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ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A51143	The history of painting, sculpture, architecture, graving, and of those who have excell'd in them in three books : containing their rise, progress, decay, and revival : with an account of the most considerable productions of the best artists in all ages, and how to distinguish the true and regular performances from those that are otherwise / by P. Monier ...; Histoire des arts qui ont rapport au dessein. English	Monier, Pierre, 1639-1703.	1699 (1699)	Wing M2419; ESTC R16358	161,014	242

castra tenere Sic tenuit .... Nunc tenet astra Poli. But his Pupil Ghiotto passing by and seeing it alluding to the eleventh Stanza of Purgatory says on the Inscription of the Sepulcher Credette Cimabue nella Pittura Tener lo campo hora ha Ghiote il grido Siche la fama di colui oscura At the same time with Cimabos flourish'd Andrew Tafi a Florentine Painter in Mosaick he went to Venice to compleat himself in the ART having understood that there were Grecian Painters there who work'd after that Way at the Church of Saint Mark. He engaged Maestro Apollonio one of them to come and Work with him at Florence where they made several Pieces and Tafi learned of this Grecian the way of making Enamels and Plaisters that would last a long time he died in the Year 1294. Esteem and Applause of Men of Credit and Curiosity Particularly of the Famous Darotus and the Celebrated Petrarchus But the greatest Honour which Cimabos received was when the King of Naples Charles d'Anjou went to see him Work on the Picture of St. Mary Novella This Honour caused a particular Joy in the Citizens of that City insomuch that they made Feasts and publick Rejoycings For this reason we may say That the Protection which Charles of Anjou (b) Charles of Anjou first King of Naples also very much honour'd Nicholas Pisan the Engraver and Architect he made him build several Churches as the Abby in the Plain of Tagliacozzo where he defeated Conradio he built also other Churches in several Places of Toscany John Pisan was Son of Nicholas and was also Engraver and Architect In 1283 he was at Naples and built there for King Charles the new Castle there and several Churches and being returned into Tuscany he made several Pieces of Sculpture at Arezze and also of Architecture in that Province he dy'd in 1320. This Engraver had for Pupils Agostino and Agnolo Sanensi They were in the Opinion of Ghiotto the best Engravers of their time which procured them the chief Business of Tuscany they work'd also at Bulloin and Mantua and bred up several ingenious Pupils and particularly Carvers in Silver as Paul Aretino Goldsmith and Maestro Ciono who was excellent therein James Lanfrance a Venetian Jacobello and Peter Paul of the same City learnt Sculpture of Augustine and Dagnolo gave Painting in the Honour he did Cimabos was one of the first means of the revival of this ART Thus Designing and Painting began to Emerge out of Ignorance wherein they had lain buried for above nine hundred Years in Italy and Heaven then began to favour them visibly pouring out its Gifts on the Person of Ghiotto Pupil of Cimabos For when he was a young Child and in the Country guarded his Fathers Flocks he practised Designing with a sharp pointed Stone for a Pencil on the Ground which he had made smooth on purpose where he drew the Figures of his Sheep One day as Cimabos walk'd out into the Fields he found little Ghiotto busied about this Affair which made him stop and admire him He asked him and told him if he had a mind to follow that Employment he would teach him Painting which he accepted of with all his Heart having also gained his Fathers consent In a short Time Ghiotto learnt of his Master the Principles of the Art and far surpassed him therein by the study and imitation of Nature applying himself chiefly to draw Pourtraictures and Histories which gain'd him so much Reputation That Pope Benedict the IX sent for him to Rome where he drew several Pieces in the Church of St. Peter After this his Successor Clement the V. carried him to the City of Avignon where he painted several Works in Fresco and some Pieces for France But at his return to Florence Robert King of Naples writ to Prince Charles of Calabria his Son to send him Ghiotto to Paint in the Church of St. Clare which he had newly built It was very Honourable for this glorious Painter to be sent for by this Generous Prince He loaded him with Goods and Honours and Caresses and took as much Pleasure in seeing him Work as Alexander did in Apelles CHAP. III. The Liberality of Princes to ingenious Artists has been a great Means of the Revival of the Arts of Designing THE Honours and Riches which Cimabos and Ghiotto received from the Popes and the Kings of Naples and the Republick of Florence encouraged them to Work and raised Designing and Painting from their low State and Condition These Favours caused a general Esteem for these Arts For the better sort of People and the Courtiers always affect what their Princes love which insensibly engages the approbation and curiosity of all the People in general It is therefore most certain that the Esteem of Great Men for Arts is the first and readiest Means to make them Flourish The Honour and Riches which Ghiotto (a) Ghiotto was also Architect and Engraver having made several Pieces in Marble which with the other of his rare Qualities caused that by a publick Decree and the particular Affection of the Old Laurence de Medicis his Portraict of Marble made by le Maiano was set up in the Church of St. Mary del Fiore with these Verses made by M. Angelus Polibianus Ille ego sum per quem Pictura extincta revixit Cui quam recta manus tam fuit facilis Naturae deerat nostrae quod defuit arti Plus licuit nulli pingere nec melius Miraris Turrim egregiam sacro aere sonantem Haec quoque de modulo crevit ad astra meo Denique sum Jottus quid opus fuit illa referre Hoc nomen longi Carminis instar erit had of the Royal Family of Anjou acquired him very much Reputation in the Republick of Florence At his return to Naples he had ordered him by that Family an Annual Pension of a hundred Florens of Gold Thus we may look upon the first Reigns of the Kings of Naples of the House of Anjou as those who kindled the Sparks of Emulation in Italy among those who followed the Arts of Designing Which advanced the Re-establishment of them and we may say in praise of this August Family that if the People of Tuscany have had the glory to be the first revivers of these Arts the French Kings of Naples were the first Protectors of Painting and the first who made it Re-flourish The Riches which Ghiotto gain'd supply'd him with the means of establishing at Florence a School of Designing famous by the great Number of Pupils that were there (b) Of his Pupils Tadeo Gaddi was one of the First and dyed in the Year 1350. The others were Paccio a Florentine Ottaviane da Faensa Guilleaume de Forti Simon Sanese Pietro Cavallini Romain who work'd with Ghiotto on St. Peter's Ship a Mosaick Painting at Rome Several others learnt Painting of Ghiotto and were his Pupils But the most Celebrated was Estienne Florentin it

Management of Caesarianus a very Ingenious Architect and Bernardino da Trevio a Milanese also a good Painter and Architect and Engineer who was very much esteem'd by Leonardo Vinci though his way of Painting was somewhat dry The Reflections which Bramante made on this famous Church together with the knowledge he gained by those two Architects who were the Managers and Designers of it made him have a mind to apply himself wholly to the Study of Architecture whereupon he went to Rome where having kept together what he had gotten by Painting he survey'd with a particular Care and Curiosity the magnificent Ancient Buildings of that City those of Tivoli and of La Villa Adriana his Affection to Architecture led him also to Naples to observe all the fine Remainders of Antiquity which are there and thereabouts He there met with the Protection of the Cardinal Archbishop who had such an Esteem for him that a little after he Engaged him to make at Rome the Cloyster of the Church of Peace Afterwards he was employed by Pope Alexander VIth and he shew'd his Skill in the Architecture of the Palace of the Chancery and of the Church of St. Laurence in Damaso He embellish'd moreover several Churches in Rome by Frontispieces of his own Designing that of St. James of the Spaniards of St. Mary del l'Anima and of St. Mary del Popolo are convincing proofs of it as also the little Temple of the Dorick Order which is consecrated to St. Peter in Mont-Orio These Works and several others gain'd him so much reputation that he was ackowledged the best Architect of his time insomuch that in 1503. Julius the Second being Pope took him into his Service where he continued to gain Admiration by his Buildings in the Lodgings of the Vatican and by those of the Palace of Belvidere But that whereby this famous Architect got the greatest Credit was his Design of the (a) The Design of St. Peter's Church by Bramante is to be seen on the Reverse of the Medals of Julius the Second and of Leo the Tenth excellently well Engraven by Carradosso who made also a Medal of Bramante great Church of St. Peter at Rome and the Foundation he laid of that incomparable Building (b) Bramante died in 1514. Aged 70. He was buried in St. Peter's Church and very much regretted by all the Ingenious in the Arts of Designing it was he who brought Raphael to Rome and instructed him in Architecture This Architect besides the Beauty of the Orders which he brought into use again found out several fine things in Architecture as the way of making Vaults in Plaister which was also used by the Ancients Vasari Vit. del Bramante Raphael Urbin after the Death of Bramante took care of the Architecture of that Church and there is also to be seen of his the Chappel of Chigi in St. Mary del Popolo but Death which at 37 Years of Age put a period to his Life has deprived us of those excellent Works which otherwise he would have left to Posterity Architecture continued at Rome in its Excellence by Baldassare (c) Baldassare Peruzzi of Siena from his Youth learned Designing and Painting at Siena afterwards he went to Rome and painted in Fresco the great Altar of St. Humphry and two Chappels at St. Roch afterwards Augustine Chigi contracted a Friendship with him which first induc'd him to study Architecture and make him the Model of his Palace de Chigi in the Street of Longare where he painted several Figures and fine Pieces of Perspective wherein he was Excellent Julius the Second employ'd him to Paint in the Vatican and he painted several Fronts of Palaces at Rome after which he was sent for to Bologna to Design the Portico of St. Petronio and to several other Parts in Italy as to Carpi where the great Church is of his doing as also that of St. Nicholas afterwards he returned to Rome where he built the Palaces which are next that of the Farnese's and Pope Leo the Tenth employ'd him also in several things and among the rest to Paint some Scenes for Comedies which were so much the more surprizing because it was Baldassare who first brought them into use for he was very Excellent in placing Lights true in Perspective It was he who continued on the great Chappel of St. Peter which Bramante had begun But in 1527. when Rome was sacked by the Spaniards Baldassare was so unfortunate as to be taken Prisoner and not only lost all he had but was very ill treated Because he had a good Presence the Spaniards took him for a Priest in disguise and having afterwards understood that he was a Painter and one of those who were esteemed by Charles de Bourbon they made him draw the Portrait of that Prince after his Death by which means Baldassare obtain'd his Liberty and went to Siena strip'd of all he had After the Wars were ended he return'd to Rome where he continued to Work and Comment on Vitruvius which he did not finish by reason Death prevented him He was buried in the Rotunda near Raphael with this Epitaph Balthasari Perutio Senensi Viro Pictura Architectura aliisque ingeniorum artibus adeo excellenti ut si Priscorum occubuisset temporibus nostra illum felicius legerent Vix Ann. LV. Menses XI Dies XX. Lucretia Jo. Salustius optimo Conjugi Parenti non sine lacrymis Simonis Honorii Claudii Aemilioe ac Sulpitiae minorum filiorum dolentes posuerunt Die 4 Januarii M. D. XXXVI Peruzzi where are to be seen of his designing some Palaces of a fine and elegant Proportion which command the Attention and Admiration of the Spectators filling them with an agreeable pleasure in considering their Beauty the effect of a rare Designment for Balthazar excelled in Painting and Perspective before he practised Architecture and had in that Art several Disciples Serlio was one of the first who made any Proficiency by the Designs of Balthazzar for he composed those Books we have under the Name of Sebastiano Serlio Bolognese CHAP. XIV Architecture began to revive in the State of Venice GOOD Architecture began to revive in the Provinces of the Republick of Venice according to the true Gusto of the Ancients for there were several Illustrious Architects who came from Verona who were happy in being Born in a City where there were so many Relicks of fine Architecture For it is most certain that the best Precepts which can be given in the Arts of Designing are fine Examples whereon Youth Casting their Eyes and Thoughts with a particular Inclination for Designing cannot but succeed And this is an Advantage which the Italians have had above other Nations who have render'd themselves famous in Architecture Sculpture and Painting insomuch that it is not a wonder that in the last Age they have surpassed others Those Ingenious Veronese Architects were Joconde Michael San Michael and John Maria Falconetti Joconde was called Fryer John Joconde

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