter there (b) Roma illustrata P. 9. Italia illustrata di Biondo P. 135. and St. Paul under the Popedom of Leo IV. and had almost taken the City In this space of time these People destroy'd every thing that was fine and curious in these two Kingdoms for at Naples and the Neighbouring Towns there are only some Remains of the fine Houses and Palaces of the antient Romans These Palaces were along the Sea-shore on the Coasts from the Cape of Missena to the other side of the Puzzolo (c) Puzzolo was sacked by Alaricus Gensericus and Totila afterwards it was rebuilt by the Grecians the Theater of Puzzolo was one hundred and seventy two Foot long and eighty eight Foot broad There are yet to be seen the Remains of the Temple of Augustus all of Marble built by Califurnius There were also in that City several other Antient Temples the most considerable was that of Diana which had a hundred Columns of an admirable Corinthian order There is also yet to be seen a Part of the magnificent Temple of Neptune and the Remains of a Temple of Trajan The antient Fragments which are still to be seen in those Places denote the Splendor of these Buildings there is nothing so curious and wonderful as the Fishpond (d) This Place now called the Remainders of the wonderful Fish-pool is among the Remainders of the Palace which Luculus caused to be built at the Cape of Missona this subterranean Place was to keep fresh Water for the Fleets at Missena (e) Missena a fine Antient City was ruined by the Saracens in the Year 596. Antiq. of Puzz D. S. M. Near this Place was the City of Cumes whereof there remains a fine Arch called Arco-felice which is of fine Antient Architecture Here is yet to be seen in this Place the Cave of the Cumaean Sybil. The Pavement is enriched with Antient Paintings after the Mosaick Manner such as there are at Prenestes which points out the footsteps and foundations of a noble Palace The Remains of the Vineyard of Luculus of the Baths of Cicero and of the (f) At the Gate of Tipergol in Baia Caligula caused a Bridge to be built of Brick and paved with Stone which went from thence to Baia. This Bridge served also for Security of the Port by breaking the great Waves of the Sea there yet remain of it thirteen great Piles Suetonius relates the Reasons which induced this Emperor to make this wonderful Fabrick Bridge of Caligula built on the Sea of the Amphitheater and Theater of Puzzolo of the Temple of Castor (g) There is yet to be seen at Naples the Gate of this Temple which was Measured and Engraven by Andrew Palladio and Pollux at Naples and of several other Antient Works which were places of delight of the Romans in that Country make us regret the Ruine of those fine Buildings Those mischiefs make us look on this false Religion as one of the most fatal Plagues that ever happened to Architecture Sculpture and Painting for it is one of the Principles of the Mahometan Sect to make no Image of any living Creature And this has caused in all the Territories of the Turks not only the declension but the utter destruction of the Arts of Designing CHAP. IX Of the Injury Painting and Sculpture suffered by the Iconoclastes IN the other Parts of the Empire of Constantinople a hundred Years after Mahomet the Iconoclastes set about breaking and demolishing of Images Which could not be done without the great loss of Painting and Sculpture in all the Parts of that Empire Leo Isaurianus from a mean Birth came to the Empire according to the Prediction of two Jews who for an acknowledgment to them on that Account ordered the destruction of all Images throughout his Dominions This gave the first rise to the Heresy of the Iconoclastes whereof he was chief For as soon as he thought himself establish'd on his Throne he shew'd his Fury against the Catholicks by his Edicts and other Violences Which particularly appear'd when he set on Fire the famous (a) This College or rather Academy for there were taught all Sorts of Sciences both Human and Divine was a magnificent Palace built by Constantine the
Water-Colours in Fresco and Mosaick But among all these Grecian Artists those of Pisa were the most fortunate in happening on the Architect Bouchet (a) This Architect Bouchet called by Vasari Buschetto was a Grecian of Dulichium he made in the Plan of the Great Church of Pisa five Allies this Church is Paved with White and Black Marble he was Buried here in an honourable Sepulchre whereon there are Three Epitaphs this is one of them Quod vix mille boum possent juga juncta movere Et quod vix potuit per mare ferre ratis Buschetti nisu quod erat mirabile visu Dena puellarum .... levavit onus This Architect understood all the Parts of Architecture and particularly Mechanicks as this Epitaph proves having made a Machine by means of which Ten Women could take up that Weight which a Thousand Couple of Oxen could not move of Dulichium the most Ingenious of his time This he made appear in the Cathedral of Pisa for besides the greatness and fine Plan he made in this Church he made use with a great deal of dexterity of those ancient Pieces of the Grecian Architecture to compose his which were Fragments that the Pisans had brought from Greece This famous Building stirr'd up throughout all (b) In several Cities of Italy were Reared very great Fabricks at Ravenna in the year 1152 il Buono Engraver and Architect Built a great many Palaces and Churches He Founded at Naples the Castles of Capoano now called of the Vicaridge and Castel Dellüovo and at Venice the Steeple of St. Mark which he so well Founded on Piles that in that great Edifice there has appear'd no defect in so long time At Pisa in the year 1174 one Named William Oltromontano with Bonnano Engraver Founded the Steeple of the Dome These Architects not being acquainted with the practice of Piles this Steeple sunk on one side to which it inclines but because of its hollow which is round it does not fall The Royal Gate of Brass of this Church was made by this Bonnano Italy and particularly in Toscany those who had any Genius for Designing It was in this City of Pisa where the Pupils of these Greek Architects Built the Church of (c) In the year 1060 near this great Church was Built that of St. John and it is Recorded in some Memoirs that the Columns the Pilasters and the Vault were finished in Fifteen Days time Vasari p. 79. St. John They also Built others Consecrated to St. Luke (d) The Church of St. Martin at Luques was Built by the Pupils of Buchette in the year 1061. and some to Pistoia but they did not at all exceed their Masters There remain the Footsteps of the old Greek way chiefly in the Sculpture as is to be seen in the Bass Reliefs of St. Martin of Luques finished by Nicholas (e) These Bass Reliefs were finished in the year 1233. Pisan who learn'd of those Grecian Artists but he surpass'd them for there is a great deal of difference between his Work and theirs This Nicholas was the first Engraver who began to perfect Sculpture after its revival for to surpass those who taught him he set himself to study the fine Bass Reliefs of the Ancients which the Pisans had brought from Greece and which are to be seen in the Church-yard of Pisa They are of a good Order and Ancient particularly that which represents the Hunting of Atalanta and Meleager The study of these Bass Reliefs furnished him with sufficient light to make some happy advances in Sculpture and this he sufficiently shew'd in the Sepulcher of St. Dominick at Bulloign and his other Works This shews that this Art as well as Architecture began to arrive to perfection at Pisa at Bullogn and at Rome and (f) About the year of the World 1216 appear'd Marchione Architect and Engraver of Arreze who Work'd much at Rome for the Popes Innocent the IIId and Honorius III. who made the fine Chappel of Marble of Presepio at St. Mary Majeure with the Sepulcher of that Pope which is of the best Engraving of those times But one of the first Architects who began to reform in Italy was a German named James who Built the great Convent of St. Francis of Stone he dwelt at Florence where he made the chief Fabricks he had a Son called by corruption Jacopo Arnolpho Lapo who learn'd Architecture of his Father and Designing of Cimaboius and practised also Sculpture He founded the Church of St. Cross at Florence and several other Buildings the most considerable whereof is the Magnificent Church of St. Mary Delfiore whereof he made the Design and Model He Died in the Year 1200 there are Engraven in his praise in one of the corners of the Church these Verses Annus Millenis centum bis octonogenis Venit Legatus Roma bonitate Donatus Qui Lapidem fixit fundo simul benedixit Praesule Francisco gestante Pontificatum Istud ab Arnolpho Templum fuit aedificatum Hoc opus infigne decorans Florentia digne Reginae Coeli Construxit mente fideli Quam Virgo pia semper defende Maria. Florence which is apparent by the Beauty of the Cathedral of St. Mary Delfiore which Arnolphus Lapo began to Build in the year 1298 and which Philip Bruneleschi afterwards finished CHAP. II. Of the Time when Painting began to be Re-established at Florence PAINTING which was almost lost began to revive again in the Church of St. Miniate at Florence as is to be seen in the Mosaick Painting of the Choir This was done about the Year 1013 and till the Year 1211 wherein Cimabüe was born we do not see that that Art acquired much perfection John Cimaboüe was born at Florence with a natural Genius and Inclination to Designing which made him neglect other Studies to which he was design'd by his Father For he deceived his Tutors and was continually amusing himself in gratifying the Inclination and Tendency of his Genius The opportunity which he had of the Society of two Grecian Painters who came to Florence to Paint the Chappel of Gondis was very lucky for him to satisfy his Inclination that Way And when his Father saw him employ all his time in seeing them Work he began to despair of his Sons succeeding in Learning and so e'ne let him learn to Paint of these two Greeks The Genius and Application which Cimaboüe had for Design made him soon surpass his Masters Insomuch that his Works distinguishing themselves from the ill and rude Ways which were then in use spread his Reputation through all the Neighbouring Towns where he made several Pieces this began to raise Painting again and gained this Painter the (a) The Reputation of Cimaboüe was so Great that he was chosen Architect with Arnolphus Lapo to order the Fabrick of the Church of St. Mary Delfiore at Florence where he was buried after having lived sixty Years There are these Words for his Epitaph Credidit ut Cimabos Picturae
Ingenious Disciples one whereof was the Famous Georgeone da Castel-Franco The Reputation of the two Brothers Bellini encreasing at Venice daily by the great number of Pictures which they made went even to Constantinople for the Republick made a Present of their Works to Mahomet the II. who was so charmed therewith that he sent for the Painters who had done them The Senate immediately sent Gentil Bellin who at his Arrival at Constantinople presented that Emperor with one of his Pictures who so much admired it that he thought it impossible for Man to Express any thing so much to the Life This Great Prince not being able to keep Gentil any longer by reason of his Religion which forbids Pictures took his leave of this Famous Painter heaping Honours upon him as on a Person of the highest Reputation offering him to grant him any thing he would demand of him But Bellin only desired a Letter of him to signify to the Republick the Satisfaction he had received in him which this Sultan readily and joyfully consented to and Bellin (e) John Bellin in his old Age only drew Portraits and introduc'd the Custom among the Nobles of Venice to have their Pictures drawn them and their Families a Custom very beneficial to the Painters at his return gave it the Senate who assigned him a Pension during Life CHAP. VIII The School of Florence became very Famous by the great number of Excellent Men it produced As Painting became more perfect at Venice by those Ingenious Painters I have mentioned so the Great (a) One of the greatest Genius's in Painting of the Age 1400. was Dominick Ghirlandaio of whom we have made mention in the Fourth Chapter which is evident by the great number of his Excellent Works Nature gave him a very great Inclination for Painting which was the reason he left off from his Youth following the Trade of a Goldsmith wherein his Father had Educated him he was the first who invented that Dress which the Florentine-Maids wear on their Heads called Ghirlande whence he was named Dominick Ghirlandaio As he succeeded in the true Methods of Painting he imitated in his Colours the Ornaments of Gold which till that time were done with real Gold The Reputation of Dominick got to Rome where Pope Sixtus the Fourth sent for him to Paint in his Chappel at his Return to Florence he painted the Chappel of Ricci which was one of the chief Pieces he was used to say that Designing was true Painting and that Mosaick was the most durable he dy'd at 44 Years of Age in the Year 1493. His Disciples were David and Benedict Chirlandaio Sebastian Maimardi Michael-Angelo Buonarotti and several other Ingenious florentine-Florentine-Masters At the same time Benedict da Maiano distinguished himself at Florence in Sculpture and Architecture as did also Anthony and Peter Pollaivoli Florentine Painters and Sculptors they dy'd at Rome whither Pope Innocent the Successor of Sixtus the Fourth caused them to come they were very Curious and the first who studied Anatomy whereby they made their Works the more perfect There appeared also at Florence about this time Philip Lippia Painter who first taught to Paint varieties of Cloathing in his Figures and therein imitated the Ancients he had a great Genius in Ornaments and Grotesque he wrought also in Plaister and died at 45 Years of Age. Moreover Luke Signorelli of Cortone got Reputation by his Painting in that City and in Arezzo he had a fertil Invention and a great deal of Grace in Composing his Histories and designed very well Naked-Figures Genius's in that Art continued daily to bring about the Re-establishment of the Arts of Designing Among the rest the Illustrious Leonard da Vinci became a great Master therein for from his Birth he had all the Advantages of Nature which procured him an easy Entrance into all the Arts that depend on Designing and Mathematicks Musick and Poetry wherein he was Excellent Leonard learn'd of Andrew Verrocchio Painting and Sculpture but in a short time surpassed his Master in Painting he studied Perspective and the Arts that depend thereon and penetrated into the most hidden Secrets of Anatomy (b) Leonard da Vinci Michael Angelo and all the best Designers studied Anatomy Da Vinci carefully recommends that Study in his Treatise of Painting as does also Lomazzo in his Charles Alphonsus of Fresnoy and D. P. his Commentator have also shewed the necessity of Myology to become Excellent in Designing The Author of the Discourses on the Lives and the Works of the most Excellent Painters is also of this Sentiment but in treating of this Science he explains himself in very confused terms for he mistakes the Tendons for the Nerves for in writing of the Statue of Laocoon in a Conference in the Academy he expresses himself thus saying The Nerves and Muscles form the chief Appearances of that Statue And in his Book of Discourses speaking of the Muscles he teaches in Page 315. of P. T. That there must be had a special regard to the Muscles and Nerves And in Page 556. he says That their Motions depend on the Fabrick of the Bones and Situation of the Muscles and Tendons which sustain them and cause their Action In another place he says As the Muscles and Nerves are more supple and pliant which causes an Alteration in the Nerves c. It will not be amiss to Explain this for the sake of young Beginners To do this you are to consider Three Parts in each Muscle the Head the Belly and the Tail which are only their Beginning Middle and End this end of the Muscle is that which is called the Tendon resembling Cords which the Author of the Discourses calls Nerves at the Feet of Laocoon where it is evident that they are the Tendons of the long and short Entensors of the Fingers which end at the Articulations of each of them being there very visible by reason of the dolorous Motions which Agesander the Sculptor shews this Figure to have made at the biting of several Serpents As to what this Author says That the Tendons sustain the Muscles and cause them to Act this is to speak without any understanding in Anatomy or Design he might have said That the Tendons end the Muscles but not that they cause their Motion For the Animal Spirits give Motion to the Muscles which are communicated to them by the Nerves which are their Vehicle but these Nerves are diffused and lose themselves among the Membranes and Flesh by small Ramuli or Branches which end like Hairs so that they cannot be seen without the Skin on the contrary they are the Tendons that are there seen which indeed the Ancient Language calls Nerves when Anatomy was not arrived to that Perfection as now-a-days This appears in an old Translation of the Bible Gen. 32.25 where the Angel after having wrestled all Night with Jacob not being able to overcome him touched him on the Nerve of the Thigh and immediately it dry'd and
Family This he continued till the Foundation of the Academy of Architecture at Rome was finished This Academy was composed of several ingenious Men one whereof was Marcello Cervino who was afterwards Pope This noble Assembly chose Vignola to Design and Measure for them all the ancient Buildings which made him entirely leave Painting to employ his whole time on Architecture and thereby to become one of the best Architects of his Age. The Fame of Vignola's Capacity and the Reputation he had got were the Reason that in 1537 Francis Primaticcio sent to Rome by Francis the I st gave him a Commission to mould and form some of the finest ancient Figures And afterwards he carried him into France where he work'd for that King in making several Designs for Buildings which were but in part finished by reason of the Wars He also design'd on Carton's for Primaticcio the History of Ulysses painted in the Gallery at Fountainbleau At the same time and in the same place Vignola was employ'd in casting several Statues in Brass of those he had modell'd at Rome and which are at Fountainbleau and he was so happy as to light on some very good Founders insomuch that those Brazen Figures were cast with so much Care that they scarce needed any further Work Vignola at his Return to Rome had the Honour of being the Architect of the Church of St. Peter and to continue that Building according to the Design of Michael Angelo He also made the Design of the Church of Jesus And one of his chief Pieces was the Castle of Caprarola which he built for Cardinal Farneâ—â— He painted with his own Hand several of the Chambers with Pieces of Perspective which were agreeable And for the same Cardinal he finish'd that side of the Farneze Palace which stands next the Tyber Vignola was also employ'd by Philip the IId King of Spain to make the Designs of the Church of St. Laurence and those of the Escurial His Designs were preferr'd to above twenty others of the best Architects in Italy and even to that which was made at Florence by the Academy of Designing A Design also which Vignola made for the Church of St. Petronio at Bologna was preferr'd to several others Those who gave this Judgment of it were Christopher Lombard Architect of the Dome of Milan and Julio Romano Painter and Architect to the Duke of Mantua Besides the fine Buildings of Vignola at (h) Vignola died at Rome in 1573 at the Age of sixty six Years His Life was writ by Egnatio Danti Rome and other Places he has also published a Book of the Orders of Architecture wherein the beauty and fineness of his Profils have made his Name famous Several other famous Architects appear'd at Rome towards the End of the same Age and among the rest Maderni who made the Front of St. Peters Church Afterwards Dominick Fontana besides the Buildings he made for Sixtus the Vth found out some extraordinary Inventions whereby he transported the Egyptian Obelisks at Rome and set them up in the Squares of St. Peter St. John Lateran and St. Mary del Popolo which 〈◊〉 the finest Ornaments of that City Fontana 〈◊〉 moreover chosen to be first Architect and Engineer of the Kingdom of Naples It was in this City he built the magnificent Palace of the Viceroy and several other Edifices CHAP. XX. The Arts of Designing flourish'd in France under Francis the I st and Henry the IId and their Successors BY what we have said of Vignola it may be gathered that the true manner of Architecture began to revive in France and even before his time for it began under Lewis the XIIth who caused Jocondo to come out of Italy King Francis his Successor had the like Inclination not only for Architecture but also for (a) This great Prince was so great a Lover of these Arts that he made it one of his Recreations to Design and Paint Paul Lomazzo Trattato D. L. Pitt in these Terms Epero si legge che ' l Rè di Francia molte volte si dilettava di prendére lo stile in mano essercitarsi nel disegnare dipingere Painting and for all the other Arts of Designing For he sent for several Ingenious Italians into France to whom he shewed particular Favours Rosso known in France by the Name of Roux was among the chiefest of his Favourites He was a Painter and Architect of a good Mein and very Ingenious This excellent Genius apply'd himself in his Youth at Florence to study the great Piece done by Michael Angelo in the Council-Hall Afterwards he painted of himself without following any Master Afterwards he went into France where he was so happy as to get the Favour and Affection of the King who allow'd him a Pension of four hundred Crowns After that he began to Paint the lower Gallery at Fountainbleau where he painted twenty four Historical Pieces of Alexander the Great This pleased the King so much that he gave him a Canonship in the Chappel at Paris Rosso moreover painted several Chambers at Fountainbleau which after his Death were somewhat changed There was a Book of several Designs of Anatomy which he had made for the King about to be engraved (b) Le Roux whom the Italians call il Rosso a Florentine Painter and Architect died at Paris in 1541 of a Melancholy which he conceived by having inconsiderately accused one of his best Friends of having robbed him The King and all that knew him were very sorrowful for his Death His Disciples and those who work'd for him in Painting and Plaister were Naldino a Florentine Master Francis of Orleans Claudius of Paris Laurence Picard and several others the most Ingenious whereof was Dominick del Barbieri a Florentine an excellent Painter and Artist in Stucco-work and also a good Designer as is to be seen by his Stamps but was prevented by the decease of this Painter Francis Primaticcio of Bolonia carried on the Works of Rosso at Fountainbleau He came into France in the Year 1531 a year after the Establishment of Rosso That which caused this Voyage of Primaticcio was that the King had heard of the Beauty of the Painting and Stucco-work wherewith the famous Julio Romano had adorn'd the Palace of T. at Mantua So the King desired the Duke to send him a Painter who understood Stucco-work Primaticcio had been six Years a Disciple of Julio Romano and had distinguish'd himself by the Beauty of the Stucco-work he made by the easiness of his Designing and by the way he had of managing Colours in Fresco This Painter was chosen out by the Duke of Mantua for Francis the I. who set him to Paint in Fresco and work in Stucco which had not till then been seen in France and after having had the Honour to serve the King eight Years his Majesty honoured him with the Charge of a Valet of his Chamber and afterwards he was rewarded with the Abby of St. Martin