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HISTORT AN ART 


O F 


ENGRAVING. 


CONTAINING, 


1. The Riſe and Progreſs of ENGRAVING. 
II. Of Ex RAIN general, 


III. Of EN CRAVIN C, ETCHING; and SCRAPING: 


on CoPPER, as now practiſed. 


IV. An Idea of a Fine Collection of PainTs. 


V. The REPERTORIUM 3 or, A COLLECTION 
of various MaRKs and CYPHERs, "wh 
Additions, 5 | 

To which is now added, 

A Chronological and Hiſtorical Series of the 

PaiNnTERs from the Eleventh Century. 
Extracted from * 


BaLDiNUCCI, FLORENT LE ComPTE, FAIRTHORNE, 
the ABECEDARIO PirToORICO, and other Authors, 


With COPPER-PLATES. 


— — 


The Four TH EDITION. 


* 2 


CO 


Printed for ]. Manx ks, in 57. Mariigfs Lis 
M DCE LXX. 


WL IR 3 1 _— 
. » . C l r ** y 8 a” ai e Pp 


1 — N. 


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NN. 
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CONTENT. 


HE Hiſtory of the Art of Engraving. 1 
Of Engraving in General, — — — 15 
Of the Quality of Copper requijne for Plates. 17 
Directions for conducting the Strokes, or Cuts 
of the Graver, — — — 
for Engraving the Hair of Men SI 
and Beaſts, and the Beard, — 


— Sculpture. — — — 22 
= Stuffs. —— — — 23 
— — Architecture. — — — 
— Land ſti ps. — — — 25 
— — Strokes or Cuts of the Grauer. 26 
- Water. _ — — 27 
— Clouds. — 28 


— Preſerving an Equality nd} 
Harmony in the Wirk, — — oY 
The Art of Engraving with Aqua F ortis, and — 


to make the hard Varniſh — 
To make the Compoſition of Tallsw and Oil, to) 
cover thoſe Places in the Plate, where you 


would not have the Aqua Fortis eat in. 


a 18 a. he. tt. 


n 
* * 3 


„ The CONTENTS. 


Page 
To prepare the Ingredients for making t 
Aqua Fortis for the hard 7 . * . 49 
To make .the Aqua Fortis. _— 0 
To know good Copper from bad, — _ 
To planiſh and poliſb the Plate, — — — 52 


To apply the hard Varniſh, and make it black. 55 

To dry and harden the hard Varniſh on the Plate. 57 

To chooſe the Needles to make the Tools to etch = 8 
with, Plate 3. — 5 


To whet the Points of the „ — 59 
To preſerve the V. arniſb on tbe 1 — — 60 
To Etch, — — 51 
To guide the Needles on "bs Plate. — — 62 
To uſe the Oval- Points, to make large Strokes 

in etching or graving with * Fortis. 2 64 

Plate 5. — : 
To prepare. the Plate for recerelng chad 68 

Aqua Fortis. — — — | 
To make a Trough and Frame to bald t the Plate 

when you would pour the Aqua F = 69 

on it. — yew _— 


The Manner of caſting the Aqua Fortis on 

the Plate, and to cover the Places that 

are fainteſt, and moſt remote fromthe f 71 
Eye, with the z as 

Occafion requires. — 

To take the Ground or Varniſh Seals the Plate, 
| after the Aqua Fortis has done its 
Operation. — — — — 


Of ſoſt Varniſh. To make it, and its Uſes. — 82 


The Manner of laying the ſo ft Ground, or} 8 
Vai niſb, on the Plate, — — — 5 

To border the Plate that it may contain the : 88 
Aqua Fortis _— 9 


x mens 


Tie O NT E NT S. xi 


The Manner to lay a white G ond on the 
hard or ſoft Varniſb. — * 
Another Way to lay a White on the V. arniſh. 95 
The Manner after the Plates are eat in by} 
the Aqua Fortis, to touch, or re-grave 6 
that which had been forgot or ſhould be 9 


mended. — — — 
The ſeveral Ways of 8 the Deſign gn 
on the Plate. — — 99 
The Forms of Graving- Tools, and the Manner 
of whetting the Graver, Plate 9. ; * 
The Manner of holding the e with | 
other Particulars, — — 


The Manner of governing the Hand, Sc. 106 

Of Mexxotinto, called Scraping „ 21 
on Copper. — "OP 

An Idea of a fine Collection of 7 Prints. 110 

Repertorium, or Marks and Cyphers of E. 
Engravers and Painters, &c.— 137 

The Initials uſed by 3 0 their 

| Marks, — — — 79 

A Chronolegical and Hi erica g 77 4 
moſt eminent Painters 118 the Elven þ I92 
Century, fc. — 

An Aldbabetical Tndex of the Cheifion nM 
and Surnames 75 the Painters and En- 26 
gravers, with their Places of Abode, and 988 


when they flouriſhed, Sc. — 

An Alphabetical Liſi of the Surnames, 1. 
the Chriſtian Names, of Painters, En- — 
gravers and N — — 


250 


PREFACE. 


O render a Treatiſe on any Art 
or Science acceptable to every 
Reader, it ſhould certainly be calculated 
to inſtruct as well as entertain; and in 
order to fulfil this Intention, it is ne- 
ceſſary that Ideas ſhould be preſent- 
ed to us in ſuch a Manner, as to 


make a ſtrong and laſting Impreſſion 


upon our Minds: I flatter myſelf that 
proper Attention has been paid to both 
theſe Circumſtances in the following 
Treatiſe, which has hitherto been re- 
ceived as an uſeful as well as an agree-: 


able Work. 
AS Every 


s Jo PREFACE. 


Every curious Enquirer muſt receive 
infinite Satisfaction, in tracing the various 
Improvements of any of the Arts from 
their primary Sources, and obſerving 
with Care the Difficulties they encoun- 
ter in their Progreſs towards Perfection: 
But, his Labour will be conſiderably di- 
miniſhed, if he ſhould be aſſiſted in the 
Proſecution of his Enquiries by the In- 
duſtry and Attention of others who have 
before treated on the Subject; for by this 
Means much Light will be thrown upon | 
the Point in Queſtion, and he will be 
prevented from falling into thoſe Errors 
which he probably would not have 
eſcaped, had he been left to his own 
Conjectures. 


The Antients are generally allowed 
to have excelled in the Art of Painting; 
though very few of their Works have 
been handed down to us, as it was im— 


poſſible 


The PREFACE v 


poſſible to preſerve them from the In- 
juries of Time and other Accidents : 

Engraving however, ſtepped in with 
its Aſſiſtance, and eſtabliſhed a laſting 
Memorial of its Uſefulneſs, by the Pre- 
ſervation of many beautiful Pieces in 


Painting, as well as in Sculpture, Ar- 


chitecture &c. the Originals of which 
have been deſtroyed : Painters and other 
Artifts therefore, are as much obliged to 
the Invention as the Public; for with- 
out it, many of their moſt capital 
and valuable Performances would have 
been loſt. It may indeed be objected, 
that Deſigning could have anſwered 
theſe Purpoſes; but let it be conſidered, 
that Drawings as well as Paintings are 
generally confined to a few Poſſeſſors; 
whereas by the Art of Engraving, a 
Number of Impreſſions may be taken 
from one Plate, without the leaſt Devi- 
ation of a ſingle Line. 1 
A 3 3 


* 8 * 


vi Te PRE F A CE. 


The Reader wilt be led from the 
Riſe of this Art through its various 
Stages to that Degree of Perfection 
which it has acquired in the preſent 
Age: The Hiſtorical Part comes firſt; 
Secondly, the Art in general; Thirdly, 
Etching; Fourthly, Metzotinto; and 
Fifthly, an Idea of a fine Collection of 
Prints; which part deſerves particular 
attention, as the Gentleman will here 
have proper Rules to aſſiſt him in the 
choice and diſpoſition of his Collection, 
which, when properly arranged, will 
afford him a Fund of Jational Amuſe- 
ment for his leiſure Hours. Sixthly, 
the Characters, or Marks and Cyphers 
uſed by Engravers Sc. with their ex- 
planation; Seventhly, the Initials uſed 
by ſome Artiſts inſtead of Marks or 
Cyphers, or by the ſame at other Times; 
Eighthly, will be given a Chronological 
and Hiſtorical Series of Painters from 

tue 


The PREFACE. Vil 


W the eleventh Century to the preſent 
f Time; Ninthly, the Student will be 
W furniſhed with an Alphabetical Index 
of the Chriſtian and Surnames Ge. 
and laſtly, with an Alphabetical Liſt 
of the Surnames before the Chriſtian 
Names. 

This Edition is rendered more com- 
plete by the inſertion of ſeveral Marks 
omitted in the former, together with the 
Chronological Series; the whole being 
diſpoſed in a regular Manner, the ſe- 
veral Parts following each other as the 
Subje& leads, which Method I hope 
will be moſt agreeable to the Reader. 


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or THE 


aur of. ENGRAVING. 


9 
W Vee 


b all this Arts which are Gee 
from Deſg ning, none, except Ar- 
chitecture, Painting, and Sculp- 
ture, has given ſo much Pleaſure, or has 
been of more Uſe, to all Lovers and Pro- 
feſſors of the Liberal Sciences, than that 
of Engraving; whether on Copper, or 
Wood : for, by this Means, all the; cele- 
brated Performances and Inventions of the 
moſt-eminent Maſters, are exceedingly well 
imitated, and reduced to ſo ſmall a Size, 
as to be communicable to the whole 
World. *Tis by the Affiſtance of this 
Art, thoſe who have never croſſed the Seas, 
are acquainted with the magnificent Struc- 
tures, beautiful Statues, inimitable Paint- 
ings, Sc. with which the Cities, Churches 
and Palaces of other Countries, and parti- 
eularly Hach, are adorned: Which is a 
: Bagel Pleaſure to the Lovers of i thoſe 
1 . and of no leſs Uſe to thoſe who 
S B Profeſs 


2 The HISTORY F the © 
profeſs them; for, as it is an evident 
Truth, that we have no Ideas but what 
ariſe from Senſation, ſo conſequently the 
readieſt Way to form them, is by cen- 
templating the noble Works of others. 
This Art, which by the beſt Authors is 
placed among the Nuovo x chello, was acci- 
dentally diſcovered in the fourteenth Cen- 
tury, by one Maſo Finiguerra, an inge- 
nious Goldſmith and Sculptor of Florence ; 
who was famous not only for deſigning 
and emboſſing Figures on Gold and other 
Metals, but alſo for engraving, and Ster- 
wards inlaying them with Metals of other 
Colours; which he did in the following 
Manner. Having deſigned and engraved 
his Figures, he "uſed, "before he inlayed 
them, to fill the Engraving with Earth, 
and caſt melted Sulphur on it, which gave 
it a Sort of an Olive Colour ; after which, 
preſſing a Piece of damp Paper on it, 
with a ſmooth wooden Roller, the Har 
graving on the Metal remained imprinted 
on the Paper, juſt as if it had been de- 
ſigned with a Pen. Baccio Baldini, ano- 
ther Gold and Silver- Smith of the ſame 
City, began to do the ſame; but as he 
underſtood very little of Deſigning him- 


ſelf, he employed Sandro Botticelli to aſſiſt 


him in moſt of his Performances: Some 


5 of which "_ ſeen OY Antonio del Pol- 
laiols, 


1 ART of ENGRAVING. 3 

aiolo, a celebrated Deſigner of the ſame 
City alſo, who had ſtudied Anatomy to 
earn the Situation and Action of the Muſ- 
les of the human Body; he engraved ſome 
f his. own Deſigns on Copper, and amongſt 
oe reſt a fine Repreſentation of a Battle. 
This new. Manner of Deſigning began 
ov to be the Subject of Converſation, and 
Andreu Mantegna, who was then at Rome, 
having ſeen ſome of theſe Prints, was ſo 
xceedingly pleaſed with them, that he ap- 
lied himſelt with the greateſt Diligence to 
Engraving his Triumphs; which being pro- 
Pably the firſt Prints that appeared in Pub- 
ick, met with univerſal Applauſe, and ob- 
8 ained him great Part of that Glory, which 
aas due to the firſt Inventors of this Art, 
Pecauſe he, by great Study and Applica- 
ion, brought it to a tolerable Degree of 
b perfection. But if Mantegna, after what 
e did, had boaſted that he had perfected 
his Art; his Vanity would have deſerved 
s juſtly to be laughed at, as old Palæmon's 
ears, who lamented bitterly, believing 
he World by his Death would loſe the 
ſe of Letters: For whoever rightly con- 
4 pders, will fee very clearly, that this fine 
1 Art of Engraving, firſt with the Cravrr, 
1 ud afterwards with Agua Fortis, in the 
Courſe of about 280 Years, ſince Man- 
9 hd s Death, has made ſuch Progreſs, 

4 B 2 | | and 


+ The HISTORY of the 


and is arrived at ſuch Perfection, that i it is 1 
not only, as I have ſaid, of great Uſe to 
the Profeſſors of Architecture, Painting, 
Sculpture, Sc. by communicating to them 
the noble Inventions of others; but to all 
Mankind in general, by acquainting them 
with whatever is worthy. of Obſervation, 
even in the moſt diftant Parts of the Globe. 
However, we muſt do this Juſtice to Man- 
tegna's Memory, to acknowledge, that 
what he did, excited others, after his Ex- 
ample, to apply themſelves to this Art; 
ſince in 1490, Germany produced / Te- 
deſco, and Iſrael Martin, who firſt ſhewed | WM 
an uncommon Diligence in their Works, 
and gave this Art to the renowned Albert 
Durer, their Diſciple, Lucas of Leyden, Yi 
Aldegrave, and others, who afterwards be- 
came much abler Artiſts than their :A4aſters. 
And indeed, to fay the Truth, from this 
Time, the Graver would have begun to 
rival the Pencil, had not their Prints, imi- 
tating the Dryneſ of the Paintings of thoſe 
Countries, which want much of the Mel. 
lowneſs and Delicacy of the Ttajian, been 
lels beautiful than they would otherwiſe 
have been; which was not a little aug- 
mented by the Variety of Invention, dit. | 
ferent Air of the Heads, and particular 
new Manner of cloathing Figures, intro- 
| duced into the Art or Painting by the emi- 

nent a: 


r 
YZ 


1 ART of EN GRAVITIN G. 5 
nent Lialian Maſters, among which are 
reckoned Bacchiacca,, James of Pantormo, 
and laſtly, Andrew del Sarto, all Florentines, 


Ws who were continually. adding ſomething 


new and gracetul to their Works. 

In the fifteenth Century, and Time of 
== Raphacl, Haly produced the celebrated 
= Mark Antonio Raimondi, to whom this Art 
WE is very much indebted, as he was the firſt 


RX who began to reduce it to fo fine a Man- 
ner, that even Raphael himſelf was ſo much 
WT pleaſed with it, as to defire him not only to 
Nengrave many of his beſt Paintings, but 


x alſo a great Number of his Deſigns and” 
fine Inventions, which *till then had never 


„been ſeen in Rome, or elſewhere. - His. 


=E Diſciples and Imitators were Auguſtin of 
Venice, Slueſter and Mark of Ravenna, 
who, between the Years 1535 and 1360, 


= | engraved almoſt all RaphaePs Paintings, 
Deſigns, and Inventions; as alfo thoſe 


. | of Julio Romano, his favourite Diſciple, 
from his and Raphae!'s own Deſigns, We 
have of Auguſtin's Engraving, the fine Print 


of Anatomy, the Slaughter of the Inno- 
- cents, and naked Men, who are torment- 

ing the Martyr Saint Laurente with Fire; 
all done from the beautiful Deſigns of 


Baccio Bandinelli, a famous ' Sculptor of 
Florence: The laſt Pices of which had the 


0 Reputation of exceeding the original De- 


W-3 bn. 


fe 


— RR 
A 


6 The HISTORY of the 
"fign. Fobn James Coraglio, of Verona, alfo 
unitated Raimondi, and engraved moſt of 
Roſſo's Works, with many Deſigns of Pe- 
rin del Vaga, Parmigianino, and Titian. 
After -theſe, Lamberto Suave applied him- 
ſelf diligently to.engraving, as may be ſeen | 
by bis thirteen Prints of our bleſſed Saviour, | 
and his twelve Apoſtles; the fine Piece of | 
Saint Paul fitting and writing, and the 
Story of the Reſurrection of Lazarus. 1 
John Baptiſta, of Mantua, a Diſciple of 
Julio Romano, beſides many Prints of Por- MM 
traits, with a Sort of antique Creſts, pub- 
liſhed two fine Pieces of the Burning of 
Trey. There was alſo Aneas Vico, of 
Parma, who engraved the Works and De- 
iigns of Refſo, Bandinelli, and Salviati, 
with many Books of ancient Medals, re- 
preſenting the Effigies of the Emperors, and 
their Wives, with their Reverſes ; and alſo ml 
the Genealogical Tables of the Emperors, 
and of the Family of Efe. Julio Bonafone i 
engraved the Inventions of Raphael, Julio 
Romano, Parmigianino, and others; and 
Baptiſia Franco publiſhed many Prints of 
other Maſters; and Girolamo Cock, a Fle- 
ming, engraved the fine Works of Marlin 
Hemskirk, his own Inventions, and thoſe i 
of many other Maſters, which it would be 
tedious to mention. A 
* | - And i 


8 


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8 45 FI ONT 4 
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ART of ENGRAVING, 7 

And as it is the particular Property of 
the human Underſtanding to be always in- 
venting ſomething, and as every Body has 
an innate Deſire to ſurpaſs the reſt of Man- 
kind by ſome peculiar Excellency; it was 
not long before Hugo of Carpi, a Painter 
of no great Renown in other Reſpects, be- 
gan to publiſh wooden Plates of two diffe- 
rent Impreſſions; the firſt of which ſhew- 
ed the. Shade, juſt as Copper Plates do; 
and the ſecond, the Light; for the Wood 
being cut away very deep, left the bite 
of the Paper, wherever there was Occaſion 
of Light; ſo that the Prints appeared as if 
they had been illuminated. with Spaniſh 
White. He afterwards invented another 
Manner of Engraving, by which he made 
his Prints of three Impreſſions; that is to 
fay, of the deepeſt Shade, the lighteſt, and 
of a middling one, making the Lights ap- 
pear in the White of the Leaf. He en- 
graved many of Raphaels Works after this 
Manner, and was the Occaſion, that Bal- 
. thazar Peruzzi, Francis Parmigiano, An- 
hon) of Trent, Jobn Nicholas of Vicenza, 
and Dominico Beccafumi, afterwards engra- 
ved many more of them in the ſame Man- 
ner, which ſucceeded ſo well, as to pleaſe 
the Lovers of this fine Art very much, and 
alſo be of great Uſe to them; but thoſe 


— — - - 
— — . 


— — — 
— — — 


= _= — — "= — 
. — ——— — . — 


_— — - 
— — 


* 1 —— —ͤ— 


— bAB. 


—— CET CLE Ewa aerated cone ea 
. 


Trans teu 


6 The HISTORY of the 


moſt of all, that came from the Hand a 
Beccafumi, 

Cornelius Cort, a "Plans. ee 
theſe, and engraved the Landſkips, and 


other fine Works of Girolamo Mutiano, 8 
Frederick and Taddeo Zuccebero, Frederick 


Barrocio, Marcellus Venuſto of Maniua, Cas 


ravaggio, * the inimitable Picture of the 

ation, by Raphael. There Was 
alſo Anthony Tempeſta, who etched many 
Pieces of Battles, Huntings, and all Sorts 
of Animals, as I ſhall obſerve. in his 
Life; Martin Rota, who engraved the ce- 
lebrated laſt Judgment of Michael Angelo, 
in two Plates, one of a greater, and the 
other of a leſſer Size, and ſeveral others 


from the Works of Raphael and Frederico; 


Cberubino Alberti, who did many of Poli- 


doro's Inventions ; and the never enough 


to be commended Augu/tin Caracci, whole 
moſt beautiful Prints are ſo well known to 
the Lovers cf this Art, who were all eminent 
Maſters. - Villamena of Afi, alſo a free, 
eaſy Engraver, and good Deſigner, pub- 
liſhed his Labours, amongſt which, the 
fine Print, of the Preſentation of our Sa- 


viour in the Temple, from the famous Pic- 


ture of Paul Veroneſe, is very much eſteem- 
ed. In the Time of the Emperor Rodolph, 


_ and 8 80 1 flouriſhed in 


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ART of ENGRAVING. 9 
Germany, and gave great Proofs of theit 
Abilities by the many fine Plates which 
they publiſhed; of the Works and Inven- 
tions of Martin de Vos, | Baſſan, Titian, o- 
ſeph of Arpino, and other Maſters. Their 
School produced Egidius Sadalaer, their 
Nephew, who was univerſally allowed to 
be the beſt Engraver of his Age, and led 
the Way to that fine Manner, which was 
copied by the beſt Maſters of the facceed= 
ing one. There was alſo Raphael Guidi, a 
Tuſcan, who engraved many fine Plates 
from the Works of Joſeph of Arpino; Har- 
man Muler, a very bold and free Engraver 3 
and the ingenious Henry Gollius, a Hallan- 
der, who had the Talent of imitating the 
Stile of many preceding Maſters ; Philip 
Tomaſini, who engraved at Rome the Fall of 


Lucifer, the laſt Judgment, the Diſpute of 


our Saviour with the Doctors in the Tem- 


ple, and the School of Atbens, by Rapharl, 


— 


with many Inventions of other Maſters; 
Matthew Greuter, a Native of Straſburg, 
who, beſides engraving many Plates of his 
own Invention, retouched ſome: of Tem- 
peſta's Plates of Hunting Pieces, and ſome 
of other Engravers; and Theodore Crager, 
whoſe fine Plate of the laſt Supper, from à 
famous Painting in Freſco, by - Andrew del 
Sarto, is preſerved in the Grand Duke of 
| - 3  Tw/ſcany's 


10 De H1sTory of” the 

Tuſcany's Wardrobe. We cannot behold 
without Aſtoniſhment, the beautiful Prints 
of Saenredam, and of the celebrated Swan- 


burg, who engraved the Deſigns of Rubens 
and Bloemaert, with extraordinary Delicacy. 


The next, who became eminent, were 


James Callot, who, for ſmall Figures, ex- 
celled all his Predeceſſors in this Art; and 
the renowned Stephen della Bella, a Floren- 
tine. Peter Tempeſta, a good Painter, etch- 
ed about the ſame Time his fine Inven- 
tions; and Salvator Roſa, a Neapolitan, and 
celebrated Landſkip Painter, © publiſhed 


many of his comical Conceits; in which 


the Trees and Herbage are touched with 
furprizing Freedom; and after him, that 
excellent Painter, and worthy Prieſt, Peter 
Aquila, who etched the admirable antique 
Starues, and beautiful Paintings of Hanni- 
bal Caracci, in the Gallery of the Farneſe 
Palace; and alſo the fine Works of Lan- 


Franco in the Villa Borgheſe; thoſe of Peter 


of Cortona, in the Sacbetti Palace; and 
ſome of Ciro Ferri's; with the noble In- 
ventions of Carlo Maratti, and ſome of- his 
own. 


Some time after this, = W408 boaſted of 
her Melan, who invented a Sort of Engra- 
ving, by which he gave his Figures both 


=_ and Shade, with * Strokes only, 
without 


_ « Ts 


n 


ART of ENGRAVING, 11 
without ever croſſing them: He was alſo a 
Painter, and engraved chiefly his own 
Works. There was alſo Mr. Lane, who 
engraved Hiſtory and Portraits almoſt after 
Villamena's Manner; and M. Rouſſellet,, 
who engraved the Labours of Hercules from 
Guido Reni for the French King's Cabinet, 
in a very beautiful and expreſſive Stile, pe- 
culiar to himſelf; M. Anthony Bos, who- 
both etched and engraved in a Stile of his 
own, did not ſucceed ſo well; we have of 
his Engraving the Figures in all the Books: 
of M. Deſargue's Works, who was a Ma- 
thematician, Geometrician, and Profeſſor 
of Perſpective in the Academy at Paris, 
and in a printed Volume of his Lectures. 
In the Time of Bos, the famous Nanteuil 
began to engrave Portraits in a moſt beau- 
tiful Manner of his own Invention; and.: 
Francis Poilly made himſelf eminent by en- 
graving with great Sweetneſs an infinite 
Number of Pieces of Devotion, from the 
Works of Raphael, Caracci,, Guido Reni, 
and others; whilſt Cornelius Bloemaert gain- 
ed'great Reputation at Rome, by engraving. 
many of the Works of Peter of Cortona, 
and other -Maſters, in the moſt ſoft and de- 
licate Stile, that was, perhaps, ever ſeen 
till his Time; and excited that celebrated 
Engraver, Francis Spierre, to apply Himſelf 


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12 The HISTORY of the 

to imitate his fine Manner in the beautiful 
Prints which he publiſhedz the Out- lines 
of which are exceedingly fine, but the En- 
gtaving is not fo ſoft and delicate as Bloe- 
maert's, M. Rulet aſterwards engraved at 
Rome many beautiful Prints, with the Aſſiſ- 
tance of Ciro Ferri, from his Deſigns, and 
was followed by M. Bodet, who engraved 
in the fame Stile, at Paris, for the King's 
Cabinet, the four Pictures of Albano, which 
are in the Falconieri Palace at Rome. There 
was alſo M. Vanſculp, who did many Hil- 
tory Pieces and Portraits with' great Sweet- 
neſs; and M. Maſſon, 
Aſſiſtance, _ engraved the Portrait. of: the 
Count of Harceurt from one of his Paint- 
Madam- Claudia Stella 
etched at Paris many very fine Prints, by 
which the not only acquired great Renown, 
but almoſt put the Male Sex to Shame; 
and, among others, this in — Lady 
did a beautiful one of Mount Calvary, — 


a celebrated Painting of the — Pouſſin, 
which ſhe preſerved with more Care than 


her choiceſt Jewels. Laſtly, M. Ezelink, 


« Fleming, with the Aſſiſtance of M. Charles 


le Brun, firſt Painter of Louis the XIV. en- 


oy his Works in a Stile ſomething dif- 


erent from that which M..Rouſſellet prac- 


who, with Mignard's 


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ART of ENGRAVING. 13 


and harmonious: We have alſo of his En- 
graving, the Family of Darius, a Priat very 
much eſteemed in the World, and a Ma- 
donna, from a Painting of Raphael, which 
is preſerved in 0 French King $ A. 
« Pictures. 
I have here! gives you an Epitome, of the 
uſeful Art of Engraving, from its firſt Diſ- 
covery at Florence, *till through a Series of 
many Years, it was gradually brought to a 
State of Perfection by the ſucceſſive united 
Labours of the great Maſters I haye enu- 
merated; as any ingenious Lover of this 
Art may eaſily perceive, by examining and 
comparing their Works: And therefore, 
though moſt Countries in Europe have pro- 


duced many eminent Men of this Profeſſian, 


ſince the Time of Edelink, ſhall, to avoid 
Prolixity, omit them, becauſe few of the 
Curious can be unacquainted with their Per- 
formances, which have introduced into the 
World a noble Emulation between the 
Graver and the Pencil, inaſmuch as the Ex- 
cellencies, Requiſites and Prerogatives of 
theſe fine Arts, are nearly the ſame, that 
is to ſay, Deſign, Relief, Expreſſion of the 


Paſſions, Multiplicity of the Objects, near 


and diſtant Proſpects of the Country and 

Buildings, Delicacy of the Out-lines, and, 

T might almoſt FO Colouring itſelf. This, 
1 W | 


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14 The HisToORY of, &c. 


I believe, will evidently appear to all, whe 


attentively examine and reflect on the Works, 
which theſe Maſters have publiſhed, hav- 
ing a due Regard to the Time and Place 
they lived. in, from the Beginning of this 
Art, to its Perfection, by their united En- 


deavours, to the common Advantage of 


all Mankind. 


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Of ENncRavins i General. 


Y Intention, in treating of this no- 
ble and uſeful Art, is not ſo much 
to inſtruct the Maſters of this Profeſſion, as 
to inform the Lovers of it, what are the 
Sentiments of the moſt eminent Engravers 
of the Academy at Paris, with regard to 
it, and endeavour to inſpire the Publick 
with a Love for it, by giving them ſome 
ſhort, eaſy and uſeful Directions, how to 
judge with Certainty of Performances in 
this Art. 
The Principles, on which this Art is 
founded, are the ſame as thoſe of Painting, 
vix. Def n, which an Engraver ought to 


be a perfect Maſter of, becauſe, without 


it, he will never be able to-imitate a Pic- 
ture, or Deſign, with any tolerable Degree 


of Perfection; they may indeed be finely: 


engraved, but will want both the Ffulſtneſs 
of the Out- lines, and. beautiful Expreſſion 


of the Originals. 


I ſhall paſs over in Silence the Manner 
in which an Engraver ought to deſign, be- 
cauſe it ſhould be the ſame in which a 


Painter does, and only obſerve, that he 


mould diligently apply himſelf to deſign. 
Hands and Feet from the antique Statues, 
. Nature, 


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16 1 ENGARAVING 
Nature, and the Paintings of the beſt Maſ- 
ters, and that he ought particularly to ſtudy 
the Prints of Auguſtin Carucci and Villa- 
mena, who have deſigned thoſe Extremi- 
ties with great Eaſe and Perfection: This 
I ſay, that the Engraver may acquire a Fa- 
cility of doing them with a good Got, and 


be able to correct Errors, when he engraves 


from the Works of Painters or Deſigners, 


who were not perfect in this Branch of 


their Profeſſion. 1 

But when he is to copy the ing of 
eminent Maſters, then he ought entirely to 
lay aſide any particular Manner of Deſign- 
ing he has acquired, and conform himſelf 
to that of the Works he would imitate, in 
order to preſerye that Character, which diſ- 
tinguiſhes the Stile of one Maſter from ano- 


ther; and to this End, he ſhould deſign 


from the Paintings of Raphael, Caracci, 
Dominichino, Pouff in, and others; and if 
he has only an Opportunity of ſeeing them, 


and not Time to copy them, he ſhould re- 


mark all their particular Beauties, and their 
different Manners of forming the pt-unts 
of their Figures. 

It is very neteſſary alſo, that an . 
graver ſhould rs 5 agpaTeve and 
See ures. 1 %o 

Per ſpecii ve, by the Deacon of firong 
and ee enables him with Eaſe to throw 


backwards 


in. GENSRALS 37 
backwards the Figures and other Objects of 
the Picture, or Deſign, he would imitate; 
and ArchiteBure, 'to, preſerve the due Pro- 
portion of its ſeveral Orders, which: good 
Painters very often do not give — 
the Trouble of doing in their Deſigns, 
which are only done by the Glance of the 
Eye, and commonly N to the Pines 
of the an, Fe: ory 


Of ibe Aal of 0 nau. for. 


PLATES. 9 1 
HE Red is the veil. ent lis. 
.quently,. made Uſe. of, becauſe it is IN 


the tougheh, and adheres moſt to the Gra- 
ver; magy deceive themſelves, when they 
heat it to ſoften! Ly on the contrary, | tis 
better it mould be a little hard, provided 
it is not brittle: To prevent which, they 
need only give Directions to thoſe, -who 
prepare the Plates, to hammer them a little 
Cold, and take Care, that they are made 
perfectly ſmooth, without Cavities or F . 
and of equal Strength throughout. 
Before the Engraver begins to trace any 
Thing on them, although they appear very 
well poliſhed, it will not be improper to 
take a Buranifher, and rub them well with 
it, in order to clear them of what the Stone 
and Fire may have left, which frequently 
renders 


18 Of ENGRAVING 


renders the Bottom of the Engraving foul 
and tarniſhed. As to the Gravers, all Ar- 
tiſts know, that they ought to be made of 
the beſt and pureſt Steel, without any 
Mixture of Iron, and well tempered; 
their Form 'tis needleſs to ſpeak of, be- 
cauſe moſt Engravers chuſe them accordin i 
to their Fancy; however, thoſe are beſt, 
that are of a moderate Length, almoſt 
ſquare, and ſmaller at the Point, but Care 
muſt be. taken that they be not too thin, 
that they may be able to reſiſt the Work, 
without bending or breaking : and the En- 
graver ought to take particular Care, that 
his Inſtrument is very ſharp, and a little 
turned up at the Point, that he may the 
more eaſily diſengage it from the Plate; 
and never engrave any Thing with a blunt 
Inſtrument, if he deſires his Work ſhould 
be neat and fine, for if he does, it will ap- 
yo as if it was only feratched. 
There are ſome who ſhew great F acility 
in their Engraving, others great Labour ; 
and ſome who affect, in croſſing their 1 
Strokes, to ſorm acute Angles, others, U 
perfect Squares, 
Thoſe, who have the Facility I ſpeak of, 
are Goltzius, Muler, Lucas, Kilian, und 
ſome others; whoſe principal View in many 
of their Performances ſeems to have been 
to ſhew the World, by the winding ING 
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n GENERAL. 19 
of their Gravers, that they were Maſters of 
them; without giving themſelves any Con- 
cern about the Juſtneſs of the Out- lines, 
the Expreſſion, or the Effects of the Light 
and Shade, that were in the Picture or De- 
ſign they would repreſent. | 

The Manner of Engraving, which ap- 
pears to me to be done with great Labour, 
is that which has an infinite Number of 
Strokes and Points, confounded together 


without any Order, which make it look 


more like a Deſign than Engraving. 

An Engraver ſhould never, in croſſing 
the firſt Strokes with the ſecond, make 
very acute Angles, particularly in repre- 
ſenting Flefhz becauſe it forms a very dif- 
agreeable Piece of Taby-like Lattice-Work, 
which deprives the Eye of that agreeable 


Repoſe, with which it deſires to view all 
Sorts of Objects. 


The Squares made by croſſing * 


Strokes ſhould never have very acute An- 


gles, except in the Repreſentation of ſome 


Clouds, in Tempeſts, and the Waves of 


the Sea, as alfo in repreſenting the Skins of 
hairy Animals, and the Leaves of Trees. 


The Medium, between are and A- 


cute, ſeems to me the beſt and moſt agree 


able to the Eye; as *tis alſo the moſt diffi- 


cult to do, becauſe the Irregularity of the 
Sele is moſt 9 However, 


they 


20 Of ENGRAVING 


they muſt not be quite Square, becauſe that 
reſembles ”m_ too much. * 


DinzcTIONS for conducting the STROKES 
or CuTs of the GRAVER, 


\IRST, the Engraver ſhould obſerve 

the Action of the Figures, and of all 
their Parts, with their Out- lines; remark. 
how they advance towards, or recede from 
his Sight, and conduct his Graver accord- 
ing to the Riſings or Cavities of the Muſ- 
cles, or Folds, widening the Strokes in the 
Lights, and contracting them in the Shades, 
as alſo at the Extremity of the Out-lines, 
to which he ought to conduct the Cuts of 
his Graver, that the Figures or Objects 
repreſented may not appear as if they were 
gnawn; and lightning his Hand, that the 
Out-lines may be perfectly formed without 
ſeeming ſtiff or cut“. And although he 
break off his Strokes at the Place where 
a Muſcle begins, either out of Neceſſity to 
form it, or to give it greater Expreſſion; 
yet they ought always to have à certain 
Connection with each other, ſo that the 
firſt Stroke ſhould often ſerve to make the 
ſecond; becauſe this ſhews a Freedom- of 
the Graver, and all Engraving is more or 
leſs beautiful, .in Proportion as it ſeems | 


The ingenious Rogſellet excelled in this Reſpect. 
free 


in GENERAL. — 
free and eaſy. He ought, however, to take 
Care, that they always flow freely and na- 
turally, and avoid all odd fantaſtical Wind- 
ings, which proceed rather from Caprice 
than Neceſſity; and yet not run into the 
contrary Extreme, and like many young 
Artiſts, who, when they have a Mind to 
engrave finely, make none bur ſtrait Strokes, 
becauſe tis eaſier to do ſo, than conduct 
the Graver with Judgment, according ta 
the various Riſings and Cavities of the 
Muſcles, which they do not well under- 
ſtand, becauſe they are ignorant of Ana- 
tomy and Deſign. - 


DirzcTjons for engraving the HalxR « 
MEN and BEASTS, and the BEARD. + 


IHE Engraver ſhould begin theſe by 
making the Out- lines of the princi- 

pal Locks, and afterwards {ſketch out the 
principal Shades, omitting the great Lights, 
becaute they may be covered at Pleaſure, 
as he finiſhes them, to the very Extremi- 
ties. They ſhould be ſketched out, as it 
were, in a careleſs Manner, that is to ſay, 
with a few careleſs, free, and at the ſame 
Time, unequal Strokes, to have Reom as 
he finiſhes them, to throw into the void 
Spaces, which proceed from theſe Inequa- 
lities, ſome finer and thinner Strokes. 
| | When 


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„ Of EnGRAvING 


When Hair is engraved in this Manner, it 
appears much more free and natural, than 
when done otherwiſe; and indeed, it 
fhould be expreſſed, as far as poſſible, par- 
ticularly when the Figures are not very 


- Reaſon the Engraver ſhould not attempt 
to throw in any Strokes, when *tis well ex- 
preſſed without them; and if he does ſlip 
in any on the ſhady Side, to mix and 


mult be exccedingly ſmall and fine. 
For SCULPTURE. 
F he has a Mind to repreſent Sculpture, 


dark, becauſe, as Statues, Sc. are com- 
monly made of white Marble, or Stone ; 
the Colour reflecting on all Sides does not 


ters do. Neither ſhould he make Balls in 
the Eyes of his Figures, as if he had copied 


er Firs detached from the reſt, and 
flying in the Air; for it would be repre- 
ſenting Things contrary to Truth, becauſe 
Sculpture cannot do this, . 


* 1 Fur 


large, by fingle Strokes only; for which 


unite it the better with the Fleſh, they 


he ſhould never make his Work very 


produce ſuch dark Shades as other Mat- 


a Painting; or the Hair of the Head and 
Beard, as it is naturally, which ſhews us 


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n GENERAL. 1 


For STUFFS. 


Innen ſhould be engraved finer and 
f , thicker than other-Stuffs, it may be 
with one ſingle Stroke, and if they do uſe 
two, it muſt be only in ſome ſmall Places, 
and the Shades; to give it a Sameneſs, and 
prevent that H arſhneſs it would otherwiſe 
have, when oppoſed to, or layed on Dra- 
pery and other darker Bodies, which are 
croſſed with many Strokes. If it is white 
Cloth, it ſhould be engraved with Strokes, 
large or ſmall, proportionable to the Fine- 
neſs or Coarſeneſs of the Stuff repreſented, 
but with two Strokes only. It may be ob- 
jected, there are Inſtances where tis en- 
graved with three; to which I anſwer, 
thoſe who have done ſo, ſought to be ex- 
peditious, and that if the Divenſity of Stuffs 
can be repreſented by Engraving, it makes 
the Piece more agreable, but then the La- 
bour is much greater, and more fatiguing. 
It ought to be obſerved,-that on all Occa- 
ſions, when there is a Neceſſity of croſſing 
the Strokes, the ſecond ſhould be finer 
than the firſt, and the third than the ſecond; 
becauſe it makes the Work more foft aud 
mellow, 


Stuffs 


24 Of EASRAVING 


Stuffs that have a Luſtre ought to be 
_ engraved with-ſtronger and ſtraiter Strokes 
than others; becauſe, . as they are com- 
monly of Silk, they produce flat and broken 
Folds, particularly if it is Sattin, which is 
tiff on Account of its Gum: Theſe being 
expreſſed by one or two Sttokes, according 
to the Lightneſs or Darkneſs of their Co- 
jours, ſnould have finer ones between 
them. 8. 2 

be and Plaſb 3 are nene in 1 ſums 
Manner, by fine Strokes between others, 
only with this Difference; the firſt Strokes 
ougght to be much ſtronger than for Stuffs, 
and the finer! ones between them, ſhould 
hold the ſame EPR to: them; as thoſe 
in Stuffs have; 716 | 

Metals, as Veſſels of Gold and Copper, 
or Armour of poliſh'd Steel, are to be en- 
graved in the ſame Manner, with fine 
Strokes between ſtrong ones; it is the Op- 
poſition of u o nen! chat r we 
3 : 


y 1 
For ARCHITECTURE. 


| eee ſhews us, that. the Strokes 
which form receding Objects, tend 

to the Point of View; if a Piece to be en- 

ks contain any entire Columns, it will 

be proper to repreſent them, as far as can 

* ; 


r 


poſſibly be done, by perpendicular 1 


in GENERAL, 25 
5 


becauſe in croſſing them according to their 


Roundneſs, thoſe Strokes which are near ; 


their Capitals, being oppoſed to thoſe which 
are near their Baſis, produce an Effect very 
diſagreeable to the Sight, unleſs they are 
ſuppoſed to be at a very great Diſtance, 


which renders the Objects almoſt parallel. 


X 
For LANDSKIPS. 


FFAH OSE, who practiſe Etching, may 
2 form the Out- lines by it, particular- 


ly of the Leaves of Trees; this is ſome- 

thing more expeditious than Engraving, 
and does as well, provided it be done with 
Diſcretion, and not too ſtrong, and that 


Care be taken in finiſhing it with the Gra- 


ver, that the Etching be not perceptible, 
becauſe it has not the Softneſs of Engraving; 
I think an Engraver cannot do better than 
conform himſelf to Augaſtin Caracci's Man- 


ner, who etched exceedingly well, but may 


finiſh higher, as Occaſion requires; Villa- 
mena alſo, and Jobn Sadalaer, etched verx 
well, as like wife Carnelius Cort, who did 


ſome Pieces from Mutian, which are very 


fine, and may ſerve as Guides to him. 


©, 8 


26 of Exoxavinc 


Fur the STAoAAN r Curs of the 
 +GRAVER. | 


N the 3 of Objects that 
1 are ſteep, the firſt Strokes ſhould be 
frequently interrupted and broken off; the 
ſecond ſtrait, cutting the others with acute 
Angles, and accompanied with ſome long 
Points. If Rocks are repreſented, the ſe- 
cond Strokes ſhould not form the Angles 
0 acute, as for other Things; becauſe 
Flints and Pebbles commonly ſhine more 
than other Matters. 


The Objects receding towards the Ho- x 


' +rizon ought to be touched very lightly, 
and charged with very little Shade, though 
the Maſs ſhould appear dark, as it may 
happen from ſome Shades, ſuppoſed to 
proceed from Clouds intercepting the Rays 
of the Sun; inaſmuch as thele Shades, 
however ſtrong they may appear, are al- 
ways faint, compared to thoſe which are 
on the Figures and other Bodies in the 
Fore-part of the Piece, on Account of the 
Diſtance and Air that intervenes between 
he. — 


in GENERAL. 27 


„LL Waters are either calm, ör agi- 
tated with Waves like the Sea; or 
by Caſcades and rapid Currents, like Rivers, 
Sc. 1 

As for the calm, they are repreſented by 
ſtrait Strokes, running parallel with the 
Horizon, with finer ones between them, 


which are to be omitted in ſome Places, to 


make that ſhining Reflection which pro- 


eds from the Water. By the ſame ſecond 


Strokes alſo, made more or leſs ſtrong, ac- 
cording as the Nature of Things requires; 
and ſometimes by perpendicular ones, the 
Forms of Objects, either reflected on the 


= Surface of the Water, or advanced at a 


Diſtance on its Banks, are repreſented: ob- 
= ſerving that they are to be repreſented 
ſtrongly or faintly, in Proportion as they 
approach to, or recede from the Fore-part 
of the Piece; and if Trees are to be repre- 
ſented, it ſhould be with Out- lines, parti- 
cularly if they are in the Fore-part of the 
Piece, and the Water clear, becauſe they 
are naturally ſo repreſented by the Reflec- 
tion of the e 7 = 
Thoſe which are agitated, as are the 
Waves of the Sea, are repreſented by 
Strokes, bending according to the Agita- 
RE. „ 


tion of the Water, with finer ones between 
gles. 


from Rocks or Precipices, are to be ex- 
preſſed by firſt Strokes, according to the 


e of the Fall, with finer ones be- 


ſo, as they oe the n of the 


turned about, according to their Form and 


certain Franſparency very proper for thoſe 


"bly with the Sky, muſt be formed by | 


leſs thick, and if it be neceſſary to uſe ſe- 


_ of ENGRAVING 


them, cutting them with very acute An- 


Laſtly, thoſe which fall with Rapidity 


them, leaving the Lights formed by MW 
* 64 .ight or Beams of the Sun, falling di- 
rectly on them, very bright, and the more 


Piece. 
For CLoups. 


HEN the Clouds appear thick and 
_ agitated, the Graver ought to be 


Agitation, and if they produce any dark 
Shades, which require double Strokes, the 
ſecond ſhould cut the firſt with more acute 
Angles than in Figures, becauſe it gives a 


Bodies, which are only Vapours; but then 
the firſt Strokes ought to be ſtronger than 
the ſecond. 

Flat Clcuds, loſing themſelves inſenſi- 


Strokes parallel with the Horizon, waved 
a little, according as they appear more or 


cond - 


mn GERENER APD. 29 
cond Strokes, they ſhould cut the firft 


with rather acuter Angles than in the for- 
mer, and the Extremities of them ſhould 


* be done with ſo light a Hand, as not 55 


form any Out- line. 
The calm, ſerene Sky ſhould be erpteſſedd 


by parallel Strokes, vor ſtrait, without 
any Winding. 


For preſerving an F QUALITY 4 
Harmony in the Worx. 


HE principal Objects of a Piece 
ſhould be wholly ſketched our, be- 
fore any Parts of them are finiſned; as for 
Example, if 'tis an hiſtorical Piece, con- 
taining Groupes of Figures, two or three 
of the principal ones ſhould be fo perfectly 
deſigned, that their Expreſſion mould be 
as viſible as if they were only intended for 
Sketches : For if the Engraver waits to pet- 
fect the Deſigning as he finiſhes them, he 


will frequently miſtake; and ſometimes not 


be able to recover himſelf, without defa- 


cing the whole, and beginning again, which 


many will not do, for Fear of ſpoiling the 
Neatneſs of their Engraving, in which they 


have exerted their utmoſt Abilities, think- 


ing the whole Merit of an Engraver conſiſts 


in that; which is the Reafon one ſees Abun- 


dance of Plates finely engraved, but'with- 
C out 


7 


30 EN GRAvINxG 


out Expreſſion. If any one objects to this, 
that it is then uſeleſs to engrave neatly; I 
anſwer, an Engraver ought, as far as he 
can, to join Correctneſs and Juſtneſs f 
Deſign, with Neatneſs of Engraving; but 


not neglect the former, and place his whole 


Merit in the enticing Allurements of the 
latter, which frequently render his Works 
inſipid and lifeleſs. On the contrary, I 
would not have him run into the other | 
Extreme, and make his Works faint, but. | 
would have them ſtrong and bold; for the- 
Force of. a Print does. not conſiſt in its 
Darkneſs, but in the juſt Degradations of. 
Light and Shade, which ought to be more 
or leſs ſtrong, according as they approach. 
to, or recede from the Sight. 

If we examine the Works of eminent 
Maſters, we ſhall find they are not dark, 
unleſs they are become ſo through Length. 
of Time; they have perfectly imitated 
Nature, which is not ſo, particularly in 
Fleſh, except in Night Pieces, where the 

Objects are repreſented enlightened by. Tor- 
ches or Lamps. 

Small Works require finer. Engraving - 
than large ones, and in croſſing, the 


Strokes ſhould form more acute Angles, | 


that the Engraving may not appear ſtiff "and. 2 
dry, notwithſtanding the Figures are ſmall. 
If the Work. requircs.to be highly finiſhed, 


ie 8 


in GENERAL, Zr 
it ought not for that Reaſon to be over la- 
boured, but engraved ſo artfully, as to ap- 
pear done with Eaſe and Expedition, al- 
though it has coſt great Labour and Pains: 
Large. Works;. I mean when the Figures: 
and Objects are large and bold, require 
ſtrong, firm, and bold Strokes, and con- 
tinued- as much as can be; that is to ſay, 
never broken off, but when the Muſcles or 
Folds abſolutely demand it: and the En- 
aver, as I have ſaid before,; in theſe, as 
well as ſmall Works, ought to endeavour: 
to perſuade the Spectator, that they were 
done with-Facility and little Labour. | 
If it is neceſſary to croſs the Strokes (as 
it often: is, particularly in the: Shades, to 
expreſs well the Force and Harmony of a 
Painting) they: ſhould be croſſed the con- 
trary Way. to that they were ſketched, and 
the Angles formed by the ſecond Strokes 
ſhould be more acute; this contributes 
much to the Neatneſs and Life of a Print. 
There ſhould never: be too much En- 
graving on the Lights, but they ſnould be 
= lightly paſſed over, and with few Strokes; 
I I mean they ſhould be unconfined, and 
| that the half Shadings, if the Engraver de- 
ſires to finiſh, to Perfection, ſhould be very 
bright; becauſe, . if they are very dark, 
they deſtroy and hinder the Effect intended 
by: them, as it will be difficult to find a 
| CG 4. | Dark 


32 Of ENGRAVING 


Darkneſs in the Shades ſufficient to give 
them Life and Roundneſs: and if the En- 
graving is from a Deſign taken from a 
Painting, the Lights and Shades ought: to 
be rather larger than in the Original; be- 
ceauſe, though i be finiſhed ever to highly, 
it is never ſo exactly done, as the Paint! 
ing; which for that Reaſon requires more 
Labour and Trouble, on Account of Ks 
Colours. | 

Some may perhaps ſay, tis picks x to 
imitate Colours by Engraving, becauſe we 
have only White and Black; when J ſpeak 
of imitating them, I do not pretend' to 
make a Diſtinction. between Blue and Green, 
Red and Yellbw, and the ſame of other 
Colours; but only to imitate their Maſſes, 
as Voſtermaus, Bolſwert, and ſome others 
have done in their Engravings from Ru- 
bens : and it is certain, that thoſe Works, 
in which this is done by an ingenious En- 
graver, will be much more agreeable, and 
produce a much better Effect. A good 
Engraver muſt therefore, as I have ſaid, be 
-a very ingenious Man, becauſe he will 
ſometimes meet. with. bright Colours, one 
| upon another, which produce no Effect, 
| but by their Difference, and cauſe what is 
| called a pierced Body; an Accident, which 
| ought to be carefully avoided, becauſe it 


— — — —— 
— — ani ts Rs OE 
N 


[ deſtroys the Intelligence of Light and 
| Shade. 
| 


in GENERAL. 33 
Shade. Care muſt alſo be taken not ts - 
ſpoil the principal Lights, by affecting to 
imitate Colours too much, and particularly 
of the Figures in the Fore-part of the 
Piece, becaule, this would prevent their ad- 
vancing, and entirely thwart the Painter's 
Intention. 

Burt as Etching, or Engraving with Apts 
Fortis, is at preſent ſo much in Vogue, I 
find myſelf obliged to tell you, it was never 
carried to ſuch Perfection, as at this Time. 
In this, a ſtrong Expreſſion of the Paſſions, 
a fine Underſtanding of Light and Shade, 
and beautiful Manner of Engraving, are 
equally conjoyned, when it comes from the 
Hand of an ingenious Artiſt, who is able 
to expreſs himſelf with equal Force and . 
Judgment in all the different Parts of his 
Profeſſion, I mean that Etching which 
cannot be fine without the Aid of the - 
Graver, which gives it all the Perfection 
that can be deſtred; and which the An- 
cients have not ſhewn in their Performances . 
of this Kind, becauſe they did not ſo well 
underſtand the various Graces proper for 
Painting and Engraving, as the Moderns. 
However, it will be neceſſary to ſpecify the 
Properties peculiar to this Art, to enable 
the Reader to judge of its Merit. By the 
Means of Aqua Fortis, all Subjects are 
carried even de Nature, it acts with 

C5: ſuch 


34 Of Encravinc) 

ſuch Quickneſs, that it equals the Expedl- 
tion of the Pencil, and enables an Artiſt, 

almoſt inſtantly, to exprels the Productions 
of his Genius with all its Vivacity and 
Force; fer which Reaſon, as *tis much 
more expeditivus than the Graver, and its. 
Manner eaſily known, we ſee many apply 
themſelves to Engraving with it, becauſe 
they can expreſs the Sprightlineſs of their. 
Fancy, with. more Freedom and Expe- 
dition than with the Graver. 

Having treated of the Art of Engraving 
in general, I think it will not be improper 
in this Place to endeavour to obviate ſome 
Prejudices, which. certain Criticks entertain MW 
with regard to it. bt 

The Firſt is, That *tis.eaſy to diſtinguiſh: 
thoſe Prints that have been engraved by. 
the Painters themſclves, or by other Pain- 
ters from their Works. | 

The Second, That an Engraver by Pro- 
feſſion can never acquire a Painter's Stile of 
Engraving; ſo that they pretend to be able 
to know by a Print, whether it was engra- 


ved by a Painter, or an, Engraver by Pro- 
feſſion. 


The Third. and. Laſt, That the modern 
Engravers cannot poſſibly expreſs the Works 
of the ancient Painters, fo well as thoſe 
have done, who were their Contempora- 
ries; bec.uſe, ſay they, every Engraver 

| engraves 


he: 
£23.2> 

5 
r 
"oat 


TW wy. — 


in GENERAL. * 
engraves according to the 2 of the 
Time he lives in, and therefore *tis impoſ- 
ſible for a modern Engraver to expreſs the 
Works of Raphael, in the ſame Manner as 
Mark Antonio, Auguſtin of Venice, Sylveſter + 
of Ravenna, .&c. have done; 

After having diligently. examined theſe 
three Opinions, and the Prints in Diſpute, 
it appears to me, that there is: more of. 


Prejudice than Reality in them. 


For Example, with regard to the firſi 
Opinion, J have found. there are ſome Prints 
engraved by Simon Cantarini from Guido and 
Louis Caracci, that are preferable to many 
that were inconteſtably engraved by, Guido- 
himſelf, And as theſe Gentlemen are at. 
Variance amongſt themſclves, ' concerning 
many, of- Guide's Prints, which. * ſome of 
them affirm were engraved by Guido him 
ſelf, and others, by: other Hands; I think 
this Diverſity, of Sentiments ſufficiently» 
proves, that their Opinion deſerves : to be 
very little relied on. 

In Oppoſition to the ſecond Opinion, 3 
That an Engraver by Profeſſion can never ac- 
quire a Painters Stile of Engraving : There are 
many Pieces engraved by Gerard Audran, . 


* Amongſt others, a Print from Louis Carazct, 
engraved by Sime Cantarini, repreſenting a Man 
poſſeſſed by an evil Spirit, which moſt of theſe Critics - 
believe was engraved by GA Lipuclt, 


6 . whithy 


36 07 ENGRAVING 
which, I am perſuaded, if theſe Gentlemen 
had ſeen withour knowing they were done 
by him, they would rather have thought 
them the Productions of a Painter than an 
Engraver; for they are touched with fo 
much Life and Judgment, that I much 
queſtion whether any Painter could have 
exceeded them. To be convinced of this, 
they need only look on the Judges in the 
Print of the Martyrdom of St. Laurence, 
from Le Seur; on the Pyrrhus faved, from 
Pouſſm ; the Rape of J. 25 from the ſame; 
on the Paſſage of the Red Sea, from Ver- 
ec, true it may be objected, 
that the Figures in the Fore- part of theſe 
Prints have a Boldneſs and Strength of En- 
graving, which you do not find in any 
Biere engraved by Painters; but this is a 
Perfection their Works have not, and no 
Way invalidates my Opinion: which is, 
that theſe Prints have as much Life and 
Force, and even more than are to be found 
in many Prints engraved. by Fainters them- 
ſelves. 

To remove this Prejuilite, the fans 
Bernard Picart choſe ſeveral Deſigns which 
Had never been engraved; and having pri- 
vately engraved them, and printed ſome 
Copies on dirty Paper, he diſperſed them 
under-hand, and had the Satisfaction to 
find, that not one of theſe Criticks ever 


ſuſpected 


in GENERAL. 389 


ſuſpected they were not Prints, which had 
been engraved and printed in [zaly., One 
of theſe Pieces was from Poyſſin, and only 
ſketched out, as if with a Pen, which 
many People took for a Deſign; another 
was a ſmall Holy Virgin, in an Oval, from 
Carlo Maratti, which had been engraved 
before at Paris, almoſt as large as the Life, 
by his Father Stephen Picart. Thoſe, who 
had never ſeen the large Print, thought 
the ſmall one the Work of one of Guido's 
Diſciples, from Guide; and thoſe, who 
had ſeen it, took the ſmall one for an Ori- 
ginal, engraved by Carlo Maratti himſelf, 
There was alſo a Print of Rebecca, which 
they did him the Honour to attribute, both 
for the Invention and Engraving, to Carlo 
Maratti. Three other Prints, the one a 
Jeſuit; another, a St. Ferom; and the 
third, a Holy Virgin on the Clouds: Some 
thought were done by Guido himſelf, and 
others, by ſome of his Diſciple. 
With regard to the third Opinion, 

| That the modern Engravers cannot attain the 
Stiles of the ancient Painters, becauſe they 
live in another Age, and every Age has, as 
they pretend, a peculiar Manner; Theſe 
Gentlemen do not obſerve, that they con- 
found the Manner of Engraving, they -are 
uſed to ſee, in theſe old Prints, with the 
Stile of the Painter; ſo that when they ſee 
a Print 


38 CEN GRAVING 


a. Print of one of Rapbael's Compoſitions, 
with all the Out-lines:traced with an equal 
black Stroke, and with a ine and faint En- 
graving, without Degradation of Light and 
Sade, or Roundneſs of the Figures, as all 
the Engravings of that Lime are; they ap- 
prove of it, as if it was Raphaels Manner, 
which is abſolutely falſe. Thoſe, who: have 
it in their Power, have nothing to do, but 
compare Mark Antonios, or any other En- 
graver's Prints of that Age, with the ori- 
ginal Deſigns, as I have done, with re- 
gard to many of them; and they will ſees. 
that they. have been far from imitating them 
exactly. They have even taken the Liber“ 
ty to make Grounds to ſome. Deſigns that 
had none, and finiſh ſome Parts, that were 
but lightly touched, according to their own - 
Fancy. I do not deſign to diminiſh the 
Eſteem, that is due to the Merit of thoſe 
Prints, , but value them as much as any 
Body, and. eſteem thoſe who engraved : 
them, on two Accounts; firſt, becauſe 
they have preſerved us many fine. Works, 
the Originals of which are either loſt, or 
cannot be ſeen by every Body; and ſe- 
condly, becauſe we ought. to regard them 
as the Inventors of Engraving ; and there- 
fare ought. to admire, that they were able 
to. carry the Art to ſuch Perfection as they 
did, particularly Mark An, and thoſe 
v ho. 


= 


1 5 


n. GENERAL. 393 
who are called les petits. Maitres, whom 


we ought to uſe with great Indulgence. 
It would be ridiculous to expect from 


the Inventors of: any Art, all the Perfec- 
tion it acquires in a Series of Years ;. and 


it. is- no leſs; ridiculous, in admiring their 
Works, to ſhut our. Eyes againſt the Diſ- 
coveries that have been made ſince. their: 
Time.. I think it very reaſonable, that 
their Prints ſhould. bear a better: Price than 
the fine modern. ones, not beeaule they. 
are better, but becauſe they are very 


ſcarce, there being but. few good Copies of 
them extant; but am perſuaded, if one of 


the fine modern Prints was as rare, and 
as ancient as thoſe of the firſt Maſters, it 
not only would, but ought to bear a bet- 


ter. Price than they. do. For Example, 


the ancient Print of Raphacts Holy Family, 
taken from a Painting in the French King's 
Cabinet, is, in my Opinion, infinitely in- 
ferior to that engraved by Mr. Edelink ; 
and yet there are Virtuoſi, who have the 
ancient one, and diſdain to look on Mr. 
Edelink's, out of, meer Obſtinacy, becauſe - 
they will eſteem nothing but what is ancient. 
and ſcarce. D 

Gentlemen, who know the intrinſick 
Value of Works, can hardly. conceive 
that Prejudice can go ſo far; and indeed 
the Dealers in Prints themſelves are to be 
| chiefly 


89 


40 Of ENGRAVING 


chiefly blamed for it, for as very few Lo- 
vers of Prints are competent Judges of 
them, and therefore rely on what they 
ſay, they out of a mercenary View inſpire 
them with a Contempt for modern Prints, 
. becauſe they are eafily to be had, and are 
continually filling their Ears with the Me- 
rit of thoſe Pieces, which are very rare, 
and conſequently not always to be pur- 
chaſed. Mr. Picart gives us an Inſtance 
of this, which I will relate in . his own 
Words: One Peſne, an excellent Defigner 
on Paper, but very indifferent Engraver, 
engraved the ſeven Sacraments of Pouſſin, 
each on two Plates. Aiter a certain 


Number of them had been work*d off, 


and diſperſed in the World, Gerard Au- 
dran, having bought the Plates, with 
Peſne's Deſigns of them, retouched, and 
mended them from the ſaid Deſigns, and 


made them incomparably better than they 


were before. Gerard Audran's Merit is 
ſo well known, that it needs no Re- 
commendation -; nevertheleſs, a Dealer 
in Prints (at Paris) had the Aſſurance one 
Day, offering to ſell me one of the firſt 
Copies, to ſay; Theſe are fine, theſe are 
not thoſe that were retouched by Audran. 
And thus it is theſe mercenary Wretches 
prepoſſeſs the Minds of young Gentle- 
men, who by frequenting the qa ep 

0 


LV 
EW 


in GENERAL. 41 
of others, who have been imbued with 
the ſame Prejudices, are ſo confirmed in 
them, that they are not afterwards to be 
undeceived, even though a more equita- 
ble Connoiſſeur ſnould undertake to do it; 
becauſe they think it a Sort of Shame to 
abandon an Opinion, which they have for 


many Years believed true, and defended.” 


But this is no; new Prejudice, we find, 
as I have remarked in the Life of Henry 
Colizius, there were ſome Criticks in his 
Time, who laboured: under it, and were 
not leſs. mortified, -when they found them- 
ſelves impoſed on, by that great Maſter's 
Imitation of the Stiles of Albert Durer, Lu- 
cas of Leyden, &c. than thoſe were, whom 
Bernard Picart deceived in the following 
Manner, which.T will alfo give you in his 
own Words : To undeceive ſome who 


were prepoſſeſſed with an Opinion, that the 


modern Engravers could not repreſent the 
Works of Raphael ſo well as thoſe did, 
who were his Contemporaries, I was ob- 
liged to engrave ſome Prints, which had 


been engraved before by ſome of the an- 


cient Maſters, as by Mark Antonio, or 
ſome other; but the Difficulty was to 
find the Originals, from whence they had 
engraved them: At laſt, by Accident, I 
had the good Fortune to meet with two 
of them, and after having examined and 
compared 


48 Of ENGRAVING 
compared them with the Prints; which 
had. been: formerly. made from them, 1 
found ſo great a Difference- between them; 
that I. did not think myſelf, incapable of 
ſucceeding better,.. and accordingly re-en- 
graved them, to ſee if I could not ap- 
proach. nearer. the original Deſigns, than 

my Predeceſſors had done.“! 
The Firſt was a Venus, . who touches one 
of Cupid's Arrows, and ſpews,, that: ſhe feels 
the Effects of the Touch at: ber Heart: This 
I engraved exactly like the Deſign, . with- 
out Ground, orany Addition. 
The Second was a Bacchanal, which had 
been formerly engraved by Auguſtin of Ve- 
nice. The Deſign; from whence. I did it, 
is certainly, the ſame from which Auguſtin 
of Venice engraved it ;. the Strokes are the 
ſame, the Size the ſame, and one ſees that 
the Out- lines of the Figures are exactly the 
ſame, but the Muſcles within are quite 
different. The. Satyrs, have Crowns of 
Ivy on their Heads, which, in the old 
Print, are like Cuttings. or Slips; the an- 
cient Engraver has made ſinall white Leaves, 
all of the ſame Form, ranged on.a Ground 
equally dar; whereas, in the Deſign, 
they, are Leaves careleſy diſpoſed, Which 
form a Maſs of Light, on a Light. There 
is a Child, the back Part of whoſe. Head 
you ſee, the Hair of which — - 
ron: 


n GENERAL. 43 
fon Hoeols ranged round it. The Hair of 
the Head, Skin and Beard, are all extreme- 
ly ſtiff, and equally black, which are not ſo 
in the Deſign, where the Maſſes of Light 
and Shade are obſerved.. Eor Example, 
the Belly of Silenus, in the old Print, has 

= MYrinkles as dark. as poſlible, and between. 
his Paps are three or four Things that 
= look like Laces to tie them together, 
which one knows not what. to make of.. 

Laſtly, if any one will give himſelf the 
Trouble to. examine the whole, Part by; 

= Part, he will, find there is not one of them 
exact. Nay, even without having the 
= Original; before him, he need only. have a. 
zjuſt Idea of the Conſtruction of the human 
HBoh, to judge, that Rupbael could never 
have acquired the Reputation he juſtly has, 

if his Works were like thoſe ancient Prints; 

becauſe he would have been inferior to 

many Painters, who are much inferior to 

him. I cannot then comprehend, how. 

theſe Gentlemen will, perſuade us this is- 

5 the true Stile of. Raphael; and that it is. 
.n impoſſible to engrave his Works at preſent, 
as the. ancient Engravers did, For, ſup- 


D : poſing a. modern Engraver. is a Maſter of 
dhe Art of. Engraving, and can give Fi- 
: BY gures Kcundneſs, and the Degradations of 


Light and Shade ; why cannot he expreſs a. 
Ficture, or. Deſign, where. all theſe are ob- 
* ſer ved, 


44 Of ENnGRAvING 
ſerved, I do not ſay as well, but better 


than the ancient Engravers, who had nei- 
ther that Freedom of Hand, which the 
good modern ones have, nor underſtood 
how to give Figures  Roundveſs, or the 


Degradations of Light. and Shade? Thoſe. BB 


Engravers might poſſibly underſtand, De- 
Signing on Paper very well; but admitting 
that, it is ſtill certain, they had not Free- 
dom of Hand enough to trace with the 
Graver what they would on Copper; and 
that nothing hinders the modern Engravers 
from being as good Mafters of De/ign as 
they were. And "tis to no Purpoſe to al- 
ledge, that all Ages do not produce great 
Genius's ;, for it does not require a ſuperior 
Genius, as it does to compoſe, or produce 
Things of their own Invention: Every 
Body knows, that all Ages have produced 
very good Copiers; and that is all is re- 
quiſite in the preſent Caſe. 

But theſe Gentlemen's ce dees do 
not only extend to the Prints from Ra- 
pael's Works; they pretend alfo to draw 
Conſequences from Wend for thoſe from 
Rubens. It cannot be denied, but that 
they are in this Reſpect, in Part, much 
more in the Right; for the Prints of 
Bolſwert, Voſtermans, Pontius, and Soutman, 
are ſo well engraved, and have ſo much 
of the Painter's Stile in them, that I do 

: | not 


n GENERAL. 45 


not think they can be exceeded; and in 
this, Rubens has been more happy than 
Raphael. But there are many other Prints 
engraved from the Works of Rubens by 
other Engravers of that Age, which are 
very ill done, and which theſe Gentlemen 
hunt after, whilſt they deſpiſe others en- 
graved by Maſters of this Age, though in- 
| finitely more in the Stile of Rubens. In 
this they are to blame; for, I believe, there 
are Engravers now living, who can copy 
his Works as well as the beſt of his Time, 
and much better than the others. 

The Reaſons I have here aſſigned, I 
think ſufficient to convince thoſe, who are 
deſirous to be undeceived; but if not, I 
ſhall not deſiſt from my Opinion; being 
perſuaded it proceeds more from my In- 
capacity to eſtabliſh it, than from the Fal- 
ſity of my Maxims, which I leave to ſome 
other more ingenious Artiſt to juſtify. 


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ART of ENGRAVING 


WIT H 
AQUA FORTIS! 
e e K K KK . NE K N NN K EN E EME N EKM 


8 4. - * 


Jo make the bard Varniſh for engraving with 
f Aqua. Fortis. 


AKE five Ounces of Greek 
1 Pitch, or (for Want of that) Bur- 

= gundy Pitch, five Ounces of Ro- 

{in of Tyre, or Colofonium, or (for Want of 
that) ordinary Roſin.: Melt them together 
over a gentle Fire in a very clean new 
earthen Pot, well varniſned, or leaded. 
ITheſe two Things being firſt melt- 
ad, and well mixt together, put into them 
four Ounces of the beſt Nut Oil; mix 
- ; them 


48 The ART of ENGRAVING 


them well gre over the ſame Fire 
for a full half Hour, and let them 
boil well; then let this Mixture cool a lit. 
tle over a gentle Fire; and afterwards, 

touching it with the End of your. Finger, 
it will rope (if it be boiled enough) like a 

glewy Syrup. Then take the Pot from 
the Fire, and (the Varniſh being a little 
more cooled) ſtrain it though a fine Lin- 
nen Cloth, or TFaffata, into a well var- 
niſhed earthen Pot; or elſe put it into a 
thick Glaſs Bottle, or any other Thing that 
will not drink it up, and ſtop it well. Var. 
niſh thus made will laſt twenty Years, and 
it will be the better the longer it. is kept. 


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To nol the Compoſition of Tallow and Oi, 
to cover thoſe Places in the Plate, whert 
vou would not have the Aqua Fortis 19 
| car =” | 


AKE a wall lazed earthen Pip- 

kin, that will hold about a Pint, 

por into it half a Pound of hard 
Tallow, a Wine Glaſs of Olive Oil, toge- 
ther with a Spoonful of Lamp Black, ſet 
it on the Fire, and, as the Tallow diſtolves ” 
keep ſtirring it with a ſmall Stick, that the 
Lamp Black and Oil may the better incor- i 
porate ; 


with AQUA FORTIS. 49 
porate; let it boil the Space of ten or 
twelve Minutes; then take a Pencil and 
W dip it in, and let a Drop or two fall on 
a Plate, or any cold hard Thing; and if 
| the Drops be a little hardened and firm, it 
ſheweth that the Mixture is well made. 
If it is too liquid, *tis becauſe there is too 
much Oil; and then you muſt put in more 
Tallow; ank for the ſame Reaſon, if too 


hard, you muſt put in more Oil. 


The Reaſon why you melt the Oil and 
the Tallow together, is to make the Tal- 
low more liquid, and not cool too faſt: 
For ſhould you melt the Tallow alone, 
you ſhall no ſooner take it up with the 
Point of your Pencil to carry it to the 


Place where you would uſe it, but it will 
grow cold. 


Put in a greater Quantity of Oil i in Win- 
ter, than! in Summer 


8 E C ; es {6 1 
” 
To prepare the ngredients for making the 
Aqua Fortis for the hard Varmjp. 


of HE Aqua Fortis is made of Vinegar, 


Salt Armoniack, Bay-Salt, and Vert 
de Griz. 


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co The ART of ENGRAVING 


The Vinegar muſt be of the beſt 
Sort of White wine; but if diſtilled, it 
is the bettgx7 and not ſo ſubject to break 
up the Varniſh. 

The Salt Armoniack muſt be clear, 
tranſparent, white, pure, and clean. 

© ne Bay- Salt muſt be alſo pure and 
Can. 

The Vert de Griz maſt be Sloan, and 
free from any Scrapings of Braſs. 


The Salt Armoniack, and Vert de Griz, 


are commonly fold at the Druggiſts. 
S E 
To make the Aqua Fortis. 


A K E three Pints of Vinegar, fix 

Ounces of Salt Armoniack, ſix 
*** of Bay-Salt, and four Ounces of 
Vert de Griz ; or of each according to this 
Proportion, as you will make your Quan- 
tity more or leſs; put them all. together in 
an earthen Pot. wel] varniſhed, large e- 
nough, that it may not boil over: Cover 
the Pot, and ſet it over a quick Fire, and 
let it boil up two or three Times, 
and no more: When you perceive it 
ready to boil, and not before, un- 
cover the Pot, and ſtir it with a little Stick 


ſemetimes. and take heed that it do not 
boil 


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with AQUA Fox T Is. pr 
boil over: Having let it boil up two or 
three Times, take the Pot from off the 
Fire, and let it cool; but keep the Pot 
covered, and when it is cold, pour it into 


a Glaſs Bottle, and let it ſtand ſtopped a 
Day or two before you uſe it; and if you 


ſhall find it too ſtrong in the Etching, 


pour into it a Glaſs or two of the ſame 


Vinegar you made it of. 
S ET 
To know good Copper from bid. 


Fortis; becauſe Braſs is too brittle. That 


OPPER is better for graving than 
Braſs, either with a Graver, or Agua 


Copper is beſt, which is free from Flaws, 


and not too hard, which you may per- 


ceive by its yellowiſh Colour, almoſt like 
Braſs; and if it be too ſoft, you may eaſily 


perceive it by its too great Pliableneſs'in 
Bending. When you make uſe of it, you, 
will perceive (in that which is good) a 

frm, yet eaſy Force in the Entring of 


your Graver, on the Backſide of your 


Platez and that Copper which is beſt for 


graving, is alſo beſt for etching. + ©? 
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deſire to engrave, ſhould forge and poliſh 
in divers Places they cannot conveniently 


fit to ſet down the Manner how they may 


choice of the ſmootheſt Side for * e 


52 The ART of ENGRAVING 


.} 


SEC T. .. 
To planiſh out poliſh the Plate. 


ERE in England you muſt buy 

your Copper ready forged from the 
Braſiers. If in London, there are People 
who term themſelves Copperſmiths, and 
prepare the Plates for immediate Uſe, 
either large or ſmall, at a fix'd Price per 
Pound. 
It is not neceſſary, that they, who 


their Copper Plates themſelves ; but becauſe. 
be had ready poliſhed, I have thought 


be done. 

Thoſe Plates, which you intend to forge 
and planiſh, muſt be full as thick as an 
Half-Crown, becauſe in their forging and 
planiſhing they will become ſomewhat thin- 
ner. You mult planiſh your Copper cold, 
as the Silverſmiths do their Plate: And the 
more it is "beaten, or planiſhed with a 
Hammer, the firmer it is, and leſs ſubject 
to Holes or Flaws. 

Your Plate being well planiſhed, make 


Before you begin to Poliſh 1 it, fix it upon 
a Board; 


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with ACA FORTIS. 353 


a Board; and when you poliſh N. Jedoalts 


Board (to which the Plate 1s fixed) ſand 
a little ſloping. 

To poliſh your Plate, take a Piece of a 
Grinding-ſtone about the Bigneſs of your 
Fiſt, and fair Water; rub it firm, 
and even all over; and in your Rubbing 


doing, till you cannot perceive any Dents, 
Flaws, or Marks of the Hammer: 
Then waſh it clean with Water. After- 
wards take a good Pumice-Stone, and ſome 
Water, and rub the Plate with it till there 
appears none of the rough Strokes, or 
Marks of the Stone : Then waſh it clean 
with Water, as you did before. 

Again, do the ſame Thing with a fine 
ſmooth Hone and Water, till all the Marks 
or the Pumice-Stone are quite rubbed out: 
This done, waſh it clean with fair Water. 

Then chooſe out a ſmooth Charcoal, 
without any Knots, or rough Grain, and 
put it in a well-kindled Fire: Let it be 
there, till you perceive it red hot; 
then take it out of the Fire, and 
quench it in- Water ; then take it out, 
and pare off the outermoſt Rind, and 
rub your Plate with it, and Water, till all 
the ſmall Strokes of the Hone are rubbed 
out. If the Coal be bad, it will only 
flide upon the: Plate, and not rub out the 

D 3 Strokes. 


54 The ART of ENGRAVING 
Strokes. This done, dry the Plate; then 
it is requiſite to have it burniſhed over, 
which Operation is performed by an 
Inſtrument made of well-harden'd po- 
lihed Steel, ſomewhat roundiſh, termed a 
Burniſher, with which you rub Plate 
over, (firſt dropping on it ſome Drops 
of Olive Oil,) whereby the Pores of 
the Copper are the better cloſed, and the 
Scratches of the Charcoal (as there always 
will remain ſome few) effaced. | 
After the Plate is burniſhed, take a 
clean Linnen Rag, and rub off the Oil; 
then take fine Powder of Chalk, and lay it 
on the Plate, and with a der Piece of 
tine clean Linnen Rag rub it over the 
Plate, then bruſh off the Chalk, and with 
| a thira clean Rag rub the Plate oyer again, 
and likewiſe round the Edges, taking Care 
there be not the leaſt Appearance of Oil, 
or Chalk, left: which being done, take a 
ſmall Piece of Paper, double it in four, as 
large as the Chops of your Hand- 
vice; the Uſe of it being to prevent 
'the Teeth of the Hand-vice marking the 
Copper; put the Paper on the Edge of 
your Plate, as much above it as below; 
then apply your Hand- vice, and take Care 
to'{krew it faſt, that the Plate may not flip; 
this done, your Plate is fitly prepared to 

lay on your Varniſh. 
SEC f. 


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SECT. VII. 


To —_ the hard: V arniſh on the Plate, and 
7 mate it black. a 


AK E your Plate thus ene 
and lay it on a Chafing-Diſh with 


-A Tickle clear Charcoal Fire in it, and when 
it is indifferently hot, take it away, and 


take up ſome of the Varniſh with a little 
Stick, and put a Drop of it on the Top of 
one of your Fingers; then lightly touch 
the Plate with the Top of your Finger in 


ſeveral Places at equal Diſtances; as the 
uppermoſt: Figure in the Plate, marked 
with the Letter O, ſhews you; and lay 
no more on one Plice than on another. 


And if your Plate grow cold, heat it again 
as before, carefully keeping it from Duſt or 


Filth. This done (having well wiped the 
Hleſhy Part of the Palm of your Hand) 
tap it upon the Plate, till all the little Spots 
of Varniſh are equally ſpread. * me 


Plate. 


After this rapping; wipe or ſlide your 
Hand upon the Varniſh, to make it more 
ſmooth and equal; take great Care that 
there be not too much Varniſh upon the 


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56 The ART of ENGRAVING 
Plate, and that your Hand be not ſweaty; 
becauſe the Sweat mixing with the Var- 
niſh, will cauſe little Bubbles, when it is 
applied to the Fire, which will become 
little Holes in the Varniſh. 

Your Varniſh being thus ſmoothed upon 
the Plate, the Way to black it is this. 
Take a great Tallow-candle lighted, that 
burns clear; Jet it have but a ſhort 
Snuff; then place your Plate againſt” the 
Wall, (firſt driving two ſhort Nails for it 
to reſt on,) with the varniſhed Side down- 
ward, as the lower Figure in the Plate 
repreſents it. Take heed that your 
Fingers do not touch the Varniſh ; then 
take your Candle, and apply the F lame to 
the Varniſh, as cloſe as you can without 
touching the Varniſh with the Snuff of the 
Candle ; guide the Flame all over, till you 
fee it perfectly black; then keep it from 
- Duſt or Filth till it be dried; by ſetting 
it on the Ground, the Hand-vice upper- 
moſt, bearing againſt the Wall, the Bot- 
tom of the Plate four or five Inches from 
it, and the varniſhed Side innermoſt. | 


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SECT: vii. 


To 1 and harden the Parni hs a. the 
Plate. . | 


> Indle a Fire! in a Chimney With fack 
Charcoal as is not ſubject to ſparkle, 


and when it is well Kindled, range it in 
a Square, ſomewhat larger than your Plate, 


as the Letter P ſhews you. Before you 


place your Plate to be dried, hang up a Cloth 


in the Chimney to prevent any Soot or Filth 
from falling down upon it, as you may ſee by 
the Letters BC D. Then take your Plate 
and place it in the middle of the Range 


upon two low Andirons, as the Letter O 


directs : This done, - you wilt ſoon perceive. 
the Varniſh to ſmoke ; and when you per- 
ceive the Smoke begins to abate, then take 
the Plate from off the Atidirons, and with 
a Stick (pointed) ſcratch near che Side of 
your Plate; and if i eaſily takes off the 


Varniſh, you muſt lay it again upon 
the * for a little Time; take 


it off, and touch if again with your pointed 


Stiele and if the Varniſh comes not off 


eaſily, then take it from the TOY, and 


let it cool. 
Fs v 


; | | R 2 5 

58 The ART of ENGRAvING 
If the Varniſh do much reſiſt the Point 
of the Stick, then preſently throw on fome 
cold Water on the Backſide of the Plate, 
to cool it, that the Heat of the Plate 


may not cauſe the Varniſh to be too hard 
and brittle. 


If your Plate be not very large, a Cha- 
fing-Diſh, with clear Charcoal in it, will 
ſerve to harden your Varniſh, taking care 
to keep your Room free from any "Duſt, 
and wrap a Cloth or Paper round your 
Hand- vice to prevent the Heat coming to 
your Hand: But if your Plate ſhould” be 
large, the former Manner is beſt, putting 
another Hand- vice at the oppoſite End; 

ire having one to help you. 


SECT. IX. 


70 chooſe tbe Needles, wherewith to make the 
ITuools to etch with, Plate 3: 


- 


AHooſe ſome broken Needles of ſeve- 
A 4 ral Sizes and Bigneſs, ſuch as break 
neat without bending, and of a fine Grain. 
Then take round Sticks of a good firm 
Wood, not apt to Hs of the Length of 
boot, little leſs, of the 
"Thickneſs of a 8860 large Quill: At the 
Ends of which Sticks fix in your Needles, 
Jo that they ſtand out of the Sticks about 
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— 2 ⅛ 5ö— — 


— 
—— Nos 


with Aqua FoRT1s. 59 


as much as you ſee in the following Fi- 
gure; or ſtick your Needles in Pieces of 
Cane of that Length, taking care to put 
them in the Centre, and leaving, about. half. 
an Inch out. 


SE CF: 3 
To whet the Points of the Needles. 


\HERE are two Ways of when: 
your Needles, the one round, the- 
other ſloping. | 

You muſt have an Oil-ſtone with a fine 
Grain, to whet your Needles upon: 
Thoſe you would, have to be round, you 
muſt whet their Points ſhort, by rubbing 
them on the Edge of your Oil-ſtone, from 
one End of the Hone to the other, 
turning them continually round, as the 
Figure ſhews you. The other, which 
you intend to make ſloping, firſt make - 
blunt, then holding it firm and ſteady, 
whet it lloping upon one Side only, till it 
come to a' ſhort roundiſh Oval; for thy 
long Oval is not ſo good to work with. 
You will need a ſoft Bruſh-pencil to wipe 
off the Varniſh, which the Strokes of 
your Needle raiſe up in working, as is re- 
preſented "7 the Letter A. 


D 6. SECT. 


60 The ART of ENOGRA INC 


SEA ONE: 
To preſerve the Varniſh upon the Plate. 
* UR Plate being varniſhed, place 
it on a large ſquare Board, and raiſe up 
the End from you, fo that it may form 
a Deſk, but take care not to raiſe it too 
high, leſt your Plate ſlide down; ſome 
| — to lay the Plate flat on a Table 
Lay a. Sheet of clean Cartridge Paper 
under your Plate, and when you work, 
put upon it a clean Silk or Linnen Hand- 
kerchief, or a large Piece of clean Waſh- 
leather, to reſt your Hand upon, to keep it 
from the Varniſh. 

When you have Occaſion_ to uſe your 
Ruler, to draw ſtraight Lines, take two 
Pieces of elcan Writing Paper, folded ſe- 
veral Times double, about ſix Inches long, 
and half an Inch in Breadth; lay theſe on 
your Plate, one at each End, of the Length 
of, the I ines you intend to draw; then 
place your Ruler on theſe Pieces of Paper, 
and take care that the Inſide of the Ruler 
does not touch the Varniſh; if it ſhould, 
make your Pieces of Paper thicker, 
to prevent your Ruler's damaging the 
Varniſh, and take care to keep your * free 

rom 


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3 F 
with Aq A FORTIS. 61 
from Filth or Duſt, by . it now and 
then with a Feather. — 


s ECT. Xl. | 
"Xo etch. 


N n you will be. Occaſi on te 
1 make divers Sorts of Lines or Hatches, 
ſome bigger, ſome ſmaller, ſome ſtraight, 
ſome crooked. To make theſe, you muſt 
uſe ſeveral Sorts of Needles, bigger or 
ſmaller, as the Work requires. The great 
Lines are made theſe three ſeveral Ways. 

1. By leaning harder on the Needle, the 
Point being ſhort and thick, makes a large 
Paſſage; but the Point being round, n 
not cut the Varniſh. clear. 

2. By making divers Lines or Hatches, | 
very cloſe one to another, and then by 
paſſing them over again with a thicker 
Needle; but this Way is both tedious, 
and difficult. | gs 

3. By making the Lines with- an iadif. 
ferent big Needle, and letting the Aqua: 
Fortis lie the longer on it. Thoſe Nee- 
dles, which you. whet floping with an 
Oval, are the beſt to make the large Lines. 
with, becauſe with their Sides, they cut 
what the round Points cannot. Pl. 4. 


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62 The ART of ENGRAVING 


S E C N i. | 

To guide the N eedle on the Plate. 
O U may perceive from what is ſaid, 
that thoſe Points which you intend to 


make uſe of, for graving with Aqua Fortis, 
ought to be whetted exact! y round, that they 


may turn - more freely upon the Plate, 


Some of thoſe round Points muſt be whetted 


very ſharp, that they may cut the Varniſh 


and Copper eaſily. It you find that 
your Point cuts not freely and ſmoothly, 
*tis becauſe it is not whetted exactly round, 
If you have Occaſion to make your 
Lines or Hatches of an equal Bigneſs from 


one End to the other, whether they be 


ſtraight or crooked, as thoſe two Lines in 


the Letters A B repreſent, you muſt, as 


Reaſon will tell you, lean on your Point 
with an equal Force from one End to the 
other. | 

If you would make your Strokes thicker 
at one End than at the other, as the ſe- 


- cond Letters AB ſhew you, then you 


muſt lean on your Point, with your Hand 
harder at the Beginning, and by Degrees 
_ and e towards the End. 


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with AQUA FORTIS. 63 


If you would have your Strokes to be 
ſuch as are repreſented in the third Figure, 
| marked alſo a b, that is to ſay, larger in 
the Middle than at either End; you muſt 
lean gently at the Beginning, and then 
by Degrees harder and harder, till you 
come to the Middle, and then again 
| lighter and lighter till you come to the 

End. 3 | : 
| Theſe three Sorts of Lines or Hatches, 
may indifferently ſerve for all manner of 
| hatching your Shadows, in any Deſign 
| whatſoever, as appears in the Figures, 
MN, OP, QGR, TE V; wherein is 
| manifeſt, that Shadowing is only a Rei- 
teration of the fame Strokes cloſe to one 
another. : 

If you deſire that your etching with 
Aqua Fortis ſhould look as like graving 
| as may be, you muſt lean hard upon your 
Needle in thoſe Places where you would 
have the Lines appear deep and large ; that 
is, ſo hard, that the Needle may make 
ſome Impreſſion in the Copper. And for 
the ſame Reaſon you are to lean very 
light on thoſe Places, which you would have 

appear faint and ſmall. „ 
If it happens that you have made ſome 
Lines, or Hatches too ſmall, and are de- 
firous to inlarge your Stroke, you muſt 
| paſs it over again with a round ſhort Point, 
| of . 


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64 The ART of ENGRAVING 
of ſuch, a Thickneſs as you deſire your 


Line ſhonld be of; and lean ſtrong and 
firm. on thoſe Parts of the Line, which 
you would have large and deep. 

If at any Time, by Reaſon of the large 
Lines or Hatches, which you were to 
make, you have uſed an oval Point (which 


is the beſt to cut the Varniſh): you mult af. 


terwards, with one of. your large Needles 


whetted ſhort and round, paſs in the midf 


of the ſaid Strokes firmly and ſtrongly, but 
eſpecially in thoſe r which zu would 
have large and deep.. 


SECT MT 


To ufe the Oval Points, to make large Strokes 
in etching or graving with Aqua F ortis 
Plate 53. 


* O U may ſee in the Figure A. BCD 


the Form of. thoſe oval Points, that 

Part next to C deſcribes the End of them, 
and B.D their Sides, They are held, much 
as you hold a Pen,. only.the flat Side whetted 
is uſually held towards the Thumb, as is re- 
e in Figure iii. Not but that it 
y be uſed otherwiſe, with the Face of 
the Oval turned towards the middle Finger, 
as is ſhewn in Figure iv. But 1 have 
found 


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with AMA FoRT Ts. 65 
ound the other Manner to be much better, 
becauſe you may that Way inforce your 
Strokes with more Strength and Firmneſs. 

To ſnew you how to make your 

Strokes large and deep, and that theſe oval 

Points are the moſt proper for it, take 

Notice of the two upper, firſt and ſecond 

Figures, which are purpoſely made the 
larger, that you may the better apprehend 

what ſhall be hereafter ſpoken of them. Lour 
| own Reaſon will tell you, that if you lean. 

lightly in making your Strokes, thoſe 

Strokes will accordingly be leſs deep, ſmall- 
| er, and more faint; for the harder you P; 
lean, the deeper and larger your Strokes 
will be. Of this you have an Example in 
the third Figure marked n; where 
leaning lightly at the Beginning, viz. r, 
and then harder by Degrees to , and af- 
terwards lighter 25 Degrees to s, you 
make your Stroke bigger or ſmaller ac- 
coraing to your leaning on it, as you find 
repreſented in the ſaid third Figure. 

But if you would have your Strokes 
come very ſmall and delicate at the End, 
then with the Point of your ſmall Needle 
lengthen out your Stroke, as you find it 


repreſented in the two Strokes oy the fifth 
Figure. 


Some 


. . IE te Et PE SC ICS 
oy 


66 The AR r of ENGRAVING | 


Some will firſt make their Stroke with a 
round Needle, and then pals it over again 
with an oval Point, to inlarge it in thoſe 
Places, which they would have deeper and 


bigger ; but the other is the beſt Way. 


They that know how to engrave, after 
they have done etching their Lines with 


Agua Fortis, may, with the Aſſiſtance of 


their ene make them neater and 


deeper. = 


I think it not amiſs to adviſe you, 
that in making your Strokes with your 
oval Points, you muſt hold them as up- 


right and ſtraight in your Hand as you 
can, and accuſtom yourſelf to ſtrike. your 


Strokes firm and bold, for that will con- 
tribute very much to their Neatneſs and 


Clearneſs. To do this the better, you muſt 
be very careful to have your Points al- 
ways well whetted. 


In thoſe Places which you would. he 


appear in your Piece by Way of Land- 


ſkip, or the furtheſt Diftance from the 
Sight, and in thoſe Places which ap- 


. proach neareſt the Light, you muſt uſe a 
very ſlender Point, leaning fo lightly with 


your Hand, as to make a {mall taint 


Stroke. But when you come to thoſe 


Places, which you would have more ſha- 
dowed, lean ſo much the harder, that 
when you come to eat in with your Aqua 

Fortis, 


with Aqua FoRTIs. 67 
Fortis, you may cover moſt of your faint 
Places at one and the ſame Time; for you 
muſt know that thoſe Strokes, which you 
lean lighteſt on, do little more than raiſe 
up the Varniſh. So when you ap- 
ply your Aqua Fortis to etch it, it will 
appear much fainter, than in thoſe Places 
where you have leaned with greater Force, 
though the Strokes are done with one and 
the ſame Needle. Inſomuch, that when 
you ſhall have covered the oreateſt Part of 
your faint Places with your Mixture, 
thoſe Places, whereon you leaned ſtrong- 
eſt, will appear deepeſt, though they 
were all covered at the ſame Time. In 
your working be * to bruſh off all 
the Duſt which you make with your 
Needles. 

You muſt provide yourſelf with ſome 
good white Picture-Varniſh, keep it cloſe 
ſtopp'd in a Vial, and when you have 
Occaſion to correct any falſe Stroke, or 
alter any ſmall Object, take a fine clean 
Camel's-Hair Pencil, dip it into the Var- 
niſn, and mix up ſome Lamp-Black with 
it, on a Piece of Glaſs, or Oyſter-Shell, 
(but take care it be not too liquid) which 
will withſtand the Aqua Fortis, and is 
much better for ſtopping up ſmall Parts, 
than the Tallow ; ; after it is dry, you 

may 


do the Proportion of thoſe Places which 


68 The ART of ENGRAVING | 


may work over it, which cannot be done 
on the Tallow. 


"SECT; x 


70 prepare the Plate, to receive the Aqu 
| F ortis. 


OUR Plate being finiſhed and vel 

for the Aqua Fortis, bruſh off all the 
Rubbiſh and Duſt that is in the Strokes. 
And if there happen to be any Strokes 
which you. would not have the Aqua Fortis 
eat into, or any Places where the Varnifh 
is rubb'd off, then melt your Mixture of 
Oil and Greafe which you have made, and 
with a Pencil, bigger or ſmaller, according 


you would mend, cover thoſe Places in- 
differently thick, and the Aqua Furs will 
not eat in. 

This done, take a Bruſh or Pencil, and 
dip it into the ſaid Mixture of Oil and 
Greaſe, and rub the Back-Side of yo 
Plate all over, to prevent the Aqua Forti 
from eating any Part of it; but take heed. 
that your Mixture be not too thin or li. 

quid, for if it be, when you pour you 
Aqua Fortis on the Plate, it will force i 
from thoſe Places whereto you had. ap 

plied it. 
Wher 


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7 with AA FORTIS. 69 
| When you find the Mixture begin. 
do grow cold, then, put ſome ſmall Quan- 
1M tity of it on your left Hand, thereby 
to keep it warm, to be uſed as Occaſion 
ſhall require. 

In the Winter Time eſpecially, when the 
Weather is cold and moiſt, before you ap- 
ply your Aqua Fortis to the Plate, it will 
not be amiſs to warm it gently by the Fire, 
to dry up the Moifture, which the Plate is 
ſubje& to by Reaſon of the Diſtemperature 
of the Weather. Nay, if it be not warm- 
ed, it may likely endanger the breaking up 
of the Varniſh, at the firſt pouring of 
the * Fortis upon the Plate. 


— — — — — 


SEE T. XVI. 


To make the T rough and Frame to hold the 
Plate, when you would Naur the que 
Fortis on it. 


HE Figure oppoſite hereto, repre- 
ſents both Trough and Frame. 

The Letter A is one intire Piece of Elm or 
Oak, of about four Inches thick, and fix 
* broad, or may be of ſuch a Length 
s you ſhall think fitteſt for your Ule. 
You muſt cut this Piece of Wood into the 
Faſhion of a Trough, as the Figure ſhews 
you, making 1t a little ans in the Mid- 
dle, 


70 The ART of ENGRAVING 
dle, that the Water running thither, may 


fall through a Hole made there for that 
Purpoſe. Set this upon an Eaſel, as aged 


Figure ſhews you. 


Under the Hole in the Trough, place 
an earthen Pan well leaded on the Inſide, 


as you ſee in Figure B; and therein put 
your Aqua Fortis, Jet it not ſtand too nuch 
below the Trough. 

The Figure "M NOP is one intire 
Board, of an indifferent Largeneſs, as you 
may judge by the Figure. About both 
the Sides and Top of this Board, you 
muſt faſten a Ledge, about two Inches 
broad, to keep the Aqua Fortis from run- 
ning off from the Sides, when you pour it 
in. The Inſide of this Board and Trough 
muſt be covered or primed over with a 
thick Oil-colour, to hinder the Aua Fortis 
from eating or rotting the Board. Place 
the lower End of this Board in the Trough 
 Nloping againſt your Eaſel, and you mult 

fix ſeveral Pegs of Wood or Nails in the 
Board, to reft your Plate on. 

The Figure Q deſcribes a little earthen 
Pot well leaded on both Sides, which you 
muſt have to take up your Aqua Fortis out 
of the Pan, and to pour it on the Plate. 


I r. 


1 


* 


with AUA FoRTISs. 71 
8 E. T. XVII. 


the Plate; and to cover the Places that are 


fainteſt, and moſt remote from the Eye, with 
the fore-mentioned Mixture, as Occafion, re- 
Oy 


AVING obſerved. the Way of 


placing the Plate for the receiving 
of the Aqua Fortis, there remains only to 


conſider the Method you are to follow 
in pouring it on, as Occaſion requires; 
for in ſome Works, it will be neceſſary to 
pour it on ſeveral Times, for the Reaſons 
hereafter mentioned. Having a ſufficient 
Quantity of Aqua Fortis in your Pan, fill 
your earthen Pot, and pour it upon your 
Plate, beginning at the Top, and moving 
your Hand equally, ſo that it may run all 
over the Plate alike, taking great heed that 
the Pot touch not the Plate. Having thus 


poured it eight or ten Times, the Plate being 


in the Poſture expreſſed in the preceding 
Figure, you muſt turn it croſs-ways, as is 
repreſented i in.the upper Part of the follow- 
ing Figure, marked C; and pour on it as 
it lies that way, ten or twelve Times again, 
as before: This done, turn your Plate ſuit- 
wats to the Folture expreſſed by the 


lower 


The Manner of caſting the Aqua Fortis upon 


72 The ART of ENGRAVING 
lower Part of the aforeſaid Figure, 
that is to ſay, corner-ways, and as it lies 
ſo, pour thereon eight or ten Times, 
pouring the Agua Fortis thus, at ſeveral. 
Times, for the Space of half a Quarter of 
an Hour, more or leſs, according to the 
Strength of the Water, and Nature of the 
Copper. For if the Copper be brittle and 
hard, there muſt be the leſs Time allowed. 
for the pouring on the Water; but ik 
ſoft, the more. 

Buy Chance you may not at the firſt 
be ſo well aſſured of the Strength of 
your Water, and the true Quality of your 
Copper; it will therefore not be amiſs to give 
you ſome Directions how to know both, 
that you may proceed according to the 
Strength or Neatneſs, which you expect to 
find in your Work. For ſome Pieces re- 
quire more Force, and others more Tender- 
neſs. To know therefore that the Nature 
of your Copper, and Strength of your Water, 
are ſuch, as the Work you intend requires, 
pour the Agua Fortis on your Plate, for the 
Time, as is before mentioned, for the 
Space of the fourth Part of a Quarter of an 
Hour. Then take away the Plate, and 
throw on it a Quantity of fair Water, hold- 
ing the Pot at a good Height from the 
Plate, to waſh off rhe en Fortis; for if 


1 it 


with A qu A FoRTIS. 73 
it be not clean waſhed, the Work will ap- 
per green, and conſequently you cannot 
ſo well perceive the Operation of your 
Aqua Fortis. | 

That done, hold your Plate before the / 
Fire, at ſuch a Diſtance, as that, without 
melting the Mixture which may be upon 
it, the fair Water may be dried up. Then 
take a little Piece of Charcoal, and there- 
with rub off the Varnifh in uch Places 
where the Strokes are faint; and if you 
find that the Aqua Fortis , hath 'eat deep 
enough in thoſe iaint Places, melt your 
Mixture, and having placed your Plate 
upon a Deſk or Table, take of the ſaid 
Mixture, with a Pencil fit for your Work, 
and cover therewith all thoſe Places which 
you deſire ſhould be tender, and free from 
any further Operation of the Aqua Fortis : 
taking great Care that you lay the Mixture 
thick enough, on the Places which you 
would have covered; that is, that the Mix- 
ture may fill up che Strokes. And it is at 
this firſt Operation, that you are to cover 
all the fainteſt and ſweeteſt Places. 

Having held. your Plate ſo long to the 
Fire that the Moiſture is quite taken off (a 
Thing only neceſſary in the Winter Time) 
put it again upon your Board, and pour on 
your Water as before, for the Space of 
about half an Hour, turning your Plate 

| from 


* 
* 


74 The ART f ENGRAVING 
from Time to Time, according to the 
ſeveral Poſtures before expreſſed. That 
done, waſh off the Aqua Fortis with fair 
Water, as before, and dry your Plate by the 
Fire, taking eſpecial Care that you melt 
not the Mixture which you had before put 
upon it. 

Your Plate being dried, put it upon the 
Deſk, or Table, as Leen, and haying 
melted your Mixture, cover therewith thoſe 
taint Places and Hatches that are next in 
Point of Faintneſs to thoſe that you had 
covered before. For the different Degrees 
of Faintneſs in the Hatches, you have ſeveral 
Examples in the following F euch WY. 

You have been before directed how to 
guide your Needles and oval Points, and 
have been told how you are to lean 
ſtrongly and firmly on the Places where you 
would have the Strokes .be black and 
deep, and to lack and lighten your Hand 
where you would have them faint and 
tender; a Thing which very much facili- 
tates the Operation of the Aua Fortis. 
For Inſtance, when you have the firſt 
Time with your Mixture covered that Part, 
which is incloſed by the Line AB CD, 
and makes a kind of an - Oval; you 
come at the ſecond time, to cover that 
Space which is between the Line A B C., 
and the Line EOF; 8 well; _ 
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with Aqua Fortis. 75 


if you have ſuffered the Aqua Fortis to eat 


for the Time requiſite, it will have very” 
near the Effect which you expected. 

At the upper End of the Plate, you 
have the Form of a Woman's Arm, where- 


in you may perceive, by the Line marked 


a be d, as alſo by the other, which lies yet 
nearer the Shadow, how the ſmall Hatches 


and fainter Places are ordinarily cavered” 
at two ſeveral Operations, as Occaſion 


requires; though, in the forementioned Ex- 
ample of the Arm, once covering may 
luckily ſerve.- 

[ have alſo thought fit at the Bottom of 
the Plate, to ſet down four ſeveral Pieces 
of Ground in Landikip; the firſt marked 
n m m, is the firſt covered, being the 
fartheſt of all from the Eye; then at ano- 


ther Operation that marked ; then 
that marked o 003 there being only that 
marked p, wberein the Aqua" Fortis cats in 


full and deep. 
It may be objected, that the” leaning; 


lightlyor hardly on the Points in their proper 


Places in working, may make the Strokes 
and Hatchings ſo, that the agua Fortis 


may eat in anſwerably to your Expectation, 


without the Trouble of covering any Places 
with your Mixture: To this I anſwer, that 


the Work will not altogether have that 
E 2 | Effect, 


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76 The ART of ENGRAVING 


Effect, but will be like the ſecond Plate, 
which I have purpolely made after that 
Manner.: For though you can lean harder 
on ſome Places, and lighter on others; 
yet the Aqua Fortis being poured equally 
all over the Plate, during che whole Time; 


it muſt follow, that ſome Places will not 


be ſo ſweet and tender as they ought, and 
will ——5 far ſhort of that beautiful and 
lively Continuity, which you perceive in 
thoſe Lines and Strokes where you uſe 
the Mixture. _ | 

It it happen, when you dry your 
Plate by the Fire to take off the Moiſture, 


as hath been ſaid before, that the Mixture, 


For Want of Care, melts and runs into 
thoſe Hatches and Strokes where you 
would have the Agua Fortis eat further in; 
wipe the Place with a ſoft Cloth, then take 
the Crumb of ſtale Bread, and rub the 
Place therewith, till ſuch Time as you con- 
ceive you have taken off all the Greaſineſs. 


This Remedy is only applicable in Caſe of 


Extremity.; for you are to obſerve, that it is 
impoſſible to take out the Greaſe ſo clearly, 
but that it will ſome what hinder the Ope- 
ration of the Aqua Portis. And therefore 
there muſt be the more Care taken to pre- 
vent it. 8 OP 


| . 


"% 


"with AA FORT TS. 7 
Having thus covered your Places as 


Occaſion requires, for the ſecond Time, 


place your Plate on the Board aforeſaid, 


and pour your Aqua Foriis on it, for ano- 
ther half Hour. 


That done; waſh it with Water, ani 
dry it as formerly, and cover the Places- 
you think require it; for the third. 
Time, you muſt know, that the faint Places 
are to be proportionable to, that is, more 
or leſs, according to the ſeveral Deſigns 
and Pieces you work upon. When chis 


is done, pour your Aqua Fortis upon it, 
for the laſt Time, and it is at this Ope- 
ration, that you are to beſtow more or leſs 
Time, than in the former, according to 
the Nature of your Work. + 

For Inſtance, if there be in your Plate 
ſuch Hatches and Shadows, as require 
much Depth and Fulneſs, which conſe- 
quently will be very black, you are to 
pour on the Aqua Fortis for an Hour 
or better at this laſt Operation alone, that 


is, proportionably to the former. You 
may imagine, that no certain or general 
Rule can be given, either for the conve- 


nient Covering of the Places, or the ex- 
act Space of Time that is to be ob- 
ſerved in throwing on the Water: For it 


cannot be thought, that Callot pour'd as 
E 3 much 


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78 The Ax T of ENGRAvING 
much Water on his little Pieces, as he did 
on thoſe which were bigger. 
l have told you, how you may rub off 
your Varniſh or Ground, as Occaſion re- 
quires, with a Charcoal, to ſee whether 
the Water hath eat in deep enough: 
Then you will judge of the Space of Time, 
that you are to employ in pouring on the 
Aqua Fortis, by the various Works you are 
to do; and where I tell you, that you may 
beſtow an Hour and better on the laſt 
Operation, my Meaning is, in Pieces that 
require much Blackneſs. Notwithſtand- 
ing which, it is to be conſidered, that all 
Copper, or all Sorts of Agua Fortis, have 
not the ſame Strength, Nature or Equality, 
therefore it muſt be left to Diſcretion. 
Having, as before ſaid, poured the Aua 
Fortis upon your Plate for an Hour, more 
or leſs, as the Work requires, waſh it 
again with fair Water, and dry it as in the 
preceding Operations ; then put it over the 
Fire, till your Mixture is all melted ; and 
wipe it very clean on both Sides, with. a 
Linnen Cloth, till you have quite taken 
away all the Mixture. | 


SECT. 


— | & e 


War... 
w 


DT 2 


with" AQUA 18 RT I. 79 


— 


8 8 E C T. XVIII. 


70 tate the Cround or V arniſh off the Plate, 


after the Aqua Fo ortis bas done its 
Operation. | 


0 
AKE Charcoal of Willow, or ſome 
ſuch ſoft-grain*'d Wood, and after you. 


Have taken of the Rind, and poured fair 
Water on the Plate, rub it very even 
with the Charcoal, as if you were to 


poliſh Copper, and it will take off the 
Varniſh. Be careful that no Duſt or Filth 


fall upon the Plate; and that the Charcoal 
be free from Knots and Roughneſs, which 
might occafion ſome fmall Scratches in the 


Plate, and would be difficult to get out, 
eſpecially in thoſe Places which are moſt 
faint and ſweet. Note, you are not to uſe 
ſuch a burnt Coal, as you do, to poliſh 
withal. 


When the Varniſh is taken off, the 
Plate is of an unpleaſant Colour, by Reaſon 


of the Operation of the Fire and. Water 


upon it. To reduce it therefore to ita 


proper Colour, take ſome ordinary Agua 


Fortis, to which add two third Parts of 
fair Water, and with a little Linnen Rag 


dipp'd therein, rub your Plate all over, 


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Bo The ART of ENGRAVING 
and you will find its or: and Beauty 


return. 


Then immediately take a diy Linnen 
Rag, and wipe it all over to take off all 
the. aforeſaid Water. Hold your Plate to 
the Fire, and pour on it a little Sallad-Oil, 
and with the Brims of an old Beaver roll'd 


up, rub your Plate all over with it, -and 


with a Cloth wipe it dry. 

This done, you will plainly perceive 
the Places, which require to be touched with 
the Graver, as for the moſt Part it hap- 


pens, eſpecially in thoſe Places, which are 


to be blackeſt. For you may judge, that 
hen there are many Strokes and Hatch- 
gs cloſe to one another, there is ſo little 


/Varniſh between, that the Agua Fortis com- 


monly takes it off, and eats under it. 

But if this happens, when you caſt on 
your Water, you may preſently cover thoſe 
Places,. where you perceive the Varniſh 


break up, with the Mixture; it being more 
eaſy to touch it afterwards with the Gra- 


ver, than when the Aqua Fortis has made 
a Pit therein, which, in the Working it 


off at the Rolling-Preſs, cauſes a large 
f black Patch ; 


are taken off, thar Patch becomes white, 
\ becauſe there is not any Thing for the 


but after ſome Copies 


Ink to faſten on. | 
4 | | _ Having 


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Having covered *hat Part in Time, 
| you have no more to do, but perfect 
ftzhoſe Strokes and Hatchings, to make 
them firm and beautiful; and then your 
Plate is ready for the Rolling - Preſs. | 


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382 The ART of ENGRAVING 


e 


OF 


SOFT VARNISH. 
MMM 
SECT x 


To make it, and its Uſes. 


AK E two Ounces of Virgin Wax, 

half an Ounce of Burgundy Pitch, 

half an Ounce of common Pitch, put them 
into a clean and well-glaz'd earthen Pipkin, 
and when they are diſſolved, take twoOunces 
of Aſphaltum, let it be ground as fine as 
poſſible, and ſhake it into the Pipkin, and 
with a Stick keep ſtirring it over the Fire, 
that the Aſphaltum, and the reſt, may in- 
corporate well together, and be intirely 
diſſolved, which will be done in about 
half a Quarter of an Hour; then take 
it off the Fire, and let it cool a little, 
and pour the ſaid Compoſition into a Baſori 
of fair Water; your Hands being very 
clean, put them into it, and take out the 
| ſaid Mixture before it be quite cold, and 
having well moulded it, and ſqueezed = 
ny the 


' — 


with AqQva FoRT Is. By 
the Water, roll it up into Pieces about an 
Inch Diameter, and two or three Inches 
long. | 
After it is moulded, wrap it up in a 
Piece of fine Sarfenet, or Taffata, two or 
three Times double, and ſo uſe it. 

There are ſeveral other Compoſitions 
of ſoft Varniſh, that may be uſed, but 
this I judge the beſt of any ; have met 
with. 

' Note, You are not to put f in ſo much 
Virgin Wax in Summer, as in Winter. 


E Sir. XX. 


The Manner of 1 the 2 oft Ground or 
Varniſb on tbe Plate. 


AVING your Plate well poliſhed: 
and cleanſed from Greaſe, take the 
ſoft Varniſh prepared as is before mention- 
ed, and put the ſaid: Plate over a Chafing- 
diſh, wherein a moderate Fire has been 
kindled, and let it be ſo heated, that the Var- 


7 


niſh may eaſily diſſolve, as it paſſes through - 


a in which' tis wrapped. The Plate 
being thus heated, take the Varniſh cover'd 
as aforeſaid, and by applying it to the End 
of the Roll, ſpread it upon the Plate whilſt. 
it is hot, n it lightly from one Side 
to 


8% The ART of ENGRAVING. 

to the other, until the Plate be covered 
thin and equal all over: This being done, 
take ſome fine Sarſenet, or other fine Silk, 
doubled up, put ſome fine Cotton into it, 
and let it be about the Bigneſs of an Egg, 
when tied up, but make it broad at Bot- 
tom, then dab it gently_ all over your 
Plate, where you have laid the Varniſh; 
taking Care it be not too thick, for when it 

IS, your Work cannot be ſo fine and deli- 
cate as otherwiſe it would; if the Plate 
ſhould cool, and conſequently the Var- 
niſh, . you muſt heat it again, that it 
may receive the Varniſh, as it paſſes 
through the Silk. Alſo rake great Care, 
for your more eaſily ſpreading of it, that 
neither your Plate, nor Varniſh burns; 
which you will eaſily perceive, by ob- 
ſerving, that when it is too hot, it caſts 
itſelf into little Clots and Bliſters. 

As ſoon as you have ſpread your Fa- 
6 niſh very even upon your Plate, black it 
over with the Flame of a Candle, after the 
' ſame Manner I mentioned before in the 
hard Varnifh.; taking Care that the Flame 
approach not too near; this is to be done 
in one Caſe, rather than in another, that 
is, when having black'd it all over, you 
perceive, the Smoke hath not entered 
within the Varnifh, by Reaſon of its grow- 
A . | "vs 4 


* 

with Aqu A FoRTISs. Br 
ing cold: Therefore it will be convenient 
to put your Plate again over your Chafing- 
diſh, and you will ſee, as ſoon as the Plate 
18 hot, the Varniſn will diſſolve; and 
thereby the Black, which the Smoke hath 
left upon the Varniſh, will Pierce as far as | 
the Plate. 
In doing this, be very careful to have x a 
moderate Fire, and continually remove your 
Plate, in ſuch a manner, that the Varniſh. 
may melt equally all over it, without 
Burning. | 
After that, let your Plate cool, and 
when you think fit ro work upon it, place 
your Deſign in the ſame Manner, as 
upon your hard Varniſh, (the Backſide 
thereof being rubb'd with the Duſt of Red 
Chalk, and Black Lead, mixed together) 
excepting only, that you muſt not lean ſo 
hard with your Point, in drawing. the 
 Out-lines of your Deſign, leſt by ſo do- 
ing, the Needle cutting through the Paper, 
ſhould rub the Varniſh. - | 
Next you proceed to work upon your 
Plate, with the ſame kind of Points, as 
thoſe which are mentioned for hard Var- 
niſh, excepting the oval Points, which 
thoſe that etch with ſoft Varniſh never 
uſe: Nevertheleſs they are very commo- 
dious, eſpecially for the working any Piece 
- of AFChitorurey or e of large 8 q 
and 


86 The ART of ENGRAVING 
and tis left to the Choice of thoſe that 
grave, either to uſe them or not: But one 
Thing is to be conſidered, which you muſt 
be very careful of, and that is, how to keep 
che ſoft Varniſh upon the Plate, for it is 
very apt to be rubbed off, if any Thing 
ſhould happen to touch it. There are 
ſeveral Ways of keeping it unhurt: 
For Example, working upon the Plain, 
or on a Deſk, place on the Sides of 
your Plate, two little Boards, of what 
Thickneſs you pleaſe, or two little Books 
of the ſame Thickneſs, and lay a thin Board 

n them, fo as not to touch the Plate, 
and reſt your Hand upon this Board as you 
work. 

Many work with their Plate laid upon an 
Eafel, as a Painter does when he paints; 
but all Men cannot fit in this Manner at 
Work, although it is very much approved 
of, for many Reaſons, which hereafter mall 
be alledged. 

To work upon the ſaid ſoft Varniſh, 
you muſt conveniently place your Board 
upon a Deſk, and lay a Piece of green 
Bays upon that, and your Plate vpon the 
Bays. Afterwards, take a Linnen Cloth 
without any kind of Seam, which has 
been often put to other Uſes, that it may 
be very ſoft. Then double it three or four 
Times in n Folds, and lay it upon your 
2 Varniſn; 


with. Agua ForRTis 87 


Varniſh z and reſt your Hand on it, as you 
do on Sheets of Paper, upon hard Varaiſh. 
The Reaſon why this Caution is to be ob- 
ſerved is, leſt the Buttons of your Sleeve 
ſhould rub off the Varniſh. 


Be very careful, that there is no Duft 


or Filth upon your Varniſh ; if you ſee 
any upon your Plate, wipe it lightly off 
with one of your large ſoft Pencils, ob- 
ſerving, that much more Care is requir- 
ed for the preſerving of ſoft Varniſh, 
than of WF which made the Author 
leave it off, eſpecially in Pieces that required 
long Time, and much Pains; it being much 
more eaſy to make a firm Winding-Stroke 


upon hard Varniſh than upon ſoft; becauſe 


the- Hardneſs of the Varniſh holds your 
Point, as it were engaged, which makes the 
Strokes the deeper, and more like the 


Firmneſs and Neatneſs of thoſe of a Graver. 


Moreover, when you are at work on ſoft 
Varniſh, you mult have a ſpecial Care, leſt 
any other Perſon than a Practitioner of the 
Art, touch or meddle with your Plate 
and if any kind of greaſy Matter happens to 
drop upon it, your Plate will be incurable : 
But if it happens to fall upon hard Varniſh, 
you may clean it with a Linnen Cloth, or 
Crumbs of DB 


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88 The ART of ENGRAVING 
- Thoſe that work upon. ſoft Varniſh, if 
they pur their Plate on a Deſk or Eaſe}, 
are not in ſo much Danger of rubbing 
off their Varniſh, nor need they ſo often 
wigs away that which comes off in work- 

; for the Plate being placed obliquely, 
the ſuperfluous Matter falls away of itſelf. 
J don't think it neceſſary to deſcribe this 
Way of working, by a Plate, becauſe it is 
not probable that any who intend to etch 
after this Manner, can be ignorant how a 
Painter works upon an Eaſel, there being 
no other Difference, except that a Painter 
uſes a Pencil, and a Graver his etching 
'Tools. The Artiſt muſt take Care to reſt 
his Plate very firm, eſpecially when he is 
very intent upon the making of any exact 
Strokes. 

Callot worked upon hard Varniſh, after 
the ſame Manner; but it was more to pre- 
ſerve his Health; | ſuppoſing that to fir 
ſtooping to his Work (though it were never 
ſo little) would be burtful to him. 


: S ECT NE 


To border the Plate, that it may contain the 
Aqua Fortis. 


E T ſoft Wax, either red or green; . 
if it be in Winter, ſoſten it in warm 
Water; in Summer it will be ſufficiently 
ſoft 


with Aqua FoRT1s. 89 
ſoft of itſelf: In the managing of it, put 
it round the Brims of your Plate, raiſed 
about half an Inch above the Surface of the 
Plate, being, as it were, like a little Ram- 
part or Wall, (forming at one Corner a 


Spout to pour the Agua Fortis off) in ſuch 


Sort, that placing your Plate very level, 
and afterwards pouring your Aqua Portis 
upon it, the Water may be retained, 
by Means of this Border of Wax, 
and equally diffuſed all over; but 


before you pour it on (to prevent its 


5 ſoaking through, between the Wax and the 


Plate) dip your Pencil in your prepared 


Tallow, and ſtop the under Part neatly, on 
the Inſide of the Wax, ſo that the Aua 
Fortis may not corrode under it. | 


Having thus ſecured your Plate, — | 


double Aqua Fortis, one Part, Water, two 


Parts, mix them in a Glaſs Bottle, or Stone 


Mug; then pour it gently upon the 
Plate, ſo as that it may remain all 
over it, the Thickneſs of half a Finger I 
Breadth. 

Then you will ſee, that. the Water will 
work, and bubble up in thoſe ſtronger 
Hatchings, that are moſt firmly ſtruck ; 
as for thoſe that are fainter, you will per- 
ceive them clear at firſt, and of the Colour 
of the REY the Water not > ""m - 

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00 The ART of ENGRAVING 
a ſudden, any other Ee than what appeirs 
to View. 
Afterwards, when 900 have perceiv- 
ed the Water operate a ſmall Time, 
Pour it off from the Plate into ſome Veſſel, 
which is moſt proper to contain it, as into 
an earthen Mug well glazed, or the 
like; then throw ſome fair Water upon the 
Plate, to -extinguiſh and waſh away the 
Remainder of the Lag Fortis, which was 
upon it; then dry- by the Fire, 
as you have been Ste before, when we 
diſcourſed of hard Varniſhz as to the 
ſoft Varniſh, and Agua Fortis of the 
Reſiners, be very careful to evapo- 
rate that Moiſture, which, in the Winter 
Time, is commonly between the Copper 
und the Varniſh, before you lay on your 
Agua Fortis; which being done, take your 
Mixture of Oil and Tallow, as is men- 
tioned in the Beginning of this Diſ- 
courſe of hard Varniſnh, and cover thoſe 
Places with it, which ought to be moſt 
tender and ſweet; or Picture Varniſh, mix'd 
with Lamp Black, as mentioned in the 
Operation of the hard Varniſh ; hav- 
ing covered. them the firſt Time, lay 
again upon your Plate the fame Agua Fortis 
which you had taken away, and leave it 
-on for half a Quarter of an Hour, or 


longer, according to your Diſcretion ; ; then 
take 


nn 
— 


> .- TH 9. ww ww w- 


with AA ForTrs. 91 


take off the Agua Fortis, and cover with 


your Mixture the next Places, as you 


ſhall fee Occaſion: And if you would have 
your Lines or Strokes be ſtill deeper, 
then cover the ſweeter Part by De- 
grees with your Mixture, that the Agua 
Fortis may lie the longer on the deeper 


Stones. 
Laſtly, lay on the aforeſaid Au 


Fortis again, and leave it on for the Space 


of half an Hour, or more, according to 


the Strength of the Water, and Nature of 


the Work; then take it away, and caſt 
ſome fair Water upon the Plate again. 
This being done, take off your Border 


of Wax, and heat your Plate, ſo that the 
oily Mixture, and Varniſh, may thorough- 


ly melt; then wipe it well with a Linnen 


Cloth, afterwards rub it all over with 


Olive Oil, and a Piece of old Beaver roll'd 
up, then touch it over again with your 
Graver, in thoſe Places where it is neceſ- 
ſary. tae: N | 
It is neceſſary to obſerve, that whilſt 


the Agua Fortis is upon your Plate, you 


muſt take a Feather, and dip it to the Bot- 
tom of the ſaid Aqua Fortis, ſweeping it 
along, to remove the Froth or Scum, which 
gathers upon your Strokes or Hatchings, 
whilſt the Water performs its Operation; as 
alſo, to give the more Way to the Opera- 


tion 


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92. The ART of ENGRAviING | 
tion of the Water, and ſee if the Varniſh 
be not broke up, which the Bubbling of 
the Water hinders you from diſcerning.” 
Take Notice alſo, that the Aqua Portis 
of the hard Varniſh, will ſerve excellently 
well, to eat into the Work .made by the 
aforeſaid ſoft Varniſh, and that the Manner 
of applying the oily Mixture, is the ſame 
with that of hard Varniſh, and whoever 
_ uſes it may be aſſured, that it is much 
better for this Purpoſe, than that of the 
Refiners : Moreover, it is not ſo ſubject to 
cauſe the Varniſh to break up, nor to many 
other Accidents ; as being hurtful to the 
Sight, and Health, as that of the Refiners 


is; nevertheleſs, let every one make uſe of 
Which Sort he pleaſes, WS? | 


. XXII. 


The Laune of laying a white Ground ow 
; the hard or fe ft F armſp. 


HERE is a Way to whiten your 
Varniſhes upon the Plate, inſtead of 


making them black with a Candle, which 
. 

When you hive applicd: your hard Var- 
niſh (as has been obſerved) upon the 
Plate, harden it over the Fire, without 
blacking it, yet in the-ſame Manner as if 
| | it 


with Aqua ForT1s. 93 
it were blacked, then let the Plate cool, 
and having got white Cerus, put it into 
an earthen Diſh well leaded, and a little 
Flanders Starch, ſet them over a Fire, 
and melt them together, making them 
pretty hot; that being done, take up the 
white Cerus, (which ought to be pretty 
clear) with a Bruſh, or great Pencil of 
Hog's Hair, and whiten your Varniſh 
with it, laying it as tain and even as you 
can, then leave it to dry, laying the Plate 
flat, in ſome convenient Place; if by Chance 
in whitening it, the White be difficult to 
ſpread, you need only put among the ſaid 
white Cerus a Drop or two of the Gall of 
an Ox, and mix them together in the 
Diſh with your Bruſh. For the ſoft Var- 
niſh, you may do the ſame, after you 
have laid it upon your Plate, and extended 
it very even with the feathered End of 
your Quills: Some will ſay, if they 
black the Plate, before the White is put 
upon it, when they come to grave, the 
Hatchings will be the more black, and 
conſequently will appear ſo much the more 
diſtinct to the Eye. But to this I an- 
ſwer; 

Firſt, When the Plate f is blacked, the 
White will not touch it, nor muſt they ven- 
ture to put ſo much Gall, for Fear of 
ſpoiling the Varniſh, 5 

i Secondly, 


94 The Ax T of ENGRAVING 

Secondly, If the White ſhould ſpread 
well, it will not appear otherwiſe than 
grey, by Reaſon of the blacking of the ſaid 
Varniſh, unleſs you lay it fo thick, as 
to ſpoil the whole Work. 

The marking of your Deſign upon ſoft 
Varniſh, is performed with the Duſt of 
red Chalk, (as before mentioned of hard 
Varniſh) or by rubbing the Paper well, 
or Deſign, with the Duſt of 'black Chalk, 
or black Lead, when the Varniſh is made 
white: For red Chalk is moſt proper for a 
black Ground. 

When you have graved what you in- 
rend upon the ſoft Varniſh; and are going 
to etch your Plate' with Aqua Fortis; what 
you have then to do, is to take a little fair 
Water, ſomething more than lukewarm, and 
| caſt it upon the ſail Plate: then with a 
ſoft clean Spunge, or Duck's Wing-Fea- 
thers, moiſten the ſaid white Cerus all 
over with it; afterwards waſh the Plate, 
to take off the Whiting, and'dry it. | 

Laſtly, you may lay on which of the 
two Sorts of Aqua Fortis you pleaſe; and 
for the preſerving of the ſaid white Var- 
niſh, whilſt. you are, working, you need 
only lay upon it a Piece of ſoft Linen, or 
Damaſk SS, inſtead of Paper. 


If 


_ with Acu A FokTis. 96 

If you chooſe rather to take away the 
ſaid, Whicog, you muſt take ſome Agua 
Fortis of the Refiners, tempered with tair 
Water, lay it upon the Plate, diſperſing it 
all over, which will ſoak and quickly eat 
in; after you have thrown clean fair Water 
upon it to take away the Whiting, let the 
Water dry up, which remains upon. the 


Plate, and cauſes it to eat into your Work, | 
as J ſaid before. | 


- SECS mans 
Another Way to lay a White on the Varniſh. © 


AKE the beſt Cerus, and. grind it- 

very fine upon a Stone, with fair 
Water, which being done, take Gum- 
Water, and pour a ſmall Quantity of it 
upon the Stone, and mix it with the Cerus 
then take a large Pencil of Camels Hair, 
and with that Pencil take it off the Stone, 
and ſpread it thin all over your Plate; and 
immediately after, take a larger Pencil of 
Camel's Hair, and with a very light and 
gentle Hand, paſs it all over the Plate, ſo 
as to make it lie exactly even in all Parts, 
that the Strokes of the former Bruſn, may 
not appear, then lay your Plate very even. 
and let it dry. 5 


90 The ART of ENGRAVING 


It will be neceſſary to give you this 
Notice, that you are not to mix too much 
Gum with the White, nor too little; for 
if there be too much, it will break and 
crack the Varniſh; if there be too little, it 
will eaſily rub off: Therefore you muſt be 
careful to uſe no more, than will juſt ſerve 
to bind the White upon the Plate. Like- 
wiſe you muſt have a care not to lay it too 
thick, for if it be, you cannot work with 
the Neatneſs and Curiouſneſs, you may 
other wiſe. | 


SEC T. . 


E: bs Manner, after the Plates are eat in by 
the Aqua Fortis, to touch or re-grave that 
which you have forgot, or ck you would 


mend or ſupply. 


EFORE 1 make an End, it is pro- 
per to ſhew you the Manner how to 
retouch many Fhings, according as Need 
may require, by the Means of Aqua Fortis, 
if it happens that you have made upon 
your Copper, any thing that does not 
pleaſe you, and for this Cauſe having covered 
it with your oily Mixture, that the Aqua 
Fortis ſhould not perform its Operation, or 
that you would add any - Ornaments, 

either 


with AA ForTIss gy 


either in Drapery, or any other thing which 
may be thought on: In this Caſe, take 
your Plate, and rub it well over with 
Olive Oil in thoſe Places, where there is 
any thing graven, in ſuch Manner that 
the Blackneſs and Foulneſs, which is like 
to be in the Hatchings or Strokes, may 
be taken away. Afterwards take out the 
Greaſe ſo thoroughly with Crumbs of 
Bread, that there may remain none, nor 
Filth upon the Plate, or in any of the 
Strokes or Hatchings. | 
Then heat it over a Charcoal Fire, 
and ſpread the ſoft Varniſh upon it, as 
has been ſaid before. What you are 
take ſpecial Care of, is, that the Hatch- 
ings, which, you would have remain, 
be filled with Varniſh ; which being done, 
black it, and then you may retouch, or 
add what you intend. Laſtly, make your 
Hatchings with your Needles, accord- 
ing as the Manner of the Work ſhall 
require, being careful, before you put on 
the Aqua Fortis, to cover with your oily 
Mixture (as is ſaid before) the firſt grav- 
ing which was upon your Plate; for if 
the Varniſh ſhould not have entred all 
over, that certainly will: Inſomuch that, 
if there ſhould happen in ſome Places 
of the Hatchings to be neither Mixture, 
| F „ 


98 The ART of ENGRAVING 


nor Varniſh, the Aqua Fortis will not fail 
to enter and ſpoil all, Having cauſed 
the Agua Fortis to eat into your Work, 
take away your Varniſh from your Plate, 


by the Means of Fire, as before ſaid. 


{ 


with Aqua FoRTIs. 99 


E N GRAVIN G. 


. 


SECT. KEXY. 


The ſeveral Ways of drawing the Defign 


upon the Plate. 


E FORE I ſpeak of the Manner 
of managing and whetting your Gra- 
ver, I think it will not be amiſs to let you 
know the Ways that are uſed in drawing 
your Deſign upon the Plate; which mutt 
be of the ſame Bigneſs the Deſign or Print 
is, Which you intead to copy. | 
Put your Plate over the Fire, and let it 


1 then take a Piece of the 
feſt Virgin Wax, and ſpread it thin over 


the Plate, and with a ſmooth Feather 
gently ſtroke it all over, ſo that it may 
lie very even and ſmooth; then let 

— it 


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100 The ART of ENGRAVING 
it cool. If you intend to copy a Print, 
and would have it to print off the ſame 
Way when it is graved, with your 
Print; then you muſt place your Print 
which you would grave, with the Face 
or printed Side next to your Plate, waxed 
over as before mentioned; and having 
placed it very true, rub the Backſide of 
the Print with a Burniſher (or any Thing 
that is ſmooth and round) and you will 
find, that it will ſtick to the Wax which is 
upon the Copper: When you have fo 
done, take off the Print, beginning at one 
Side or Corner, but be careful you take it 
not off too haſtily, for by ſo doing, you 
may tear your Print or Deſign; and alſo, 
if you put your Wax too thick upon the 
Plate, it will be a Means to cauſe the ſame 

Inconvenience. ; 
Burt if you would grave it the ſame Way, 
as your Print or Deſign is, then take the 
Puſt of black Lead, or black Chalk, and 
rub the Backſide of your Drawing or 
Print all over therewith, and place it with 
that Side blacked towards the Plate ſo 
waxed, (as before mentioned) and with 
your Needle, or Drawing Point, draw all 
the Out- lines of your Deſign, and you 
will find all thoſe Lines upon your Plate; 
but if you deſire to preſerve the Backſide 
of your Delign from _— blacked with 
the 


CCTV 


3 * 


che Duſt aforeſaid; then take a fine thin 
Piece of white Paper of the Bigneſs of your 
Deſign, and inſtead of rubbing the Back- 
ſide of your Print or Deſign, rub one 
Side of the ſaid Paper with the Duſt or 
Powder of black Chalk, and placing it ' 
with the Side -fo blacked, next. to the 
waxed Plate, lay the Backſide of your 
Deſign upon the Paper, and fix them 
both firm ro your Plate at each Corner with 
a little Wax, then draw the Out- lines of 
your Deſign : only note, that you muft 
lean ſomewhat harder with your Needle in 
Drawing. ; 

There are other Ways uſed foe this ; 
Purpoſe, which it is needleſs to trouble 70u 

with ; only take Noffice, that in Caſe you 
deſire to preſerve Vol r Deſign from being: 
any Way defaced” by the Marks of | 

Needle in drawing the Out-lines, take 
fine Piece of white Paper, and having oil'd 
it, hold it by the Fire, ſo that the Oil may 
fooner penetrate it; and having ſo done, 
wipe it very dry with a Linnen Rag, and 
place the ſaid Paper upon your Deſign, 
making it faſt at each Corner, and you 
will perfectly diſcern your Deſign through 
the Paper; then with a black "Lead well 
e draw all the Out- lines of your 
eſign upon the ſaid oiled Paper, which 
"LY * 


102 The ART of ENGRAVING 
done, place it upon the t in the lame 
Manner as before. 

8 E E T. n 


The Forms of Graving-Tools, and the Manner 
of whetting the Graver. Pl. 9. 


H E upper Part of this Figure ill 
ſhew two Sorts of Graving-Tools, 
the one formed Square, the other Lozenge : 
The Square Graver makes a broad and 
ſhallow Stroke, or Hatch; and the Lo- 
zenge makes a deep and narrower Stroke. 
The Uſe of the Square Graver, is to make 
the largeſt Strokes; and the Uſe of the 
other, is to make the more delicate and 
lively Strokes. But a Graver made of an 
indifferent Size between theſe two is beſt, 
and will make your Strokes, or Hatches, 
ſnew with more Life and Vigour; and 
| yer with ſufficient Force, if you manage 
it properly in your working, The Forms 
of theſe Gravers, you will ſee in phe Figures 
I. and II. 

The 11d Figure ſhews 3 how to 
whet the two Sides of your Graver, which 
is to be done in the following Manner ; 
you muſt have a very good Oil-ſtone 
ſmooth and flat, and having poured a little 
Sallad Oil thereupon, take the Graver, 

and 


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with AA Fox r Is. 1203 
and laying that Side of it which you 
intend ſhall cut the Copper flat upon the 
Stong, whet it very flat and even; and in 
doing this, take particular Care to place 
your Fore- finger very firmly upon the op- 
poſite Side of your Graver; that you may 
carry your Hand ſteadily, preſs equally on 
it, and guide it with the more Exactneſs: 
Then turn the next Side of your Graver, 
and whet that as you did the other; that 
there may be a very ſharp Edge for the 
Space of an Inch or better; then turning 
uppermoſt that Edge which you have ſo 
whetted, and ſetting the End of your Gra- 
ver obliquely upon the Stone, carry your 
Hand exactly even, to the End that it may 
be whetted very flat and ſloping, in the 
Form of a Lozenge, making a ſharp Point 
to the Edge, as Figure III. ſhews you. 
It is abſolutely neceſſary, to be very 
exact in the Whetting of your Graver ;, 
for it is impoſſible you ſhould ever work 
with the Neatneſs and Curioſity you deſire, 


if your Graver be not "oy good, and 
rightly whetted. 


/ 


E\4 |: -- $HOK 


rog The ART of ENGRAVING 


8 E CT. AXVIL 


| The Manner of holding the Graver, with other 
| Particulars, 


OU may "ke alſo, that the mt 
Part of this Figure deſcribes the Form 

ot two Gravers to you, with their Handles 
fitted - for Whetting. They that uſe this 
Art, before they uſe them, commonly cut 
away that Part of the Knob or Bowl which 
is at the End of their Handles, and upon 
the fame Line with the Edge of their Gra- 
ver; that it may not obſtru& or hinder 
them in their Giving, as Fi 1gure II. ſhews 
1 
For if you work upon a large Plate, 
you will find that Part of your Handle 
Ef it be not cut away) will reſt ſo upon 
the Copper, that it will hinder the ſmooth 
and even Cartiage of your Hand in making 
your Strokes or Hatches; and will alſo 
make your Graver run into the Copper 
in ſuch a manner, that you will not be able 
to manage it as you would. 

The third Figure deſcribes the Way 
of holding your Graver; which is in 
\ this Manner. You muſt place the Knob 
or Yall of the Handle of your Graver » 

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with AUA FoRTIS. 105 
the Hollow of your Hand, and having ex- 
tended your Fore- finger towards the Point 


of your Graver, laying it oppoſite to the 
Edge that ſhould cut the Copper, place 


your other Fingers on the Side of your 
Handle, and your Thumb on the other 


Side of the Graver, ſo that you may guide 
your Graver flat and parallel with the 


Plate; as you may ſee in Figure III. . 
"Be carefal that your Fingers do not in- 


terpoſe between the Plate and the Graver, 
for they will be troubleſome, and hinder 


you in carrying your Graver level with the 


Plate, ſo that you cannot make your 
Strokes with that Freedom and Neatneſs 


you otherwiſe may. This I think fit to 


give you Notice of in this Place, becauſe. 
you muſt firſt learn to hold your Graver 
perfectly well, and be able to practiſe with- 
out Pain or Diffculty; or elſe you will 


not acquire that Readineſs and Command 


of Hand, which is required in an accurate | 


and fal Engraver,, 


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106 The ART of ENGRAVING 


E C T. uin 


The Manner of governing the Hand in Graving, 
and other Particulars. 


AVING deſcribed the Way of 
holding your Graver, the next 
Thing is to ſhew you how to guide it 
upon the Plate, in making of your Strokes, 
either ſtraight or crooked. To work. 
with the more Eaſe and Convenience, you 
muſt have a ſtrong round Leather Cuſhion 
filled with Sand, or fine Duſt; let it be 
made about half a Foot broad in the Dia- 
meter, and three or four Inches deep; lay 
this upon a Table which ſtands faſt and 
firm; then lay your Plate upon the Cuſhion, 
as is ſeen in Figure II. in the former Sec- 
tion. 2 
When you make any ſtraight Strokes, 
hold your Graver as directed before; and 
when your Strokes are to be deeper or 
broader in one Place than in another, 
where you would have them deepeſt, you 
muſt preſs your Hand hardeſt; but in 
making of a ſtraight Stroke, be very care- 
ful to hold your Plate firmly upon the 
Cuſhion. | | 
When you make any crooked or 
winding Strokes, hold yaur Hand and 
Graver 


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with Aqua FORTISò. 107 


Graver ſteadily, and as you work, turn 
your Plate againſt your Graver; otherwiſe 
it will be impoſſible for you to make any 
crooked or winding Strokes with that Neat- 
neſs and Command of Hand, you by this 
Means may. 

If, when you are working, your Graver 
happens to break the Point often, it is 
too hard tempered; to cure which, take 
a red hot Charcoal, and lay the End of 


your Graver upon it, and when you per- 


ceive it grow yellowiſh, dip it in Tallow : If 
your Graver become blunt without break- 
ing, it is worth nothing. 

It will be convenient for you to have a 
Piece of Box, or hard Wood, to ſtrike 
the Point of your Graver into, after you 
have ſharpened itz which will take off all the 
Roughneſs about the Point, that was cauſed 
by whetting it upon the Oil-ſtone. After 
you have graved Part of your Work, it 
will be neceſſary to ſcrape the Plate with the 
ſharp Edge of another Graver, carrying it 
even upon it, to take off the Roughneſs 
of the Strokes; but in ſo doing, take heed 


not to make any new Scratches in your 
Work. | 


That you may the better ſee what 


iS graved, roll up cloſe a Piece of 
black Felt or Caſtor, liquored over a 
F 6 httle 


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108 The ART of ENGRAVING 

little with Olive Oil, and rub the graved 
Places with it: If you perceive any 
Scratches in your Plate, rub them out with 
your Burniſher ; and if you have graved 
any of your Strokes too deep, you may 
make them appear fainter by rubbing them 
with the lame. 


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Mz2zO0TINTO, 


with AUA Fox TIS. 1og 


Mrzzorix ro, called 3 or Burniſo· 
ng on Copper. 


E pt a well poliſhed Copper Plate, 
and make it all over rough one 
Way, with a particular Engine deſigned 
for that Purpoſe, then croſs it over again 
with the ſame Engine, and if there is Oc- 
caſion, croſs it over a third Time; z till in 
be made rough all over alike. ' +» 

When you have thus roughed "the: 
Plate, then rub. Charcoal, black Chalk, or 
black Lead over the Plate, and draw your 
Deſign with white Chalk on it; then take 
a Tracer, made of the Point of a Needle, 
| blunted round, ſtuck at the End of a Piece 
of Cane, and trace out the Out- lines of 
the Deſign, which you drew with the white 
Chalk: And where you would have the 
Light ſtrike the ſtrongeſt, take a Burniſher,' 
or Scraper, and burniſh that Part of the. 
Plate as clean and ſmooth as it was, when 
the Plate was firſt poliſhed. | 

Where you would have the Light faint 
there you muſt not poliſh it ſo much ; and 
after this Manner you mult either increaſe or. 
diminiſh the Light in your Deſign, by mak- 
ing it fainter or ſtronger, as the Neceſſity 
of the Work requires. 


42 


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110 An IDEA of 


An IpgA of a fine CoLLECTION 
of PRINTS. 


HIS Collection, which will be very 
numerous, may be divided into 


three principal Parts; the Firſt, to con- 


tain all Hiftorical Subjefts ; the Second, all 
the Subjects of Morality; and the Third, 


every Thing that concerns the Progreſs of 


the Arts of Painting, Sculpture and Engra- 


ving; to which may be added a Fourth, 


containing mixed Subjects. 
The Hiſtorical Subjects will contain the 


Hiſtory of the World, according to its dif- 


ferent Ages, Monarchies and Nations; re- 
preſented by many Maps, Battle- Pieces, 
Medals, Statues, Baſs-Reliefs, Portraits 
and Buildings, Atchievements and Seals, 
Devices, Tombs, and ather Monuments of 
illuſtrious Perſons. 

The Moral Subjefs will contain a great 
Number of Emblems, Enigmas and Pe- 
vices, concerning the Religion, Manners 
and Politicks of different Nations, with 
Repreſentations of the Virtues and Vices. 

The Subjef?s of the Progreſs of the Arts, 
will contain the different Stiles of the Arts; 
by comparing the antique Remains and 


Ruins of — with the Works of the 


Gothick 


a fine COLLECTION of PRINTS. 111 


Gothick Ages, and of thoſe Maſters who 
have flouriſhed within theſe 250 Years; in 
order, by that Means, to obſerve their 
Original, Increaſe. and Decay; and laſtly, 
their Re-eſtabliſhment in the Perfection and 
Beauty we now ſee them. | 

The mixed Subjects may contain Volumes 
of Portraits of eminent Women, Hunting- 
Pieces, various comical and groteſque Sub- 
jects, &c. - : 

But as theſe three different Sorts of 
Subjects deſerve a more accurate Deſcri 
tion, that the Curious may ſee what each 
Volume ought to contain, in order to form 
A more agreeable Symmetry between them; 
I will give an exact Account what each 
Volume ſhould be compoſed of. 

The firſt ſhould contain what paſſed in 
the Beginning of the World, according to 
the Books of Moſes, Geneſis, Exodus, Le- 
viticus, Numbers, and Deuteronomy. 

The 2d ought to be a Sequel of the 
Sacred Hiſtory, as it is found in the Books 
of Jeſbua, Judges, Ruth, and Kings. 

The zd ſhould contain the Remainder 
of the Hiſtory of the Old Teſtament, ac- 
cording to the Books of Eſdras, Tobit, 
Judith, Eſther, Job, the Prophets, and the 
Maccabees. 


The 4th may ſhew us an Abridgment of 


Nature, the Compoſition of the World, 
: . 5 according 


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Medals and Statues.” 


2 An IDra of 
according to the Poets and ancient Heathen 
Philoſophers; the four Elements; the: 
Heavens, the Conſtellations, Planets, and 
fixed Stars; the Fire; the Air, Winds, 
and Birds; the Water; the Seas, Rivers, 
and Fiſh; the Earth, its ancient Geogra- 
phy; ſome uncommon Trees, Flowers, 
and other Curioſities of Nature; Time, 
the Hours, the Months, and Seaſons; the 
fabulous People and Animals; Man, his 
Creation and Compoſition, his different 
Ages, Manners, and Senſes; his Won- 
ders, and laventions in the Liberal and 
Mechanick Arps. © 

The 5th ſhould contain the tabulous 
Hiftory of the Ancients, of Saturn and 
Cybele, of Jup iter and Juno, of Neptune 
and Ampbitrite, of Galatea, and many 
other aquatick and marine Deities; of 
Pluto and Proſerpine, of the infernal Deities 


and . Torments; of Apollo and Diana; 


which may be confirmed by their different 
The 6th, what may ſerve to illuſtrate 
the fabulous Hiſtory of Mars, of Vulcan 
and Venus, of Cupid and Plyche, of Miner- 
va and the Mu/c es, of ng. Bacchus, 
and Hercules, 
The 7th, a Series of the Hiſtory of the 
Gods, where there 'will be ſome Fables, 
Medals and Statues of che Demi-Deities, 
whole 


a fine Col LRC ION of PRINTSs. 113 


whoſe Names, becauſe of their great Num- 
ber, I ſhall omit. 

The 8th may contain the Hiſtory of 
what is called the Heroick Times, the 
Voyage of the Argonauts, the War of 
Thebes, and alſo Ovid's Metamorphoſes. 

The qth ſhould ſhew the War of Troy, 


the Voyages of Anas and Ulyſſes, with 


the laſt Acts of the Heroiek Ages. 
In the 10th, there may be ſome Subjects 
of the Grecian Hiſtory ; the Medals, Por- 


traits, and Statues of their Hluſtrious Men; 


with ſome Pieces relating to Sicily, and 


that Part. of Nah, which was anciently 
called the Greater Greece. 


The 11th ſhould contain ſome Maps 


and Actions of the firſt and ſecond Monar- 
chies of the Afſyrians and Perſians; with 


ſome other Afatick, Agyptian, and Afri- 


can Hiſtories, 1 
The 12th, the third Monarchy of the 
Macedonians, comprehending the Acts of 
Alexander the Great, and his Succeffors. 
The 23th the Commencement of the 
fourth Monarchy of the Romans; the 
Reigns of their ſeven Kings; under Numa 
Pompilius may be ranged all thoſe Pieces, 
which relate to the Religion, Sacrifices, 
Ceremonies, and Burials of the Romans; 
under Tullus Hoſtilius, every Thing that re- 
lates to theit Militia; and under Targuinius 
Priſcus, 


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1164 An IDt Aa of 


. Priſcus, whatever can give us an Idea of 
their Habits, Ornaments, Magnificence, 
and Triumphs, with the Pomp of their 
publick Spectacles, Feaſts, and Baths. 

The 14th may contain Part of the Tranf- 
actions of the Roman Republick, from the 
Expulſion of their Kings, under their Con- 
tals and Dictators, till the Time of Julius 
Cæſar; and to make this Volume com- 
pleat, there ſhould be a Collection of Me- 
dals, and other Monuments of the ancient 
Roman Families. 

The 15th, what we have of the ns 
— Emperors, Julius Cæſar, and Au- 

uſtus. 

In the 16th, we may ſee the Manner of 
making War, of the Greeks, Romans, and 
ancient Barbarians. We may here have 
ſeveral Plans of the Marches of Armies, 
Proſpects of Camps, of Battles, and the 
Sieges of Cities, purpoſely omitted in the 
preceding Volumes, to aſſemble them 
here together, in order to give us an Idea 
of the ancient Manner of making War; 
and at the End of this Volume, there 
ſhould be a Collection of all Sorts of Ship- 
ping, ancient and modern. 

The 17th will ſhew us the Subjects of 
the Birth, Life, and Miracles of our Sa- 
viour, who was born in the 42d Year of 
the Roman ns under the Reign of 

Auguſtus 3 


a fine COLLECTION of PRINTS. 115 
Auguſtus; where the Chriſtian Era be- 


gins. 
: The 18th may contain the Death and 
Sufferings of our Lord and Saviour; and 
a Collection of Holy Parables. 

The 19th, the Reigns of the Emperors 
Tiberius, Caligula, and Claudius; under 
which will be contained the Hiſtory of the 
Infant Chriſtian Church. 

The 2oth, what paſſed under. Nero and 
his Succeſſors, to the End of the Reign of 
Trajan; and this with Regard to both ſa- 
cred and prophane Hiſtory 

The 21ſt, the Hiſtory of the Dacian 
War, as it is repreſented in the Column of 
Trajan. 

The 22d ſhould comprehend the Ages, 
and Reigns of the Emperors, from Adrian, 
to the Government of Alexander, the Son 
of Mammæa. 

The 23d, the Emperors from Alexander, 
to the Time of Conſtantine the Great. | 

The 24th, the Empire of Conflantine 
and his Children, to the End of Theodo- 
ſius's Reign, which may be called the laſt 
Period of the Roman Grandeur; and at the 
End of this Volume ſhould be placed 
the Eccleſiaſtical Geography of the Patri- 
archates. 

The 25th ſhould contain the Diſſipation 
and Diviſion of the Roman Empire, which 

began 


116 An Ip EA of 

began to be uſurped by the barbarous Na- 
tions, in the Times of Arcadius and Hono- 
rius, and ended in the Eaſt, by the taking 
of Conſtantinople, in the Year 1453. 

The 26th, the diſmal Concluſion of the 
Eaſtern Affairs in Ala, by the Conqueſts 
of Mahomet, and other Ottoman Emperors, 
by the Sophies of Perfia, and the Kams of 
Tartary, 

The 27th ſhould be a Series of the Ma- 
hometan Princes, and Agyptian Sultans; 
the Cheriffs of Morocco, and Kings of Bar- 
bary, that have reigned in Spice; and af- 
terwards there ſhould be a Collection of 
Hiftorical Pieces relating to this third Part 
of the Globe; the Abyfins, the Kingdoms 
of Congo, and ſeveral others. 

The 28th ſhould contain the Habits, and 
Ornaments of the Chriftian Greeks, and 
other Subjects of the Grand Segnior; with 
thofe of the Turks and Perſians; of the 
Tartars, and other barbarous Nations; and 
at the End ſhould be a Collection of ſome 
Cruelties, Executions, ard Puniſhments. 
The 29th ſhould be the Commence-- 
ment of the Religious Orders, which were 
inſtituted in the Eaſt; and amongſt others, 


of the Orders of St. Anthony, St. Bafil, the 


Croſs-Bearers,, the Jeromites, and the Car- 
melites. | 


The 


a fine COLLECTION of PRINTS. 17 


The 3oth, ſome Hiſtorical Pieces of the 
| Knights of Malia, who were alſo inſtituted 
in the Eaſt, under the Name of Knights 
Hoſpitallers of St. Jobn of Feruſalem. 

The 31ft ſhould contain the Inſtitution 

of the Weſtern Religious Orders, and par- 
ticularly of thoſe of St. Auguſtin, and St. 
Bennet. 
The 32d, - Iifercnt Orders that have 
* in the Eaſt, ſince St. Bennet, to 
the Time of St. Dominick, and St. Francis; 
that is to ſay, of the Carthuſians, Premon- 
ſtratenſes, of the Shady-Yalley, the Mathu- 
rins, and of the Order of the Ciſtercians. 

The 33d ſhould contain the Order of 
the Dominicans, and fome Hiſtorical Pieces 
of the Holy Roſary; and afterwards a Col- 
lection of the Images of the Virgin Mary, 
which are held in Veneration by moſt Roman 
Catboltcks. 

The 34th, whatever can give us an Idea 
of the Cite of St. Francis, and of the moſt 
remarkable male and female Saints of his 
three Orders; and laſtly, there ſhould be a 
Deſcription of his Deſert of Averne. 

The 35th ſhould be the Sequel of the 
Order of Saint Francis, containing ſome 
Pieces relating to the Order of the Capy- 
chins. 

The 36th mould contain whatever there 
is relating to the Orders and Religious 

Confraternities 


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118 An IDEA of 


Confraternities that have ariſen in the 
Church of Rome, ſince St. Francis and St. 
Dominick, to this preſent Time. 

In the 37th there ſhould be a Collection 
of all the Habits and Ornaments of Ec- 
cleſiaſtical Perſons, and of all the Orders 
of Monks and Nuns. 

The 38th ſhould be filled with the 
Repreſentations of Religious Ceremonies, 
and of the Magnificence of the Toure of 
Rome. 

The 39th, with the Ceremonies and 
Pomps practiſed at the Interments of Chri- 
ſtians, and of the ancient Pagans, and 
barbarous Nations. 

The 40th and 41ft ſhould contain various 
publick Rejoicings, and Entries, Triumphs, 
Tournaments, Fireworks, Comedies, Dances 
and Maſquerades. 

The 42d, the Chronological Hiſtory of 
the Papacy, divided into Centuries, from 
the Time of Pope Leo the IIId, to whom 
Charles the Great gave the City of Rome, 
to the preſent Pontificate. 

The 43d, the Sequel of the Hiſtory of 
the Y2/i, containing a particular Deſcription 
of the modern City 2 Rome, its Churches, 
Palaces, publick Buildings, Villas, Orna- 
ments, and the remaining Monuments of its 
ancient Grandeur, 

The 


a fine COLLECTION of PRINTS. 119 

The 44th, Hiſtorical Subjects relating 
to Italy in particular; and firſt of the 
Temporal State of the Pope, as it is now- 
a-days, both within, and out of Tah. 
The 45th ſhould contain the Sovereign 
States of Ttaly; and in this Volume there 
ſhould be a Collection of what relates to 
the Republicks of Venice, Genoa, 80 
Raguſa, and St. Marino. 

The 46th, the Sequel of Tay, con- 
taining the Dominions of the Kings of 
the Sicilies, and Sardinia, the Grand Duke 
of Tuſcany, Duke of Modena, and of the 
Houſe of Auſtria, and other Princes in 
Hay. 

The 47th, the Flidiveical Subjects re- 
lating to the Kingdoms and States of the 
King of Spain, in Old Spain. 

The 48th, thoſe of the Kingdom of 
Portugal; and afterwards thoſe concerning 
the Deſcription of both Spains. 

The 49th ſhould be a Collection of 
Hiſtorical Pieces, relating to the Dominions 
of the Houſe of Auſtria, in the Low Coun- 
tries. 

The zoth, a Collection of thoſe relating 
to the Dominions of the King of Spain in 
the New World; and here ſhould be every 
Thing that regards America. 

The 51ſt, the Dominions of the King 
of Spain in ”— ; under which ſhould be 
comprifed 


120 An Ip EA of 

compriſed what relates to the Zaſt-Indies, 
China, Japan, India Proper, and the reſt 
of the Indian Princes. 

The 52d ſhould be a Collection of what 
concerns the Republick of the United Pro- 
vinces. 

The 53d, an Hiſtorical Collection of 
whatever regards the Kingdoms of England 
and Ireland, to the End of the Reign of 
Queen Elizabeth. 

The 54th, of what relates to the King- 
dom of Scotland; and to the three King- 
doms of England, Scotland, and Ireland, 
ſince the Union of thoſe Crowns in the 
Perſon of King James the VIth of Scatland, 
and Iſt of England ; with a Deſcription of 
this Monarchy. 

The 55th, of what regards the Northern 
States; that is to fay, Ruſſia, Poland, 
Sweden, Denmark, and other Northern 
countries. | 

The 56th ſhould contain the States of 
the Kingdoms of Bohemia, and Hungary, 
the Arch-Dutchy of Auſtria, the County 
of Tirol, and other hereditary Dominions 
ot the Houſe of Auſtria. 

The 57th, the Hiſtorical Subjekts con- 
cerning the Emperors of Germany, from 
Conrad, Duke of Franconia, who tranſ- 
ferred the Empire from the French to the 
Germans, to the late Emperor, - 

1e 


1 


a fine COLLECTION of PrINTs. 1 121 
The 58th, what relates to the nine 
Electors of the Empire, as well the Eccle- 


ſiaſtical as the Secular. 


The 59th, what relates to the other 
German Princes, both Eccleſiaſtical and 
Secular. | 

The 6oth, what e che Free Cities 
of the Empire. 

The 6 ut ſhould contain whatever re- 
lates to the Republicks of Switzerland, Ge- 
neva, the Eriſons, the Principality of Newf- 
chatel, and the other Allies and Subjects of 
the SWItZers. 

The 62d, what concerns the Dutchies 
of Burgundy, Normandy, Lorrain, and Bri- 
tary, before they were united to the 17ench 
Monarchy. 

The 63d ſhould contain the Antiquities 
of the Gauls, and the Portraits of their il- 
juſtrious Men, before the coming of the 
Hanks, under their firſt King Pharamond. 

The 64th, what regards the Hiftory of 
the French, during the firſt Race of their 
Nings, Ader their Arrival in Gaul, under 
the Conduct of Pharamond. 

The 65th, what regards the ſecond Race 
of their Kings, from Pepin, to Louis the 
Vth. 

The 66th ſhould begin wah the third 
Race of their Kings, and contain every 
Thing that relates to them, from Hugh 

G Capet, 


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122 An Ip EA of 


Capet, to the End of the Reign of Charles 
the Fair; ' where the Right Line of the. 
eldeſt Branch ended, 

The 67th ſhould contain what concerns 
their Kings of the third Race, from Philip 
of Valois, to the Death of Louis XI. 
The 68th, the Reigns of their Kings, 

Charles the VIII. Louis the XII. Francis 
the I. and Henry the II.; and as by the 
Marriage of Mary of Burgundy, with 
Maximilian, Europe has been ſince divided 
into the two Families of Auſtria and Bour- 
Bon; to avoid Confuſion, thoſe Pieces re- 
lating to the foreign Wars of the French, 
with the Portraits of the eminent Men, 
who have been either their Allies or Ene- 
mies, may be put UNGEr the Reigns of their 
Kings. 

The 69th and -oth may contain the 
Reigns of their Kings, Francis the II. 
Charles the IX. and Henry the III. 

The 71ſt, what relates to the Order of 
the Holy Ghoſt, which was inſtituted by 
Henry the III. and here may be the Names 
and Arms of all the Commanders and 
Knights of the Order, from its firſt _ 
tution to the laſt Creation. ; 

The 729, what relates to the Reign 4 
Henry the IV. 

The 73d may contain the Beginning of 
the __ of Louis the XIII. his {gears 

tho 


a fine COLLECTION of PRINTS, 12; 
thoſe of the Queen, the Princes and Prin- 
| ceſſes of the Blood; with the Arms or 
Portraits of the Cardinals, Biſhops, and 
great Officers of the Crown, and Houle- 
hold. 

The 14th, the n and Portraits of 
fome Eccleſiaſticks, Religious, and Secu- 
lars, of all Conditions, who lived, and 
were engraved, during the Reign of Louis 
the XIII. to which may alſo be joined Van- 
Dyk's Portraits. 

The 75th, ſome Pieces of the magnifi- 
cent Ceremonies, Rejoicings, and other 
Feſtivals, that paſſed in France, in the 
Reign of Louis the XIII. 

The 76th, what paſſed of the ſame Kind 
in Foreign Countries, during this Reign. 
The 77th, the Pieces repreſenting the 
warlike Exploits of the French Nation, 
from the Beginning of the Reign of Louis 


the XIII. to the Year 1629; when all the 


cautionary Towns of the Proteſtants were 
reduced to his Obedience. 

The 78th, the military Actions that 
paſſed in Europe, from the Time of Louis 
the XIII. to the Rupture of the Peace with 
Spain, in the Year 163g. 

The 79th, the military Actions, from 
the Treaty of Peace at Treves, to the Death 
of Louis the XIII. 


G 2 The 


224 An IDEA of 

The Soth may contain the Habits and 
Ornaments of the ancient and modern 
French, from the firſt Eſtabliſhment of that 
Monarchy, to the preſent Time; to which 

may be added, thoſe of che conquered Pro- 
vinces, with the Cries of Paris, Callo?'s 
Beggars, and the Country Sports and Paſ- 
times of the French. 

The 81ſt, a Series of the military Ac- 
tions during the Reign of Louis the XIV. 
the Regency of the Duke of Orleans, and 
the Reign of Louis the XV. now living. 

The 82d, a Series of the magnificent 
Ceremonies, Feſtivals, publick Rejoicings, 
Fireworks, Sc. during the ſame Time. 

Ihe 83d ſhould be a Geographical De- 
ſcription of the French Monarchy, as it is 
now divided into Provinces, Parliaments, 
Governments, Generalities, Dioceſes, and 
Sub-diviſions; to which ſhould be added, 
Charts of the Coaſts, Plans, or Profils of 

the fortified Towns and Fortreſſes, of the 
principal Churches, and publick Buildings, 
and of the Royal Palaces, with thoſe of 
the Princes of the Blood, Nobility, and 
Gentry. 

The 84th ſhould contain Maps of the 
States and Provinces, with Plans or Pro- 
fils ot the principal Fowns and Fortreſſes, 
which have been added to the French Mo- 

narchy, 


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a fine COLLECTION of PRINTS. 125 
narchy,. from the Beginning of the Reign 
of Louis the XIII. to the preſent Time. 

The 85th, the Portraits of all the emi- 
nent Men in the Kingdom of France, ei- 
ther for Arts or Arts. fince the Reign of 
Louis the XIII. to the preſent Time; to 
which may be added, thoſe of Flanders, 
and other Countries. 

The 86th may be compoſed of the Por- 
traits of thoſe People, who ought to be 
avoided; ſuch as, the Authors of different 
Sects, of Men noted for Impiety or Liber- 
tiniſm, &c. to which may be added the 
Repreſentations of Monſters. 

The 87th may be compoſed of the Por- 
traits of Saints and Martyrs, and thoſe of 
their Perſecutors, with Repreſentations of 
the various Tortures that have been inflit- 
ed on them, from the Beginning of the 
World to this Time. 


The Pieces which will illuſtrate the Arts 
of Painting, Sculpture, and Engraving, will 
allo compoſe many Volumes. 

The iſt of which may contain the Ori- 
ginal of the Art of Painting, in the Agyp- 
tian Hieroglyphicks, the Alphabets of dif- 
terent Nations, ſome Bas-Reliefs, Trophies, 
Rings, Cameos, Vafes, Urns, Ornaments 
of Architecture, and ancient Inſcriptions 

and Epitaphs. 
8 2 


126. i 

The 2d, ſome Pieces relating to the an 
cient Hebrews, with a Collection of Feſti- 
vals, Medals, and antique Statues. 

The 3d may contain the two Books of 
the Marquis Juſtiniani's Gallery, which are 
tull of antique Pieces ; and the Trajan Co- 
lumn, which is the moſt entire Piece of 
Antiquity extant. 

The 4th may ſhew us the Decay of 
Painting and Sculpture, during 1100 Years 
that the Empire was on the Decline; from 
Conſtantine, to the End of the. fifteenth 
Century; and ſhould be compoſed of a 
great Number of Pieces. in the Grecian, 
Lgyptian, and Gothick Stiles, taken from 
the old Paintings, Tombs, Medals, . 
and Tapeſtry. 

The ;th may be the Books, intitledd, 
Roma Subterranea, filled with Pieces, in the | 
Decline of the Empire, of the Gotbict 
Stile. 

The 6th ſhould be the Sequel of the De- 
cay of the Arts, with ſeveral Pieces from 
wooden Plates, which ſhew us the Rudene/s 
of their Deſigns, ſince the Invention of 
Printing. 

The 7th may be the Original of the Art 
of Engraving, about the Year 1490 con- 
taining many Pieces of the firſt and moſt 
ancient Engravers ; as of /ſrael, and Mar- 

fin 7. ith he Maſter of Albert _ 
0 


a fine COLLECTION of PRIN TS. 127 
of Daniel and Jerom Hopfer, and ſeveral 
others, 

The 8th, the Works of Albert Durer, 
the Reſtorer of Painting, and great Per- 
fecter of Engraving in Germany and the Low- 
Countries, about the Year 1320. 

The gth, a Sequel for the Works of the 
German and Low-Country Maſters, contain- 
ing ſome Pieces of Lucas of Leyden. 

The roth may be filled with Pieces en- 
graven on Wood, done in Germany, ſince 
1500, to this Time, as well by Lucas 
Cranis, Facob Pens, Holbeins, Hans 3 
fig, as others. 

The 11th may be a Series for Germany 
and the Low-Countries, containing ſome 
Pieces of thoſe, which are called the Leſſer 
Maſters; that is to ſay, of George Pentz, 
Aldegraef, Sebalde, John D'hiſpanien, his 
Brother, of Virgilius Solis, and others, whoſe 
Names and Marks are unknown. 

The 12th ſhould be compoſed of the 
Works of Francis Floris, who is called the 
Flemiſh Raphael, and thoſe of Martin 
Hemſkirk. 

The 13th ſhould be a Sequel for Germa- 
ay and the Low-Countries, containing ſome 
Pieces of Lambert Suave, Lambert Lom- 
bard, of Peter Brugbel, Fohn Mabuſe, M. 
Quintin, George Behan, Gilles Maſſart, and 
Gilles Coignet, of Otho Venius, Cornelius 

G 4 Cort, 


128 An IDEA of 


Cort, and Theodore Bernard of Amſterdam, 
of Francis Klein, a Dane, and of Jobh 
Strada. 

The 14th ſhould be ſtill a Sequel for 
— and” the Low-Countries, contain- 

ſome Pieces of Charles Mander, and 
” pts Pourbus, of Diterlin, and Lambert 
Lenoir, H. Utouch, Denis Calvaert, Abra- 
bam Janſſens, of Paul Morelſer, Nicholas 
Hoey, Geldorp, Colizius, Foſua of Monpre, 
Jebn Heſnaghel, Gerard of 6 roningben, 
Cornelius Vanſichem, Jehn Bol, David Van 
Boons, and Peter Vander-Borcht. 8 

The 15th ſhould contain ſome of the 
Works of Henry Hubart, and James Juli 
Golizius. © 

The 16th ſhould be the Works of Wi L 
liam and Criſpin de Pas, of Magdalen and 
Barbara de Pas, and of ſeveral others of 
that Name. 

The 17th ſhould be ſtill a Suite for Ger- 
many and the Low-Countries, compriſing 
ſome of the Works of Nicholas de Bruyn 
df: 7; beeaore de Bry, and of James e 
G bein. | 

The 1 8th ſhoùid comprehend the Works 
of Jobn, Raphael, Juſtus, and Gilles Sa- 
dalaer, and alfo thoſe of Martin de Vos. 

The 19th ſhould be ſtill a Suite for Ger- 
many and the Loro. Countries, and contain 
ſome Pieces of Anthony and Jerom * 

© 


a fine COLLECTION of PRINTS. 129 
of Lucas Voſterman, Valdor, John Saenre- 
dam, of John and Herman Muller, James. 
| Mathan, Simon Phrygius, Bartholomew Do- 
lende, of Mirevelt, and the Bolſwert's, of 
Michael Suyders, Baptiſt Uriniz, Hans Bol, 
Peter and Gerard de Sode, of Afſuerus Lon- 
derſeel, and of Adrian Callaert. 

The 20th ſhould be another Suite of 
Maſters that flouriſhed” in Germany and the 
Low-Conntries, in the Beginning of the 
17th Century,; viz, of TFoſeph Heintz, 
John of Vingth, ohn Abbach, John Rotten-- 
hamer, of M. Kager, Peter Candide, and 
Dominick Cuſtos, of Chriſtopbher Schuvarts,.. 
Fobn Speccard, and Gerard Seghers, of Ban- 
Holomet Spranghers, Aurabam Bloemaert;... 
Anthony Van Dyck, of Abraham Brower,.. 
Gerard Fonthorſt, James Fordaens, and. of 
Robert Prince Palatine. 

The 21ſt ſhould be the Works of Sins: 
Deter Paul Rubens, a famous Painter of the:- 
Loto-Counlries. 

L would fill the 2 2d with the Repreſen- 
tations of Night, and other dark, gloomy” 
Pieces of various Maſters of all Nations; 
as of L. Gouth, J. Velde, Wiltembrouck,-. 
Rembrant, Vanvliet, and others. 

The 2 3d ſhould. be a Collection of di- 
vers Landſkips, done by Maſters of diffe- 
rent Nations, that is to ſay, of Paul and 
Matthew Bril, of the Sadalaers, Peter Ste- 

G 5 phano, 


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130 An Ip RA 
Phano, Cornelius Corneli, Roeland Savery, of 
Monperche, Claude of Lorrain, of Fouquieres, 
Perelles, of Frederick Scalberge, Som, and 
the Nains, and ſeveral others; to which 
may be added the Pieces of Ruins, of 
Henry of Cleves, Michael Colyn:, and New- 
land; with ſome Sea- Pieces, and maritime 
Proſpects. 5 
The 24th ſhould be ſtill another Suite of 
different Landſkips, viz, by Peter and 
John Brughel, Londerfeel, J. Velde, Tobit 
Kerdach, Vandeboons, Merian, and others. 
The 25th, in order to ſee the Re- eſta- 
bliſnment of the Arts of Sculpture and En- 
graving, ſhould contain ſome Pieces of the 
firſt Painters: and Engravers, as of Anthony 
Peullarolo, Andrew and Benedift Mantegna, 
of Dominick Campagnola, Jobn of Breſcia, 
and James of Verona; as alſo of ſeveral 
ancient Engravers, whoſe Pieces are only 
known by their Marks; as the Maſters of 
the Name of Jeſus, Mercury, the Crab- 
Fiſb, the Bird, the Star, and ſeveral 


Others; to which TI would alſo add, 


{.me Pieces of the firſt 1talian Painters ;. 
as of Giotto, Ghirlandaio, of Hercules of 
Ferrara, of Peter of Perugia, the Maſter 
of Raf bael, and of Giorgione, the Maſter 

of Titian. 
The 26th ſhould be a Suite of the Italian 
Maſters, containing only ſome of the 
Works 


@ fine COLLECTION of PRINTS. 131 
Works of Raphael of Urbin; and thoſe 
engraven only by Mark Antonio, and Au- 
guſtin of Venice. 

The 27th, a Suite of the Works of 
Raphael, engraved by the ancient Maſters, 
from 1530, to 1560 ; that is to ſay, by 
Julius Bonaſſone, Sylvefter and Mark of Ra- 
venna, Beaitrix of Lorrain, and others. 

The 28th ſhould contain ſome Pieces of 
Michael Angelo. 

The 29th ſhould be another Suite of the 
Works of the Halian Maſters, containing 
ſome Pieces of Anthony of Corregio, Francis 
Maizuolo, ſirnamed Parmigiano, and Por 
 tygore of Caravagio. 

The 3oth, the Works of Titian. 5 

The 3 iſt ſhould contain the Works of 
Julio et the Caracci, and Perin del 
Vaga, engraved by Joha B. of Maniua, 
and Diana, his Daughter; as allo by Theo- 
dore Ghifi, and George Julius of Mantua. 

The 32d ſhould be compoſed of the 
Works of the ' Painters and Sculptors, 
that were Contemporaries of Rephae! and 
Michael Angelo, to the End of the 16th. 
Century, viz. of Baccio Bandineilo, the 
Salviati, of Balthazar Peruzzi, Dominiro 
Beccafumi, of Sodam of Sienna, Porgenone, 
Marcellus Venuſto, and Baptiſt, a Monk of 
the Order of Camaldoli. 1 

G 6 The 


132 An IDEA of 


The 33d ſhould contain ſome Pieces of 
Thaddeus and Frederick Zucchero, of Da- 
niel of Veolaterra, Mark of Sienna, and 
Bapliſt Del Moro. = 

The 34th, ſome Pieces of Paul of Ve- 
rona, Paul Farinate, the Baſſans, of Tinto- 
ret, Baptiſt Franco, of Mutiano, and the 
elder and younger Palma. 

The 35th, ſome Pieces of thoſe, ho 
flouriſhed: between the Year 1550, and the 
End of the 16th Century, viz. of Areas 
Vico, Martin Rota, and Reverdino, of Ca- 
inillo Proccacini, Baptiſt Fontana, of Cor- 
nelius Cort, Paſſaro, and Sebaſtian of Ve- 
—_ | 

The 36th, a Suite of the Works of the 
Italian Engravers, who flouriſhed towards 
the latter End of the Sixteenth, and the 
Begirining of the Seventeenth Century; 
that is to ſay, of Cherubino Alberto, Villa- 
mena, of Raphael Schiamindſa, and the 7. 9. 
maſini. | 

The 35th ſhould contain the Pieces of. 
Francis Vanius, Ventura, Salembeni, of G- 
voll, Michael Anbelb, Caravagio, and the 
three Caracci. 

The 38th ſhould be a Suite of the Works, 
of the [alien Painters of the ſeventeenth. 
Centu:y, viz. of the Capuchin Friars, Pi- 
#220, and Coſmo of Caſtel Franco, of Hip- 
politits, Scarzelin, of Schiavone, Cangiage, 

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a fine COLLECTION: of PRINTS, 133 


Borgian, Charles. of Venice, Paſqualin of 
Verona, Alexander Caſolani, Bernard Caſtel- 
lo, Veſpaſian, Strada, Anaſtaſius Fontebuono, 
Francis of V iterbo, Luke Ciamberlani, An- 
drew of Ancona, of Anthouy Pomerange, of. 
Matthew and Frederick Greuter, of Philip 
of Naples, and Stephen della Bella. 

The goth, a Suite. alſo of the Works of 
the Painters and Sculptors, that flouriſhed 
in Nah, during the ſeventeenth. Century; 
that is to ſay, of Cavalier Joſepino, Guer- 
cino, Cirano, Francis, the Fleming, and. 
Marcel of Provence, the. Reſtorer of Mo- 
ſaick Painting, of Geutileque, Valentin, Eds 
ward Fialetti, of Peter Bereting of. Cortona, 
Dominichino, and Guido Rent. 

The 40th ſhould be to ſhew the Re-eſta- 
bliſhment of Painting, in France, and con- 
tain ſome Pieces of Rene, King of 
Sicily, of Leonard da Vinci, Andrew. del 
Sarto, and Roſſo, | 

The 41ſt ſhould be a Suite of ſome of 
Primaticcio's Works, engraved by Leo of 
Aveſnes, and Anthony Fantus, his Engra- 
vers; as alſo ſome Pieces of Jeffery of 
Moutiers, Leonard of. Limoges, Stephen of 
Loſne, Rent Boi vin, Luke Penis, Dominick 
of Florence, and Leonard T, bury. | 

The 42d may be filled with the Works 
of John Couſin, John Genet, of Swiſs, of 
Little Bernard, Peter of La T, our, Lane 

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134 Ar IpEA of 

the Glazier, Juſtus of Egmont, and of fe- 
veral others, engraved in France, ſince the 
Commencement of the ſixteenth Century. 

Fhe 43d ſhould contain ſome Pieces of 
thoſe Maſters, who flouriſhed at the latter 
End of the ſixteenth Century, and during 
the Reign of Henry the IV. and Mary of 
Medicis, viz. of Freminet du Breuil, Bur- 
net, Caron, du Bois, Lallemand, Thomas de 
Leu, Leonard Gualtier, and others. 

The 44th, the Works of thoſe Maſters, 
who flouriſhed about the Middle of the 
ſeventeenth Century, that is to ſay, of 
James Blanchard, de Rabel, Ferdinand, 
Tfaias Fournier, John Lis, Faber and Mal- 
lerac, of Ruelle, Bellange, and James Callot. 

The 45th ſhould alſo be compoſed of 
the Works of James L*homme, of Little 
Francis, Vanmol, Mellin, Qucſuel, St. Igny, 
Join, Rouſſellet, and Peter 6Brebiette. 

The 46th may be filled with the Works 
of the beſt French Engravers, viz. of Clau- 
dius Mellan, Gregory Huret, Peter Daret, 


Gilles Rouſſellet, Michael Laſie, and many 


others. 

The 47th, with the Works of the moſt 
eminent French Painters, that is to ſay, of 
Simon Voiiet, Nicholas Pouſſin, James Stella, 
Champagne, Bourdon, de la Hire, Vignon, 
Loir, Charles le Brun, and Peter Mignard, 
engraved by the beſt Maſters. "= 


a fine COLLECTION of PRINTS. 1325 

The 48th, I would fill with the fineſt 
Pieces of the moſt celebrated Engravers of 
the ſeventeenth Century. | 

The 49th, goth, &c. may contain a 
Collection of Pieces of different Maſters of 
all Nations, who have either been omitted 
or forgotten in the preceding Volumes, 
or have flouriſhed ſince the End of the 
ſeventeenth Century; as well as of others 
now living, whoſe Names I ſhall not ſpecify, 
having an equal Veneration for them all. 


The Subjects of Morality will alſo form 
ſeveral Volumes, vix. 


The 1ſt may contain ſome Emblems of 
the Chriſtian Worſhip. 

The 2d may be the Repreſentations of 
the Virtues and the Vices, with their Sym- 
bols. | | 

The zd may contain a Collection of 
different Emblems, Fables and Enigmas. 
The 4th, a Collection of the Devices of 
Popes, Kings, Prelates, Princes, Noble- 
men, and others. 

And laſtly, the 5th may be compoſed; 
of a Collection of Hiſtorical Emblems. De- 


vices and Enigmas, relating to Love and 
Death. 


The Mixed Subject will alſo comply 
me Volumes, VIZ. 
The 


3 — — —— — 8 


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136 An IDEA of, Er. 


The firſt may be a Collection of the r re- 
markable. Women, mentioned in the Qld 
and New Teſtaments. 

The 2d of Holy Virgins, Martyrs, Fe- 


male Saints, beatified Nuns, Sc. 


Ihe 3d and 4th may alſo be Collections. 
of Chriltian Empreſſes, Queens, and illuſ- 
trious Women of different Nations. 

The 5th may be the Repreſentations of 
Roman Ladies, taken from the antique 
Statues, Bultos, Bas-Reliefs, Se. 

The 6th may contain a Collection of the 
Goddeſſes of the ancient Pagans; with 
ſome illuſtrious Ægyptian, Grecian, Aſiaticł, 
Perſian, and Mahometan Ladies. | 

The 7th may be filled with the Portraits 
of Women, both ancient and modern, 
who were either imperfect, mad, or Profti- 


tutes. 


The 8th may comprehend a Collection 
of all Sorts of Hunting, Fiſhing, and Fow- 
ling Pieces; to which may be added, a 
Collection of all the Animals that are treat- 
ed of in the aforeſaid Pieces. 

And laſtly, the ninth may be filled 
with a Number ef all Sorts of humorous: 
and groteſque Pieces; to which may be 


rades. 


added, a Collection of all Sorts of — 


R E H E R. 


0 1370 


2 „ 
H culptile- Typicur : 


an e — 7 


Complete Collection and Explanation 


Of the SEVERAL 


Macks and Cyphers | 


O F 
ENGRAVE RS, &c. 


rsa eee 


„ 1 
| HANS — that 


1s, Jobn 5 Ge of Nardlu en in Germany. 
We find this Mark in hs olio Book, in 
which the Paſſion, Wrede ee and Aſ- 

cenſion 


138 MARES and Cyrners 
cenſion of our Lord are engraved, with 
Notes by Ulderic Pinder, printed at Norim- 


berg in 1507. He engraved in the Manger 
ct Alberi Durer. 


- 


Stoltzius, he engraved in the 
Guin Taſte. 


3: M. Mi chat Coxts, his Mark of 


eertain Arabian Stories in 68 Plates, dated 
different Years, one is in 1576. 


10 Noe 8 Neel Garnire, Engraver of 


Groteſques, Ornaments, and Figures, parti- 
culary of Arts in 48 Pieces, 


D 2 
5. CP Domenico i a Vene- 
tian, and Scholar to Titian z we meet with 
ſome of his Pieces engraved in 1518, His 
Brother 7ulio was alſo an Engraver. 


6. Micbael 


of ENGRAVERS, &c. 139 


6 : N Michael le Blon, of Frantfort, 
died in Amſterdam, Anno 1050. 


25 A. Rene Boivin, 3 ſeveral 


P lates of antient F "I 


8. IBM John Maria da Breſcia, a 


Carmelite Friar, in 1502 he engraved a 
Virgin ſitting in the Clouds, and under- 
neath, three Saints of the Order of the Car- 
melites. He had a Brother called Fohn 
Anthony da Breſcia, who marked his Plates, 
with the Letters Jo. AN. BX. 4538. 


1 


9. N. 
Micarino, an boese: in the 


Cothick Manner. 


yt 3 Matthew Zagel, engraved 


ſeveral Ornaments, and Groteſque Pieces, 


per lo traverſo, or with Croſs Strokes; he 
lived in 1300. 


v1. Gaſpar 


r - 

ye TE: 9 RING PLE" = 
— — — 

2 * * — — 


— 
— 


b our rr nec on x en_nn rret 
— 5 — 
2 — — — — a 
— —— — LE — —— — — = — I 
= * 72 = => =— I . 
2— wa — ID." NY Te Sm — — — 


140 MaRxs d CYPHERS. 


11. or G;. 
or Gafoer Reverdin, 


or Ravenſtein ; his Pieces are laſcivious, 
and two of them repreſent Curtezans ſport- 
ing together. 


T 2. DX V Dirich- ander- Saren, 


lived in 1500, He marked his Plates with. 
the Month and Tear in which they were 
engraved; as in that of the Flood, and 
another where the Virgin is aloft, and St. 
Bernard at her Feet; marked 3d Od. 
1524, and the other marked Anno 1344. 
He likewiſe uſed the Letter D in which was. 


nm” 


„ERNI nr 


cetus, he publiſhed the Reſurrection of our 
Saviour, — ſeveral Battles. 


| 14. M Anthony Vubrmace, TY 


of Cologn, lived Anno 1529. He engraved 
the Twelve Apoſtles, in a ſtanding Poſ- 
UC. 


15. Vuder 


Se 0 Se. 1341 


15. U X 1 Vuaer Van Fioſſanen, 
engraved 12 Round Plates of the Paflion, 
= underneath various Symbols of our 
Saviour. He likewiſe engraved the Life 
of Chriſt in 60 Plates. 


A Philip Adler Paticina 


with this Mark marked on 5. Chriofaſtnus. 


17. &$ 0 CE Cornelis l 


uſed theſe two Marks in 108 Plates of the 
Old Teſtament, 1369. 


2 An unknown Mark on ſe- 


veral Groteſque Pieces. This Mark differs 
very little from Number 55, which is alſo 
unknown. 


19. Won. 7 Meat Sole engra- 


ved a great many Pieces in Copper and 
Wood, in Hiſbin's Taſte. He- engraved 
the Old and New Teſtaments in 200 lates ; 
the Metamorphoſes of Ovid in 170 ſmall 
Plates; 


142 Marks and CyPHERS 
Plates; Hunting- Pieces in great and ſmall, 
c He ſometimes made che Letter Von 


one Side of the Plate, and S on the other, 
See N ne ba. 


2.0. ey 4 D. Hemi, in 1360. 


He engraved Six of the Twelve Cæſars, 
and various Ovals in 1579. 


Lambrecht Hapfer, a Ger- 
man, engraved all kinds of Subjects : Some- 
times his Mark is a Vaſe of Flowers in the 
midſt of the Letters LH, or the perpendi- 
cular Stroke of the L in the ſecond Stroke 
of the H. He engraved 27 Pieces on the 
Paſſion. 


Mc Aarian Collaert, 
he uſed various Marks, either in the Old 
Teſtament, in Ornaments, in Freezes, 
Stories, Groteſque Subjects, or Deaths 
which are draggihg away ſeveral Perſons. 


23. _ 


ee Ge. 43 


” <% * * 


23. ME Cormet War this Mark L 


in Small Subjects of two Figures each, 


both Lame, and a Charity with her three | 
Children. | | 


-- 


. 
S —— — — 


2 4. M. Martin Hemftink, his Mark 


in various Ornaments, in one of which are 
ſeveral Moles or a: I 548. 


- ö 


26 V 70 Theſe two Marks are in 


various Figures between Niches and Archi- 
tecture of Chappels. 


26. & Luke Van Cranogio, or Luke 
Van Craen, Painter to the Duke of Savoy. 
His Mark is ſometimes L C, with a winged 
Dragon, and the Year 1509. At other 
times his Mark is two little Gothick Shields, 
or with the Mark in Number 35, or 


L. V. C. He engraved in Wood and 


Copper, | 98 0 


27. A 


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MARK S and Cxonnns 


27 „ NM ry Mark 1 84 over 


ſeveral Ornaments of Gothick Architecture. | 


28. or B NB 


Nicholas de Bruyn, he uſed three Matks 
1 different Times. | 


29. 9.0 Cuerenbert, his Mark in ſe- 


veral Turkiſh Stories, and various Subjects 
invented by Martin Hemſcir-rꝛ . 


3 O. 1 Albert Durer, of Norimberg, 


Painter and Engraver, his Mark: He allo 
uſed the Mark A. F. but in very few 


Plates. John Burckmoyr.. Augiiſtano made 


uſe of the former Mark ; an and en 
Grunevald, of Aſchaffemburgh, who was 
Contemporary with Durer as 415 Mart 
Antonio Raimondi, in the Life of Chriſt, 
copied from that of Albert Durer, for Which 
the latter accuſed him before the Senate 
of Venice. 


31. Hiſbel 


of ENGRAVERS, Se. 145 


31. FB Hishel Peun, an Enotinds 


of Norimberg, called Hisbin : He uſed this 
Mark from 1513 to 1549. Hans (or 
John.) Sebald Bebam alſo uſed the ſame 
Mark in his Plates. Some are of Opinion, 
that the Mark at Number 141 is Hisbin's 
Mark. Others, that there were two En- 
gravers of the ſame Name, and that their 
Marks differ'd by changing B in P. See 


in the Abcedario Piltorico for Hans. Sebald, 
age 220. | : 


. Albert  Altegraſt, of . 1 


ph _ a famous Engraver. 


33. 188 Hans Breſanck, engraved he 


Stories of the New Teſtament; and. in 


1619, the Twelve Apoſtles, our Gs: 
and St. Paul. $2 OL 


3. „74 Luca, Van Lodayia 


celebrated Painter and Engraver, uſed theſe 
two Marks; in ſome of his Plates we ſee 
Part of the Mark at Number 133. 


FE = 35. Hans 


> — — FTE — =. . — a as P x: = A 
-_ — ——a 2 = — = — - = + 
——— — — — g 2 — F ne 
_— ——— f—— — _—__ —— —— — — == = ww — word > — — 
2 2 —— — — 2 == 2 
2 he = — 


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5 —— * 2 
- — 
—_———— 


146 MARES and CYPHERS 


35. FK Hans Kaldungs Mark, 
which alſo was uſed by Luke Van Cranogio, 


but for what Reaſon is not known. See 
Number 26. 


5 6. FB Hans Balgung, or Balduin, 


in a Plate repreſenting Horſes, engraved in 
I534. The ſame Mark was uſed by Hans 
Broſamer, in his Plates of Curtius riding in- 
to the Gulph, in his Laccoon, and Solomon 
worſhiping the Idol. Horatio Borgiano 
likewiſe made uſe of the ſame Mark ia 


his Plates, and ſometimes made an H and 
a B. 


31: M Foſs Ammon, made much 
fech a Mark. | | 


T Cornelius Heviſſen. 


38.of 


39. Mariin 


of ENGRAVERS, Se. 147 


39 Ma S n Fee of . 


Romerſiolaen; he alſo marked his Plates 
at: M +S. 


40. Þ Periecouter, his Mark in ſeve- 
ral Figures in a ſtanding Poſture, engraved 


in "339" 


41. DMF Daniel Mignet fecit. 
42 M Peter Mercand. 
43. 42 3, Peter Quaſt, has 


two Marks, making a P andQ. INT 
Times his Mark was P. Raſt, as in cer- 
tain Groteſque Pieces. 


4 K George Pens, Painter and En- 
graver of Norimberg, together with Marx 
Antonio Raimondi, engraved the Works of 
Raphael in Rome. He engraved after Alde- 
graft's Manner, his Mark was ſometimes 


G. P. 1554, | 


MARK S and CYPHERS 


45. „ | | 
The Mark on a Dead 


Chriſt, under which is written Jean Lade- 
Peldi belt inuenit. The ſame Mark is found 
On Other Pieces. 


3 
Peter Cottart, an Engraver 


of Vaſes. 


47. r Andrew An- 


dreani of Mantua, he made uſe of theſe 
two Marks. He engraved on Wood, 4 
tre tagli, or three Croſſings in his Shades. 
The ſecond Mark is found in the Triumph 
of Julius Ceſar in 10 Sheets, engraved in 
11599, and was invented by Andrew Man- 
tegna, who alſo engraved on Copper. An- 
drew Anareani was called il Piccolo Alberto, 
or Little Albert. 


Cornelius Bus, or Boſs. 


{ 


5 49. The 


of ENGRAVERS, Cc. 149 


79. [| F The Mark of certain 


Prints. of. Satyrs, and naked. Figures under 
Trees. 


50. N N A Mark under cer- 


tain Pieces of Foliages and others, in the 
Arabic Taſte, 1338. 


A Mark ww 4 
Chriſt protect by two Angels, 1555- 


1 
A Mark under certain Ana- 


tomical Fi igures. 


„ 
Peter Voeriot of Lorrain, 


Eee of Portraits. 


54. Mor K Boſs, or Boſche, al 


theſe two Marks, different from Cornelius 
Boſs. 


H 5 55. A 


#* 


150 MaRKs and n 


55. X. A Mark on ** Twelve 


Apoſtles in a ſtanding Poſture, in large 
3 This Mark differs but very little 
from Number 18. 


56. FS 8 A Gothick Marlen 


der Lazarus riſing from the Dead. 


87. ip Agoſtino Pariſino, uſed this 
Mark. He engraved the 81 Images de- 
ſigned by Florto Macchi, which are found 
in a Book, intitled, The Emblems of Taub 
Macchi. 


5 8. EI. Hans Lutenſach, who in 


t560 engraved in a Book for the Nuptials 
of the Emperor Ferdinand, Tilts, Tourna- 
ments, and Rejoicings, in Callot's Manner. 


59. =þ A Mark under ſeveral 
Landfkips, in one of which is a Man on 
Horſeback killing a Dragon; tis alſo 
found under ſome little Pieces in which 


Chriſt's 


F Ex OGRAVERS, &c. ry 
Chriſt's Paſſion is engraved. See Num- 
ber 154. | . 


aer 
John Schorel's Mark under 
the Twelve different Labours of Hercules. 


61. VO ;vw ra nt 
I. Virgilio Sole, of Bruſſels, un- 


der a dead Chriſt, engraved on a large 
Plate in 1542. See Number 19. 


- 


62. W The Mark found in an Old 


Teſtament in 50 Sheets, ſome of which are 
marked S. F. Tis likewiſe found in 195 
Plates of the Roman Wars, and in 129 on 
different Subjests, with Latin Characters 
at Top and Bottom. This Artiſt likewiſe 
uſed the Mark I. A. 


63. CS A Gethick Mark. 
64. N The Mark on a Print re- 


preſenting a Satyr piercing a Prieſteſs of 
Bacchus with an Arrow. 


H 4 65. Theodore 


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in a Woman with her Back towards you. 


5. MAR Ks and CYPHERs 


65. *;, T beodore Zaghtl, his Mark 


66. AC A Mark in an Adam and 


5 Np 
A Mark in a Peaſant, who 


endeavours to break a 2 from a Tree. 


8 
A Mark under the Four 


Evangeliſts. 


69 5 A Rene, or Renato Lochon, 


uader ſeveral Portraits and Works of Pol:- 
dore, 1051. 


70. 


Leonard Gauliter. 


of ENGRAVERS, Sc. 153 


7 I. P. Pub Lombardi, he engraved 
the Works of Monſieur — 


2. 
7 F John Covay, 1 the Works 
of Mr. Yovet, and others, 


73 & Francis Cauveau, engraved a. 
2 many Plates. 


74. D. Peter Daret, engraved various 


Subjects and Portraits, 


28 : ML Michal P Aſne, engraved: 


the Rudiments of Deſigning, and other. 
Plates. ; 


N Francis Perier, Painter and En- 
graver, publiſhed ſeveral Roman Antiquities: | 
5 5, as in the Index of Re n 


/ 77. 1 ＋* A Mark in certain clic 


Pieces dated 1545. 
H 5 „ 


— 


nio 


E © eD if 
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— 


F ENGRAVERS, Fe. 155 


8 9. & Jacinto Giminiani, of Piſtoja, 


Scholar to Peter da Cortona. 


o. K. CE 
9 M The Mark of a certain Mer- 


chant, who bought a great Number of 
Copper Plates, under which he ſometimes 
put the Letters A. S. excudit, Anthony 
Salamanca likewiſe made uſe of the ſame 
Mark. | 


9 1 M * /& = two: 


Marks are in Twelve Pieces copied from 
the Paintings in the Chappel of Fontainbleau; 
on one Side is the firſt Mark, ſignifying S. 
Martin of Bologna, who was Franceſco Pri- 
maticcio, called Abbot of S. Martin's; on 
the other is the ſecond Mark, which ſtands. 
for Anthony Guernier the Engraver. The 
Reader will hereafter meet with the other 
Marks uſed by Abbot Primaticcio. 


IS! Adamo, a Sculptor of Man- 
tua, engraved the Angles of Michael An- 
gelo Buonaroti, in ſeveral Plates, and worked 
for other Maſters. 


Ho 923. Theſe 


156 MaRKs and CYPHERS 


93. GM MW Theſe 


two Marks were uſed by Giorgio Ghiſi, of 
Mantua; he ſometimes put a Mantovan 


fecit. 
04. F 3 
Stephen Colbenſtagh Sc. Romæ; 


he engraved the Paintings of Domenichino. 


* 61 Gio. Benedetto Caſtiglioni, of 
Genoa, a famous Painter and Engraver of 
all 8 


96. PP Peter Teſta, of 


Lucca, a Painter and copious Engraver, 
uſed theſe two Marks, He was Scholar to 
Peter da Cortcna. 5 


9 is Y 'The Mark of a Nativity, co- 


pied from Parmigiano, engraved by Luke 
Allan. 


98. Wor- = adv 


ee of _— or Padua, n 
and 


of EN GRA VERS, Ge. 1 


and Engraver, his Marks: The ſecond 
Mark is found in the 10 Plates of the Tri- 
umph of Julius Cæſar, engraved by himſelf, 
and afterwards cut in Wood in 1599, by 
Andrew Andreani of Mantua, as we ob- 
ſerved in Number 47. | 


99: MoD | Mark Anto- 


nio Raimondi, of Bologna, called of Frantr, 
Raphael Urbin's Engraver, his Marks; 
which Pieces he marked with the Letters 
R. S. M. F. intimating by the two firſt 
Letters, Raphael Sancio, by the two laſt 
Marco Francia, or Marco fecit. He like- 
wiſe employed other Marks, i. e. B. S. 
fignifying Bononienſis Sculptor. In his 
Plates copied from Buonaroti he put MI. 
AG. FLO. i. e. Michael Angelus Florenti- 
nus; and afterwards for his own Mark he 
employed that of Mantegna, expreſſed in 
Number 98, which in like manner may 
alſo ſignify Marcus Antonius fecit. In the 
Life of Chriſt engraved by him, and co- 
pied from the Plates of Allert Durer, of 
Venice, he marked the Leaves with Albert 
Durer's Mark. L 


100. Che- 


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158 


MARE s and CYPHERS 


ar GN Cberu- 


bino Alberti Bergbegiano, that is, da Borgo 
S. Sepolcro, uſed theſe two Marks. He en- 


graved the Works of Rapbael, Michael 
Angelo, Polidore, and others. 


* * Silveſtro da Ravenna, 


Mark Antonio's Scholar and I mitator, from 
— 5 to 1360. He employed himſelf 
wholly in engraving the Pieces of Rapbael 
and Julio Romano. 


TOO. 


roa. Hor Tin The feſt of 
theſe Marks s of Bernardo Caſtelli, a Ge- 


noeſe Painter and Inventor. The ſecond of 


Camillo Congio, an Engraver, whole Mark 
was allo C. C. fecit. 


3. V Lewis Valeſio, of Bolog- 
un, Painter and * his Mark was 
alſo VAL. 


104. Rophad 


of ENGRAVERS, &c. 159 


Raphael Scaminaſſi, 


Painter K. Engraver. 


10 3+ FF Odoardo Fialetti fecit. 


He was a Painter and e of Bolagna. 


106. NON Two Gene 


Marks uſed by Salvator Roſa, a Neapolitan 
Painter and Engraver. 


. ME. 
A Mark under a St. 


Sebaſtian engraved by Michael of Lucca, 
after the Manner of Michelagnoleſco, 1550 3 
and we find the ſame Mark in a Madona of 
Raphael, and after it, ERRY. exc. 


108. 421 Bernard s an En gra: 
ver of all Subjects. | 


109. Martin 


160 MARES and CyPHERS 


10 
* M Martin Rota Sabinenſe, 


ſometimes marked with theſe Words, Sa- 
benzanus fecit. 


O, 
EA AB, Luca Penm Romano, or 
Luca P. R. was Raphael Urbin's Scholar, 


and Brother to Faltorino; he invented very 
beautiful Subjects, which were engraved by 
Giorgio Ghiſi of Manu in 1550, 


EY [ Fr Henry Goltzins : This ce- 


lebrated Dutch Engraver imitated the Man- 
ner of ſeveral Maſters who lived before 
him. He engraved Raphael's ang; 
and thoſe of Other ny. 


——— 


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* James Grand Mond, engra- : 
ved the Portraits of the Herefarchs, and 
others after Rembrandt's Manner; at other 
times he marked thus, F. G. Van Uliet. 


—— 

— 

—— oo 
> 


— a= 
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poet ene * 
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8 


: 


Cornelius Berghem, or Ber- 


chen, is ſomething like the Mark 102. 


114. The 


of ENGRAVERsS, Sc. 161 


114 , The Mark of Albert Fla- 


nen in certain Plates of Birds, Beaſts, and 


| Fiſhes. Alexander Badiali, a Painter and 


Engraver of Bologna; and Anthony Boſs, a 
Native of France, likewiſe uſed this Mark. 


5 or Two Marks of 
Peter Vander Netpe, an Engraver of all Sub- 
jects, 


3 16. 41 Theodore * Tulden, 


likewiſe an "IN of all kinds of Sub- 
jects. 


LE 1 N Francis Villamena, of 4j- 5 


l, an excellent and expeditious Engraver. 
He likewiſe uſed the following Letters, 
F. V. F. of $: Villam. F. 


11%. FB, 
David Van Boons, Inv. 


and after this Mark we read Oons; his 


Plates were engraved by P. Servator Sc. 
1 TM 16. 


162 MAR RS and CT PHERS 


119. Q I C. Bronchorf, in certain 
Landſkips, in which we likewiſe find the 
Letters C. P. i. e. Cornelius Polemburgh 
Pinxit. 


120.T, or I, RE 


Voſterman, Painter and Engrayer of Au- 
wer p, was adviſed by Peter Paul Rubens 
to apply bimſelf to engraving z he engra- 
ved the Works of the ſaid Rubens, as alſo 
thole of Raphael, and Vandyck. 


121. $0r $$ The Marks of 


Hans Saenredam, a A": : He died in 
cated 


122. 101 James de Gbein excudit, at 
Charles Manager's 1608. 


1 W The Mark of Adin 
Ziſheimer, who worked with Peter Breug: 
hel. 


124. The 


FEN OGRA VERS, Cc. 163 


124. NA The Mark in certain 


Landſkips of Henry Cliven or de Clef. Mar- 


tin de Clef alſo made uſe of this Mark. 


l Ap 220 This Mark is of Schelde 


a Bolfwaert, and was uſed by him when 


be had not a mind to ſubſcribe his own 
Name. 


126. 
RI Rembrandt ; at other times 


he uſed to put Yan Rhin inu. He wes a 


Painter and Engraver. 


M. 
Near this Mark we read 


Ohn. and theſe e ande engraved by 


Fo Van. Velde. 


128. W A Mark in certain 


Landſkips and Solitudes, ſignifying An- 


thony Van Vuaterl Inventor; tis fome- 
times joined with the firſt of the three 
Marks that follow next, i. e. H. 8. P. 


made i in one. 
̃ 129. Foſeph 


R e ITT In: LESS OO 7 Sane 
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164 MaRKs ond CYPHERS 


129: $Þor/ALoreA 


Joſeph Ribera, called Spagnoletio, uſed 
theſe three Marks at different Times. 


« 3 E The Mark of a Virgin en- 


graved by Cornelius Boſs, and underneath 
Michael Ange : inv. that is Buonaroti. See 
Numbers 48 and 54. pens 


* 


* N The Mark of a Virgin 
Sitting, after the Manner of Durer, and 
underneath 1510. 


N 3 1 S. This Mark is 1 a mal 
Virgin ſtanding on a Half Moon. 


133 .* VIXF1 , A Mark un- 


der a S. Veronica, holding the Holy Hand- 
kerchief. The former Part of this Mark is 
ſeen in ſome Plates of Lucas Van Leyden. 


N 34. MEH) 1 04d, of 


Parma, Engraver and Painter. 


135. Agoſtino, 


5 


136. SY 


, EN GRAVE RS, Cc. 165 


, 3 5 XX Ageſtino, A Vanthian, Scho- 


lar to Mark Antonio Raimondi, engraved at 
Rome, the Paintings of Raphael, Julio Ro- 
mano, and others, He alſo marked with 
the Letters A. V. I. or A. V. 1525. 


F GB FE Della 


Bella, of De a famous and whimſical 


Engraver. His other Mark is S. B. 


1 
3 7. GD ., Tulio Ceſare Venenti, an 


Engraver of Bologna. 


138. . 
Joſeph Maria Metelli, 


of Bologna, a famous — fantaſtical En- 


graver of all Kinds of Subjects. 


139. H. Andrea Salmincio; of Bo- 
!o7na, an Engraver, and Valęſio's Scholar. 


W 1 
" zu : 
2 


1340. Do- 


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ry COR OO ns — ů —̃ — —— - 2 — PLE Ic — 
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166 MARES ond CypurRs 


140 Domenico Beccafumi Sienneſe, 


a Painter and Way cours We alſo find this 
Mark in certain Wooden Cuts, copied from 
71 itian's Paintings. He died in 1349. 


141. ISP See Number 31, where 


we find pretty near the ſame Mark. 


14200 
* Francis de Poilly, engra- 


ved for ſeveral Maſters. 


43 AS 
Anthony Salamancs, or 


Ant. Sal. exc. 1543. 


144. I ; The Mark of Herman 


Coblent under the Four Evangeliſts and 
other Plates; one of David, of Judith, and 
Lucretia; and afterwards Adrianus Huber- 


Jus exc. 1576. 


4 45 : 2 Raphael Urbin, a cele- 
brated Painter and Inventor, whoſe Pieces 
were 


of Ex GRAV ERS, Cc. 467 | 
were engraved by the greateſt Maſters. In ; 

the preſent Mark he gives the Initials of ; 
his Name and Sirname. See Number 99. 


5 C | hy 
146 I] Hans Liefrinck, who thus 


marked certain Plates repreſenting Birds 
and Hunting-Pieces, with Ornaments, 


147. Domenico Barriera, of 


Florence, who going commonly by the 

Name of Domenico Fiorentino, marked ſome 

Plates D, F. 1647. The ſame Mark was 

uſed by Domenico Bonavera, an Engraver of 
Bologna, and Domenico Bettini à Painter, 
N in his Pieces of Flowers and Animals. 


, 48. N Anthony Tempeſta, of Ho- 


a rence, a famous Engraver: His Mark was 
0 ſometimes a T. with an E. joined to the 
id Leg of the T. - 


I 49. IN Nicolas Beatrici Lotha- 


ringius fecit. 


150. Theo- 


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— — — — — — — ————— * 2 — - - ? S £ _ r 2 * r * 3 * . 


© WS — 2 —— —— _ 
= . ——— edr 
8 — mat en the — VE hs 3 , — 


| Delft Sculpfit. 


168 MARES and CYPERRE 


150. Fe hon 
Theodore ied: or Ege 


Engraver. 


- % —_— %.. 


1 3 
5 A "4 Andreas Vande-Venne pin- 
xit, VV. Delft. Sc. that is, Pillielmus 


- HQ . 
® wy 


* 


5 KI Henry Van Cliven, or Cli- 
venſe, or de Clef, a Painter of Antwerp, 
who died in e See Number yu 


15 3 MI Matthew Grunewald, fir- 


named of Aſchaffemburg, Painter and En- 


graver after the Manner of Albert Hurer; 


he died 1 in 1310. 


I 54 N The Mark of ſeveral 
little Plates, repreſenting our Saviour's 
Myſteries, engraved either by Agnes Freij, 


Albert Durer's Wife, or ume Scholar of 
his. 


— 


155. Gio. 


F 


of EN ORA VERS, c. 169 


I 55: Gr Gio. or (Jab) Batiſta Gel. 


leftrucci, of Florence, Engraver, inſerted in 
the Catalogue of Roman Painters, in the 


Year 1652. He engraved ſeveral of the 
Baſſo-Relievos of Pohdore. 


150. M 
5  _ Guido 58 fecit. 


The Mark of ſeveral Pieces painted at Fen- 
zainebleaun by Abbot Primaticcio, and en- 
graved by the above-mentioned, who ac- 
companied him 1 into France. 


5/ The Mark of Juſtus Fa- 


dalaer. He ſometimes uſed only this Mark; 


at other times he added, dalla, . 8. 
exc. is the ſame. 


13 8. . Alexanller Agardi, 'Seulp- 


tor of Bologna, in a Concluſion engraved by 
Francis de Poilly, 1653. He at other 
times made uſe of the ſame .Mark, but 
without the G. 


I : 159. Francis 


17 Marks and CYPHERsS 


— 


159. SE Francis Maria Fran- 
cia, an Engraver of Bolegna. . 


160. DNN | "Win Vighi, or 


Vico, of Parma. His other Marks are . 
E. V. E. V. 


161 6 CounT pt Caylus, of 
Paris, his Mark, on his Engravings in 
Wood, Cc. from the Drawings of the 
greateſt Maſters. 


162. 
| The Mark of Cri/pin Paſ- 
| ſeus, or Criſpin de Pas. 


163.7 5 The Mark of Charles A. 
bertus, in a Book of Vaſes from Pohdore. 


1 64. . Caſpar Li ken. 


165. Georgt 


of ENGRAVERS, Sr: - 0 


* . 
_— Keller. 


166. D 
David Ten eniers. 


167. Hr. 
7 a or Biſhop 


fecit, 


168. 1 
Francis Couvean, Sec Num- 


ber 73. 
h ho Rnd 
Henry Hondius. 
1570. 
. St. Martin di Bologna. 
N. 
The Mark of Raphaet 


Scbiaminalſi de Burgo, on the Heads of our 
Saviour, the Virgin Mary, and the Twelve 
12 Apoſtles, 


7 2 MARES aud CYPHERS 
Apoſtles, in 1606 and 1607, as big as the 
Life. See Number 104. 


1 | jp JE 
7 4, Z. Dolends. 
173. A 
73. Anthony 7 pelt 8 


Marks in a Bock äntitled, in Quatuor Evan- 
geliſtas Arabice & Latine, printed at Rome. 
See Number . 


IT 
74 A # Genoels, on his Land- 


ſkips. 


£ 755 Wees Feil, _ 


ſeveral Prints from Rubens. 


176. 
7 W Mencgſiaus Hollar Pra- 


genſis excudit. 


77 IV. On the Plates in a Book 


an 12mo. intitled, Liberatione di Vienna dall 
Armi Qttomane, di te Lotti. Parmo 
468g. 


158.00 


19H 


oF ENGRAVERS, To 173 


3. K 
On an Eidhiag of our Sa- 


viour fainting under the Croſs. 


79 FE. Hen. Cock exc. 1570. 


180. 
1536. 


181. ApB 
On the Senſes very 


ſmall, 1569. See n 40. 


N 
On two Prints, the Wiſe - 


Men offering, and a Circumeiſion, after 
the Manner of Lucas Van Leyden. 


On the Plates of a Book 
= Quan intitled, Medailles Antiques de 
Ms Ant. de Pois. Quarto. 


13 184. Claudio 


174 MARES and CYPHERS 


: 84. Claudio Metelk, on 45 80 
Plates of che Cries of Bologna, by Hanni 


bal Carracci. 


I 88 
* 5 See Numbers 19 and 61, 


| | Iſrael Martin, ene of the 
firſt Engravers. Albert Durer, Lucas Van 
Leyden, and Alaegraft, were his * | 


I 8 7- VN Nicolas Andrea. 
45 88. A, Alexander Ballads a Pain- 


ter; the firſt 1 theſe Marks was uſed by 
Anibony Boſs. 


a 89. IB Jac Bink, Painter and 


Scul ptor. 


190. Peter 


of EN GRAVv ERS, Sc. 775 


As 1 
1 9 Os h = : 
Mpeg: Peter Brebiette, Painter. 


191. (Cc or CC inv. 


Cignant, Painter. * 


Carlo 


1 (N Stepbanus Coll. agb, 


much like Number 125. 


193. DI. FO * "4 D. de Larmeſſin. 


19 4. H Hermannus Henr. Quiter, _ 


195. 


Cornelius Viſcher. 


| 1 4 196. Thomaus 


176 MARES and CYPHERS 


196. (> : 
90 Thomaus Cookſon, an Engliſh 


Engraver, uſed. this Mark. Some of his 
Works bear date from 1609 to 1624. 


W 


Rp 40 Two Marks made uſe of 
by Prince RuyerT, the firſt to a Sa- 
racen's Head, the latter to a Man with a 
Spear, both in Mezzotinto ; to him we are 
indebe. d for that delicate Art. 


| FL f Jobn Evelyn, Eſq; 
bis Mark to five ſmall Prints of his Journey 
from Rome to Naples. | 


198. 


I 99. 2 Jobn Vanſomer's, which is 


ſometimes miſtaken for Paul Yanſomer. 


200. W The Mark on Mi- 


chael Angelo's laſt Judgment, of one Foot 
ive Inches by one Foot ten Inches, Rome. 


201. The 


F EN GRAVERS, c. 177 


201.4 
a 83 The Mark of Bartholomew 
Breenbergh, on Landikips. 


P | f 


A Mark on a 


201 
Head of Albert Durer. 


N. B. Number 62 is alſo the Mark of 


Simon Hrizius; and Number 128 is alſo that 
of Antonius Waterlo. 


I 5 The 


(179) „„ 


Nee -v e M- N 3 LI 
e 2 


The Initial Letters uſed 
by Engravers I their 


Marks. 


AB Theſe two Letters joined rogetber, with 
an F iſſuing cut from the B, is the Mark 
of Alexander Badiale of Bologna, Fain- 
ter and Engraver. 

Ab. Bl.; 5 au. eres Bloemaert, an We. 


AB: fatigable Dutch . 
A. Both. Andrew Both. 
2 5 Are all Marks of Au- 


| guſtino Carracci of Bo- 
12 80% = logna, à celebrated Pain- 
Ag. Bononiz, ter and Engraver. 


A. D. J. F. Anthony de Jacquart Fecit.. 

He engraved ſeveral Pieces. 

A. D. Bruin, /ee Number 20. 

A. G. Albert Glockentonius, zn the Twelve 
Plates repreſenting our Saviour Paſſion. 

A. F. A Mark found in ſome Plates of, AE 
bert Durer, ſee Number 30. 


FT ons © 


180 The INITIAL LETTERS 

A. L. P. I. Anthony Licinio Pordenone 

inv. Edward Fialetti ſc. 950 

A. P. M. A. Abbas Pri maticcius inv. Mark 
Anthony exc. This Mark is found in a 
Plate repreſenting a Shepherd lying under a 
Tree; and another holding his Hand on a 
umwver/al Planiſphere. 

A. S. See Number go. 

E. V. See E. V. gniſying Eneas Vighi, 
or Vico; and ſee Number 160. 

A. V. t Agoſtino e Venetian. See 

I. * Number 125. 


B. John Sebald Beham. See Number 31. 
_ Abbot Primaticcio, who in France was 
called of Bologna, uſed the Letter B for 
bis Mark. *Twas alſo uſed by il Bonaſoni, 
and likewiſe by Domenico Beccafumi, in- 
ter ſecling it with: a Line, as in Num- 
ber 140. 

BAL. SEN. Baldaffar Seneſe, i. e. Baldaſ- 

ſar Reruzzi of Sienna. 

B. B. Bartholomew Boham of” Norimberg; 
he engraved in Rome, and in Bologna, 
with Mark Antonio Raimondi. Bar- 
tholomew Biſcaino, a Genoele Painter, 
alſo ujed theſe Letters in ſuch Plates as 
were of his own. Invention. 

B. B. A. F. Baccio Bandinelli, a F Joren- 
tine Architect. 

Belli fecit. N Nn. Se F. 

„ 


uſed by EN-GRAVERS. 181 

B. C. Equ. Bartholomew Coriolanus, of 
Bononia, Knight, 

B. F. v. F. Baptiſt Francus Venetus fecit. 

B. M. VVV. Bernardo Malpucei, of Man- 
tua, Painter and Engraver; be engraved 
in Wood with tbree Tools; with the firſt 
be made the Profil, with the ſecond the 
Shadows, and with- the third the Lights. 

Bol. Inventor. * Bonaſoni, of Bo- 

Bonaſo ſc. 1343. logna. See J. B. F. 

B. P. Bartholomew * of Bologna, 
a: Painter. 

B. S. Bartholomew c or Bononienſs 

Sculptor. 

B. 2 13881 Bern. Zan. 


C. B. Cornelius Boſs. This Artiſt engra+ 
ved Julio Romano's Bacchanal. : 
oo 130. | 

z Cornelius Bloemaert, Son of A- 

8 'Blo. J braham the famous Dutchman. 
C. Bleker. The Mark of Cornelius Bleker 

in certain Hiſtorical Landſkips, 1636. 

C. C. Fecit. Camillus Congius. Se Num- 
ber 102. Charles Cignani, of Bologna, 
Painter, Inv. Healſo uſed two C's, the one 

. within the other. 

C. D. F. Charles David Fecit. 

Cl. Mell. ſe. Romæ. Claudius Mella- 
nus. See M. inv. | 
E. L. fec. Caſpar Luyken fecit. 

; | C.. 


182 The INITIAL LETTERS 


C. P. Cornelius Polemburgh pinxit. John 
Bronchorſt inc. See Number 119. 

C. Schoenius, Martin Schoenio, of Calem- 

bach, Painter and Engraver, in ibe 

Time of Albert Durer. He died in 

1486. Some of the Curious think him to 

be the ſame with Buonmartino, See Num- 


ber 39. 


D. Domenichino, of Bologna, a famous 
Painter and Inventor. | 

D. B. Bernard Gallo, called the Short, en- 
graved ſeveral Mors, and among the reſt 
Ovid's Metamorphoſes, and the Old and 
New Teſtament printed at Lyons 1559. 

D. F. Domenico of Florence. See Num- 

. 

D. H. David Hopfer, Brother of Lambert, 
noted down in Number 21, and of Je- 
rome; all three German Engravers. 

D. M. C. Domenico Maria Canuti, 4 co 
prous Painter of Bologna, | 

DO. CAP. 1518. Domenico E 
of Venice. 


E. v. .Eneas Vighi, cr Vice of "25.0 engra- 
ved the Works of Roſſi, Titian, Buonaroti, 
Julio Clovio, and of Baccio Bandinelli. 

E. V. H. Eſaiah Van Hulſen. 


F. B. 


uſed by ENGRAVERS. 183 


F. B. Francis Briccio, of Bologna, Pain- 
ter; be engraved the Pieces of Lewis Car- 
racci. 

F. B. B. Father Bonaventura Biſi, of Bo- 
logna, called il Padre Pittorino, or the 
Painting Fryar. 

F. B. V. I. Frederic Barocci, of Urbino, 
inv. He ſometimes, inſtead of the I, put F, 
that is, Fecit. 

Fr. Bol. Inv. Francis of Bologna Inventor, | 
that 1s, Abbot Primaticcio. 

F. C. Franceſchino Carracci, of Bologna, 
younger Brother to Auguſtin and Han- 
nibal. 

F. L. D. Ciatres ene. Fm Mark of 4 
Dealer in Prints. 

F. P. Francis Pi ar Franceſco 
Parmegiano, who ſometimes put an F only, 
in bis Wooden Cuts engraved with three © 
Mols. 

F. P. J. V. Bonaſius. Theſe Letters are 
found in a Madonna of Franceſco Pri- 
maticcio, engraved by Julio Bonaſoni.. 

F. T. F. Flaminio Torre fecit. He was a 


Painter and Engraver. 
F. V. B. 


F. Villam. F. 


Francis Vanni Fecit. Fran- 

cis Villamena «ſed this and 

the following Mark. See 
Number 117. 

| G. A. 


184 The INITIAL LETTERS 

G. A. The Heirs of John Agucchia. 

S. F. Giorgio of Mantua Fecit. In a 

7 Piece of. e. s repreſenting Vul- 
can's Forge. See Number 93. 

S. M. F. Giorgio of Mantua, in other 

Pieces of the abovementioned: Primaticeio. . 

S. P. George Pens. See Number 44. 

G. R. 8 Reni, of Bologna, à ce- 

F. lebrated Painter, Fecit. 

G. R. B. C. F. Guido Reni, in the Over 
threw of the Giants, engraved by Bartho- 
lome w Coriolano. 

S. S. F. Gio. ar (John) Sirani Ferit. 

Guil. Baur 1640, William Baur, Painter 

ts the Emperor. 

G. V. S. G. Van Scheindel Tec. and V. V. 
Buytuvech. inv. 


Kar. Holbenius. Holbenius , Haerlem. 
H. B. This Mark was uſed by Hans Burck- 
mair, wwho. engraved. 36 Hiſtorical Pieces 

relating to the Empire; Hans Broſamer, 
who lived in 1338; and Horatio Borgiani 

of Rome. See Number 36. 

H. Bol. Hans Bol, i. e. John Bol, in cer- 
tain Landſkips. 

H. C. Hans Liefrink, in certain Plates of 
Birds, and. Parties of Hunting, in. Freezes, 

See Number 146. * 

H. H. Hans Holbein. 


uſed: by ENGRAVERS. : 185 
HO. FF. 1599. In @ Print of Pharaoh's 
Army drowned, by Paul Farinati, of Ve- 
rona. 
HF. S. 1558. Hercules Septimius Mutt 
nenſis. In certain Figures and Ornaments 
F Buildings. 
H. V. C. 1517. Hans Van Culmbac, + was 
Albert Chat s Scholar. 


I. A. See Number 62. 

J X James. Binckius. J. B. ads Bind, 

is another Mark of a: different. Author in a 

David, who ſets his Foot on Goliahfs 
Head, "after Albert Durer's. Manner. 

Julio Bonaſoni fecit. 

J. Bonaſo F. 1344 Ste other Marks at 


J. N . the Leiter B. Bo- 
Julio, B. Rnaſo 1844, was an- 
' other of bis Marks. 


J. B. M. John Baptiſta, ef Mantua, was 
Scholar to Julio Romano; be engmuad 
the Burning of Troy, and other — of 
his aum Invention. 

J. B. F. James Belli, a Frenchman, fit, 

or Belli fecit. 

J. C. Proc. Inv. Julius Cæſir Procaccinus 
Inventor. 

J. G. Bronchorſt. See Wa 119. 

J. G. Van Uliet, i the ſame as James 

Grand- homme. Sea Number 112. 

J. H. Jerom Hopfer. 1 


186 The INITIAL LETTERS 


e. I 570, 

F. K. re Kerver. | 

2. J. Luyken. | 

J. M. Ifrael Meck, in certain Subjects of the 
Paſſion, and ether Plates. See I. V. M. 
The fame Mark was alſo uſed by Iſrael 
Martino, ſappoſed to be the jame with 
Buonmartino, who lived in 1490, 

L. tec. Joannes Livius fecit. He engraved 
after Rembrandt's Manner. | 

Jo. Guill, Baur. John William Baur. 
See William Baur, 

Jo. AN. BX. John Antonius Brixianus, 
1538. See Number 8. 


R. W. 


J. S. Juſtus Sadalaer exc. John Saenredam 
uſed the like Mark, joining the J to the S. 
See Number 121. Land 137 5 

J S. B. John Sebald 3 See B, and 
Number 31. 

I. V. M. Ifrael Van Mechelen, or Meche- 
lini, cr Van Meck, and of Lomazzo, 
ſurnamed of Mentz ; he lived before Albert 
Durer, and ſometimes marked his Plates 
with his Name Iſrael, only. 


L. C. Civ. F. with the 2 C inthe perpen- 
dicular Stroke of the L, is the Mark of 
Ludovico Cardi, ſurnamed Civoli, a Flo- 
rentine Painter, in @ Plate of the Supper 
of the Phariſee. 


— 


I. C. 


* by ENCRA VRS. 187 


Lewis Carracci Inven- 


L. C. F. B. tor. Franceſco Bric- 
Lod. C. I. Fr. Bri. cio intaglio, or en- 
graved. 
1 Dor „en Carracci, in his three Plates 
L.O.C engraved with bis own Hand. 
B. . 15 a Sacrifice, and Alexander the 
Great, by Abbot Primaticcio. 

L. c. Luke Van Cranogio, or Luke 
L 8 Van Craen, Painter of Savoy, 
Anno 1 509. See Number 26. 
L. H. Lambert Hopfer. See Number 21. 


L. K. A. Luke Kilian, of Augsburg, en- 
graved Tintoret's and Spranger's Works. 
L. Lambert Lombard, or Suſterman, 
L. L. e or Suavius, all which fignify the 

L. S. ſame Perſon. 
„„ Lorenzo Lolli, Guido Reni's 
Lollius. % Scholar. 

Lucas P. R. Luke Penni, the Roman, 
Raphael's Scholar, See Number 110. 
L. V. V. Luke Van Uden, in ſome of 

Titian's Landſtips. | | 
L. Lucas of Leyden, See Number 34. 


M. A. F. See Number 99. 


M. C. Martin de Clef, or Clivenſis Au- 
guſtanus. | 


M. D. Vos. Martin de . a celebrated 
Inventor for Engravers. 


Mel. 


188 The INITIAL LETTERS 


Mel. Gir. fec. Melchior Girardini fecit. He 
was a' Painter and Engraver at Rome: 

M. G Matthew Greuter, Engraver, born” 
at Straſburg, Amn. —_ 


M. inv. Are all different. 
Mel. p. & ſc. Marks of Clau- 
Mellan. : dius ellas of: 
Mel. ſc. Rome. 1633. Paris. 


MI. AG. FLO. Michael Angelo, Y Flo- 
rence,, i. e. Buonaroti. 

M. L. Melchion Lorichius. 

M. Merian. Matthew Merian. 

M- -S. Martin de Secu, or Schonio, called 

by. ſome Buonmartino, war Albert Durer's 

Master. See Number 39. c 

M. R. Mark- Ravennate, ar Ravignano, 
i. e. Mark. of Ravenna, Scholar to Mark 

Antonio Raimondi. Ses R.- S. 

M. Z. Martin Zinkius, & e. Zazingeri, 
1g. See Number 10. 


Nadat, "US marked his plane with a Mole 
or Want-trap. 

N. B. Nicholas de Bruyn. Sz Number 28. 

N. B. L. F. Nicholas Beatrici Lotharingius 
fecit. See Number 149. | | 

N. C. F. Nicholas. Chapron, a: Frenchman, 

fec. Anno 1649. He engraved: Raphael's 

Galleries, painted in the Vatican. 

N. M. D. Nicholas Manuel de Berna, 1548. 
NF. or PN. Peter Nolin. 


„ 


ſed by ENGRAVERS. 189 
* B. F. Paul Blancus fecit & incidit. 


- 5 C. Paul Caliari, i. e. Paul Veroneſe, 
Painter and Inventor. 


P. F. Paul Farinati of Verona, Painter and 
Inventor. 


P. H. Peter Hys, in certain Pieces of De- 
vation. - 

Phil. Th. 1589. Philip Thomaſini. 

P. John Sebald Beham. See Letter B. and 
the Letters V. P. 

P. Quaſt. Peter Quaft. See Number 43. 

Pi. Ss. Bart. Peter Santi Bartoli, Engraver, 
of Perugino in Rome. 

P. 8. F. E Stefanoni fecit. This Artiſt 

engraved the Carracci's Mors. 


P. V. Borcht inv. & ſc. Peter Van del 
Borcht. 


R. The Mark of Ravignano, 'and under- 
neath R. V. I. that is, Raphael Urbine 
Inv. See MR. 

B. T. A. Robetta. 

4 5 Ser Number 99. | 

8. Ravignanus Sculpſit. $ee'M.R. 

S. M. R. Mark ef Ravenna. He put this 
Mark 4o Raphael Sancio Urbino's Pieces. 
V. A. Gaudenſis Sculp. The Mark of 
. ſeveral. Pieces invented & Peter da Cor- 


-CONA, 


R. 
R. 
R. 
2 5 
R. 
R. 


190 The INITIAL LETTERS 

S. | | 

S. B. Stephen della Bella of Florence. See 
Number 136. 

S. B. D. Pictor. Under an Amaxciation, 
invenled by Peter Candido. 

S. C. Simon Cantarino, called of "RO. 
Painter and Engraver. 

8. C. F. Stephen Carteron fecit, 1616. 

Sebenzanus fecit. This is Martin Rota of 
Sabina. See Number 109. 


S. F. Simon Friſius ſc. Theſe are Portraits 


_ engraved by Henry Hondius. See Num- 

Ber 62. | 

S. G. S. Simon Guillain ſc. This Artiſt, whos 
was born in Paris, engraved 80 different 
Figures of Hannibal Carracci, called ihe 
Cries of Bologna, Anno 1646. 

S. P. Simon Paſſeus. 

S. P. F. Stephen du Perac fecit. 


Strada. Veſpaſian Strada of Rome. 


T. Anthony Tempeſta f F lorence, Painter 
and FEngraver. See Number 148. | 
T. C. Theodore Cruger. See Number 150. 


VAL. Valeſio, John Lewis Valeſio of 

Bologna. See Number 103. 

Van Rhin in. Rembrandt de Rein. Ser 
Number 126. 

V. C. Vincenzio Caccianemici, a Nobleman 
of Bologna, and Painter. 


Veſ. 


uſed by ENGRAVERS. 191 

Veſ. S. Veſpaſiano Strada of Rome. 
V. P. or B. or F; r S. F. L 
Marks uſed by John Sebald Beham, when 


he did not care to put his own Name, 
which is found Number 31. 


V. S. 1622. Valentine Sezenius. The ſame 


Mark was alſo uſed by Virgilio Sole, men- 
tioned Number 19. 


V. S. I. Ventura Salimbeni, of Sienna, 
Painter and Inventor. 

V. V. Delft. See Number 151. 

V. C. V. A Mark uſed by an antient Engra- 


ver in a St. Bartholomew and a . 
George. 


W. D. H. Will. Henius. 
W. H. Wenceſlaus Hollar. 
W. P. Will. Paſſe. | 


2 Zazingeri, or M. Z. Martin Zinkius, 
as was bejore-mentioned. 


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226 An Alphabetical INDE x 


ieee 


Alphabetical INDE X 


O F THE 


Chriſtian Names and Surnames 
of the Encravers and Pain- 
TERS, With their Places of 
Abode, and when they flou- 
riſhed, &c. 


A. 
Bbot *Primaticcio, uſed the following 
A. ©. M. A. or DB. or Fr. 
re. - Se Number 91. | 
A.. Blotholinus. 
Abraham Bloemaert, Ab. Bl. be died in 
1647, aged 94. 
Adam ZElſheimer, born in 1574. See Num- 
ber 123. 
Adam Mantovano: Number 92. 
A. D. Bruin. Number 20. flor. in 1579. 
Adrian Collaert. Number 22: 
Adrian Hubert. Number 144. 
Agnes Frey, Wife of Albert Durer. Num- 
ber 154. She lived in 1510, 


Agoſtino 


FEN GRA VERS. 227 

Agoſtino Pariſino. Number 57. 

Auguſtin Carracci, A. C. or Agos. C. of 
Bologna, died in 1602, aged 45. 

Auguſtin Metelli, a Painter E Bologna. 
He died in 1660. | 

Auguſtin Veneziano, or A. v. Nor. in 
1525, Number 135. © | 

Albert Aldegraft, of ee NID oy in 
1551. Mundes 3a... 

Albert Altorfio, F Sweden for. in 1511, 

Albert Clovet, flor. in 1675. | 

Albert Durer, or A. E. of Nuremberg. 
He died in 1527, aged 58. Number 30. 

Albert Flamen, flor. in 1641. Number 114. 

Albert Golckentonio, A. G. 

Alexander Algardi. He died in 10654, 
aged 86. Number 158. 

N Badiali, of Bologna, A. B. 

Alexander Specchi. © - 

Andrew Andreani, of Mantua, for. in 1600. 
Number 47. 8 

Andrew Both, A. Both. 

Andrew Camaſfei, a Painter of n 
He died in 1695. 

Andrew Laurent, of Paris. 

Andrew Mantegna, of Mantua. He died 
6a $5097: 

Andrew Salmincio, of Bologna, or. 1 
1640. Number 139. A 

Andrew Vande Venne, for. in 1662. Num- 
er 151. | x 

L 6 Anding 


228 An Alphabetical IN DE x 


Andrew Wolfgangus, of Saxony. 

Anthony Boſs, a Frenchman. Number 1 14. 

Anthony di Jacquart, A. D. I. F. | 

Anthony da Trento. Fe lived in 1550. 

Anthony Franceſco Lucini. 

Anthony Guernier. Number 91. 

Anthony Lanferrius, 

Anthony Licini, A. L. P. J. 

Anthony Maſſon, of Paris, flor. in 1698, 
aged 66. 

1 Salamanca, flor. in Hong Num- 
bers 90, and 143. 

Anthony Tempeſta, or T. Hie died in 
1630, aged 75. Number 148. 

Anthony Vandyke, 4 Painter. He died in 
1641. 

Anthony Van Vuaterl. Number 128. 

Anthony Wierx. 

Anthony Vuormace. Number 14. 

Arman Muller. 

Arnold Van Weſterhout, Jor. in 1681. 


B. 
Baccio Baldino, for. in 1500. 
Baccio Bandinelli, of Florence, B. B. A. F. 
i550, 
Baldaszar Peruzzi, BAL. SEN. He died 
in 1556, aged 56. | 
Bartholomew Bifcaino, of Genoa, B. B. He 
died in 9 8 
Bartholomem 


of ENxGRA VRR. 229 
Bartholomew Boham, B. B. of Nurem- 
berg, flor. in 1531. 


— Eartholomew Chilian, or Kilian, of Augſ- 


burg, flor. in 1683. 
Bartholomew Coriolano, of gs B. C. 
Esqu. flor. in 1640. | 
Bartholomew Gagliardi. He Sed in 1620. 
Bartholomew Paſſarotti, a Painter of Bo- 
logna, B. P. died in 1578. 
Bartholomew Schenio, B. S. of Bologna. 
Baptiſt Brittiano, of Mantua. 
Baptiſt Franco, of Venice, died in e 
Bellange, 4 Frenchman. 
Benedict Farjat, flor. in 1702. 
Bernard Faſſaro. Number 108. 
Bernard Balieu, flor. in 1700. 
Bernard Caſtelli, Number 102. He died 
in 1629, . 
Bernard Gallo, D. B. for. in 1559. 
Bernard Malpucci, B. M. of Mantua. 
Plodelingus of Amſterdam, 
Bonaſoni : Sz Julius Bonaſoni, for. in 
W | 
W See Iſrael Vanmechelin. 
Bernard Baron, of London. 


C. N 
Camillo Graffico, of Fork. | 
Camillo Porcaccini, He died in 1628. 
Camo Congio, or CC. Number 102. 

'  Caprarola 


230 An Alphabetical IN DE x 

Caprarola 1597. He engraved the Death of 
Chriſt from Hannibal Carraccl, on Silver, 
in Caprarola. 

Charles Alet, flor. in 1693. 

Charles Audran, of Paris, 

Charles Buffagnotti, of Bologna, far. in 
1704. 

Chiles Ceſio, an Engraver. 

Charles Cignani, @ Painter of Bologna, CC. 

Charles David, C. D. F. 

Charles de la Hay, flor. in 1682. 

Charles Maratti, a Painter, of Rome, died 
in 1713, aged 88. 

Charles Saraceni: He died 1623. 

Ceſar Fantetti. 

Cherubino Alberti: He died in «i 15. Num- 
100. = 

Claudius Audran. 

Claudius Mellan, of Paris, Cl. Mel. died in 
1688, aged 94. ef 

Claudia Stella, of Paris, flor. in 1686. 

Ciro Ferri, of Rome, he died in 1690. 

Conrad Mayr, of Zurich, died in 1638, 

33. 

Conrad Waumans, flor. in 68658 

Cormet. Number 23. 

Cornelius Berghem, or Berchen. Number 113. 

Cornelius Bleker, flor. in 1636. C. Bleker. 

Cornelius Bloemaert, C. Blo. born in 1603. 
©. B. and flor. in 1665. : 

Cornelius 


of ENGRAVERS. 231 
Cornelius Boſs, or Bus. Numbers 48, 54, 
and 130. 
Cornelius Cort,. of Holland, he died in 
1578, % 
Cornelius Gallo, flor. in 1649. 

Cornelius Heviſſen. Number 38. | 
Cornelius Polemburg, of Utrecht, C. P. 
died in 1660, aged 74. Number 11 g. 

Cornelius Sichen. Number 17. 
Cornelius Vermulen, for. in 1706. 
Creſcenzius de Honofri. | 
Criſpin Paſſteus, or Paſſe, of Cologn, died 
in 1626, Number 163. 
Cuerenhert. Number 29. 
D. 
Daniel Mignot. Number 41. 
David Hopter, D. H. flor. in 1568. 
David Van Boons. Number 118. 
Diana, of Mantua, e lived in 1566. 
Dieterico Mayr, be died in 1658, aged 87. 
Dirich Vander — Number 12. 
Domenichino, D. of Bologna, died in 1641, 
aged 60. 
Domenic Barriera, of Florence. Number 
14 5 1 
Wh Beccafumi, e died in 1549. 
Number 140. 4 
Domenic Campagnola, MG Number 5. 
Domenic degli Ambrogi, of Bologna. 
Domenic Maria Bonavera, of Bologna, 
Domenic 


— = EIN 
CE 
+ — +» A 


232 An Alphabetical I NDEX 

Domenic Maria Canuti, f Bologna, D. 
M. C. 

Domenic Maria Fontana, died in 1607, 
aged 04. 

Domenic Tempeſta, of Florence, flor. 7 
1704; arcd 02... 

Domenic Tibaldi, of 8 he died in 
1582, aged 42, 


4 

L 
wy 
i 

' 


„ 
Edelink, of Paris, died in 1705. 
Edward Fioletti, of Bologna, for. in 1612. 
Number 105. | 
Elias Hainzelman, of Au gſburg. 
Elizabeth Sirani, a Paintreſs of Bologna, 
died in 1664, aged 26. 
B Vighi, or Vico, . E. V. be lived 
in 1330. Number 160. 
Erhardus, / Paris. 


Eſaias Van-Hulſen, E. V. H. 


ö 
Fabricius Chiari, of Rome, be died in 1695. 
Frederick Barocci, of Urbino, F. B. V. I. 
born in 1 528, died in 1612, aged 84. 
Flaminius Torre, of Bologna, ni. 
be died in 1661. 
Florius Macchi, of Bologna, for. in 1600. 
Francis Aquila. 
e F. B. of Bologna, Hor. in 
I 


Franceſchin 


of ENGRAVERS. 233 
Franceſchin Carracci, of Bologna, Joe: in 
Francis de Neve, of Antwerp. 

Francis de Poilly, of Paris. Number 142. 
Francis Maria Francia, of Bologna. Num- 


ber 159, flor. in 1 704. 
Francis Giovane. 


Francis Grimaldi, of Bologna, 05 in 1668, 
Francis Guerrieri. 


F. L. D. Ciatres. 

Fr. Lovemont, flor. in 1662. 

Francis Mazzola, of Parma. 

Francis Melloni, of Bologna. 

Francis Spierre, of Nancy, died in 4 
aged 38. 

Francis Steen, or Vander Steen, of Ant- 
werp. 

Francis Stringa, a Painter of Modena, 
flor. in 1704. 

Francis Tortebat. 

Francis Vanni, @ Painter of Sienna. He 
died in the Year 1610, aged 47. 

Francis Villamena, flor. in 1623, aged 60. 
Number 117. 

Francis Bonaventuri Biſi, F. B. B. of Bo- 
logna. 

Francis Cauveau, of France, diad 1675. 
Number 73. 

Francis Perrier, of Burgundy, for. in 163 5 
Number 76. 

Francis Terzi, of Bergamo, 


& Ga- 


234 An Alphabetical INDE x 
„„ 

Galiot Nardois. | : 

Gaſpar Reverdin. Number 11. 

Gerard Fontana, 

Giacinto*Giminiani. Number 89. 

Giles Rouſſelet, flor. in 1686. 

Giles Sadeler. He died in 1629, aged 59. 

Giodoco Aman, of Zurich, flor. in 1588. 

George Chriſtofano Eimert, of ns, 
for. in 1683. 

George Ghiſi, of Mantua. Number 93. 

George Pens, of Nuremberg. Number 1” 

George Perundt, born in Franconia, died in 
1663, aged 60. 

Giovachino Bocklaer, of Antwerp. 

Gobbo de Carracci. 

Guido Ruggeri. Number 156. 

Guido Reni, G. R. of Bologna, died in 
1042, aged 68, | 


H. 
Hans 6.1 e. John) Baldungh, or Baldvin, 
flor. in 1574. Number 36. 
Hans Bol, H. B. of Mechlin, flor. in 1541. 
Hans Brefanck. Number 2; | 
Hans Broſamer, flor. in 1538. Number 36. 
Hans Burkmayr, of Augſburg, died in 
I517, aged 44. Number 30. | 
Hans Liefrinck, H. L. Number 146. 
Fans Lutenſach. Number 58. 
Hans Schauflig. Number 1. 


Hans 


1 of ENGRAVERS. 235 
Hans Van Culmack, H. V. C. for. in 


15175 

Hannibal Carracci, a Painter of Bologna, 
A. C. P. died in 1609. 

Henry Bloemaert, flor. in 1647. | 

Henry Cliven, he died in Ke Numbers 
124. and 152. 

Henry Blofeuvertus Friſius. 

Henry Goltzius, of Holland; he died in 
1617, aged 59, Number 111. | 

Henry Hondius, born in 1573. 

Herman Coblent. Number 144. 

Hercules Bazicaluva, of Florence, flor. in 
1641. 

Hercules Septimius, H. 8. or Hercules 
Setti, of Modena, flor. in 1571. 

Hiſberto Venio. 

Hieronymus, or Jerome Mocetus. Num- 
ber 13. 

Hiſbel, or Hiſpin. Number 31. 

Hoefnaghel, Joris Hoefnaghel, à Painter 
of Antwerp, he died in 1600. 

Horace Borgiano, H. B. of Piſtoia. Num- 
ber 36. 

Hiacinth Giminiani. See Giacinto. 

Hubert Audenaerd. 

Hubert Goltzius, he died * the Year 
1503, aged 57. 

Hubert Vincentini. 


J. James 


236 An Alphabetical IN DE x 
I. 

James Belli, of France, I. B. F. or Belli 
fec. 

James de Gheyn, flor. in 161 5, aged 50. 
Number 122. | 

James Mattamius, of Haerlem. He died 
in 1631, aged 60. 

James Sandrart, of Nuremberg, flor. in 
1683. 

James Vander Heyden, of Augſburg, flor. 
in 1608. 

James Lutma, of Amſterdam, flor. 1681. 

James Grand Homme, I. G. Van Uliet. 
Number 112. 

James Kerver, I. K. 

James Bink, of Nuremberg, 1500. I. B. 

James Blondeau, flor. in 1690. 

James Callot, of Lorrain, be died in 1635. 

James Frey, of Rome. 

James Laurenzani. 

James Lauri. 

James Ligozzi. 

James Maria Giovannini, ef Bologna, be 
died in 1717. 

James Matham, of Holland, be died in. 
1631. 

John Chantry, flor. in 1662. 

Jerome Hopfer, I. H. 

J. Blondeau, that is, James, flor. in 1690. 

J. G. Van Uliet: See James Grand Homme. 

John Covay, of France. Number 72. 


John 


of EN GRA VERS. 237 


John Ladeſpeldrickt. Number 45. 


John le Pautre, 4 Frenchman, Expraver 
divers Subjects. 7 


J. G. Bronchorſt, i. e. John, flor. in 1662. 
Number 1 19. 

J. Gal. Nardois F. i. e. John Galeot Nar- 
diois fecit. 


John Abach, born in Cologn in 1556, flor. 


m 1597. 

John Baptiſt Wine J. B. B. 

John Baptiſt Mantuanus, J. B. M. For. in 

1500. 

John Culembach, of Nuremberg, flor. in 
1312. 

John Francus, ef Augſburg. 

John George Walderich, of Augſburg. 

John James Thourneiſfen, 7 Baſil, for. ” 

166 

John 2 J. L. Ne. 

Jonn 1 or Hans) Sebald Beham, be died in 

| Number 31. 

John * Podeſta, of Genoa. 

John Andrew Sirani, of Bologna. 

John Baron, of France, flor. in 1644. 

John Baptiſt Bolognini, a Painter of Bo- 
logna. 

John Baptiſt Bonaccini. 

John Baptiſt Caſtiglioni. Number 95. 

John Baptiſt Conſtantini. 

John Baptiſt Coriolani, an Engraver of 
Bologna. 


John 


238 An Alphabetical IN DE x 


John Baptiſt Falda, of Rome. 
John. Bay ptiſt Galleſtrucci, Number 155. 


John Baptiſt Maggi, of Rome, Painter 


and Engraver. 
John Baptiſt, of Mantua, for. in 1 500. 
John Baptiſt Mercati. 


John Baptiſt Sorito, for. in 1621. 


John Baptiſt Paſqualino, flor. in 1622. 
John Baptiſt Ricci, of Novara. 


John Baptiſt Teſtana, 


* 


John Baptiſt Vanni. 

John Baptiſt Zani, of Bolog na. | 

John Benedict Caſtiglioni, „ Genoa. Num- 
ver 95. 

John Calcar, of Cleves, he diet in 1546. 

John Cæſar Teſta, Nephew 10 Peter Teſta. 

John Frederick Greuter, of Straſburg. 

John Francis Caſſioni, an Engraver in Wood. 

John Francis Venturini. 

John Francis Zabello. Number 83, 

John George Nuvolſtella, à German, died 
in 1624, aged 30. 


John Guerra, of 5 he died about the 


Tear 1612. 

John William Baur. See Guil. Baur. 

John Joſeph dal Sole, 3 Painter of Bo- 
logna, flor. in 1704. | 

John James Coraglio, of Verona, an Imi- 
tator of Marc Antonio Raimondi. 


John Lanfranci, 4 Painter F Parma, did 


in 1647, aged 66. 
"John 


— 


of ENGRAVERS. 239 
John Lewis Valeſio, of Bologna, VAL, 
died in 1643. Number 103. 
John Lutma, of Amſterdam, flor. in 168 Is 
John Maria, of Breſcia. Number 8. 
John Miele, of Flanders, flor. in 1648. 
John Nicola, of Venice, flor. in 1555. 
John Orlandi, flor. in 1600. 
John Podeſta. | # 
John Sadeler, he died in 1600, aped 58; 
John Saenredam, of Holland. Number 121, 
John Schorel, of Bavaria, he died in 1 
. Number 60. © 
John Troſchel, of Nuremberg, he died in 
1633. 
John Vianz, a Painter of Bologna, died in 
1700, aged 63. 
Joſeph Maria Metelli, flor. in 1704. Num- 
ber 138. 
Joſeph Maria Roli, of Bologna, G. M. R. 
Joſeph Moretti, of Bologna, an Engraver 
on Food and Copper, born 16 575 flor. in 
1704. 
Joſeph Ribera. Number 129. 
Joſeph Teſtana, flor. in 1654. 
Joſeph Zarlati, of Modena. 
Joris Hoefnaghel, /ee Hoefnaghel. 
Joſt Amon. Number 37. 
Iſaac Major, of Franckfort, flor. in 1620. 
Iſrael Martino, I. M. Number 186. 
Iſrael Meck, or Van Meck, I. M. flor. in 
OTH! 
Iſrael 


240 An Alphabetical IN DE x 

Iſrael Silveſtre, of France. 

J. Van Velde. Number 127. 

Julius Bonaſoni, J. B. F. of Bologna, fly. 
in 1547. 

Julius Cæſar Porcaccinus, J. C. Porc. In. 
died in 1626, aged 78. 

Julius Cæſar Venenti, of Bologna. Num- 
7. 
Juſtus Sadeler, of Bruſſels, I. S. E. for. 

in 1620. Number 157. 


Julius Campagnola, of Venice, for. in 1520. 


5 . | 

Lambert Lombardo, L. or L. L. or L. S. 
died in 1560, aged 60. 

Lambert Suave, or Suſterman, 7s tbe ſame 
as Lambert Lombardo, 

Lambert Hopfer. Number 21. 

Leonard Gualtier, flor. in 1618. Num- 

70. | 

Leonard Paraſole Norſino, for. in 1600. 

Lewis Carracci, L. C. died in 1610, 
aged 64. 2; 

Lewis Cardi Cigoli, L. C. C. of Florence, 

Lewis Mattioli, of Bologna, flor, in 1704. 

Lewis Scalzi. 

Lawrence Loli, e HH 

Lawrence Tinti, of Bologna, for. in 1666. 

Louvemont, flor. in 1662. 

Luke Ciamberlano. 


Luke 


of ENGRAVERS.: 241 
Luke Cranogio, or Van Craen, or V.C. 
or L. V. C. Numbers 26 and 35. | 
Luke de Leida, called of Holland. Num- 
ber 34. | 
Luke Kilian, of Augſburg, Junior, or 
L. K. A. flor. in 1657. 
Luke Kruger, a German, 2 in 1316. 
Luke Penni, or Lucas, P. R. of F lorence, 
or. in 1528. 
Luke Van Uden, I. V. v. *. in 1662, 
| aged. 67. 
Luke Vorſterman, of As: for. iu 
1629. Number 120. 
Lewis Gomie. 
Lewis Scaramuccia Perugino, 57 0 in 1684. 


Lewis Philip Boitard, "of London. 


Marc Antonio Chiarini, of Bologna. 

Marc Antonio Raimondi, or M. A. F. 
died in 1528. Number 99. 

Marc da Ravenna, M. R. 

Marottus. 

Martin de Clef, M. C. flor. in 1436. 

Martin de Secu, or M. + S. Number 39. 

Martin de Vos, of Antwerp, à celebrated 

Inventor for Engravers, died in 1 604, 
aged 72. 

Martin Hemſkirk, a principal Inventor for 
Engravers, died in 1574, aged 7 6. Num- 
ber * 

M 8 1 Martin 


242 An Alphabetical IN DPEXT 
Martin Rota, of -Sabina, for. in 17235. 
Number 109, 
Marcin Zinkius, or .Zazingeri, M. Z. or 
ber. in 1500. 
Maſo Finiguerri, of Florence, one of the 
firſs Engravers on Copper, in 1460. 
Matthew Grunevald, /f Aſchaffemburg. 
Numbers 30, and 133. 
Matthew Greuter, of Straſburg, M. G. 
be died in 1638, aged 72. 
Matthew Merian, M. Merian, bern in 
Barbary, in 1593, and died in 1632. 
Matthew Kuſel, of Augſburg. 
Matthew Piccioni, of La Marca, flor. in 
265 
2 Zagel, M. Z. Number 10. 
Maurice Oddi, died in 1702, aged 03. 
Number 134. 
Melchior Girardini, Mel. Gir. Fec. 
Rome. 
Melchior Kuſel, of Augſburg, Brother to 
Matthew, flor. in 1652. 
Melchior Lorichio, M. L. 
Micarino. Number 
Michael L' Aſne, died in 1667, 227 72. 
Number 75. 
Michael Le Blon. Number 6. 
Michael Angelo Guidi, Son of Raphael. 
Michael Cocxie, died in 1 5925 aged 95. 
Number 3. 
Michael Lucchele, Number 107. 


Michael 


/ ENGRAVvERS. 243 


Michael Natali, of Lodi, flor. in 1665. 

Michael Volgemut, of Nuremberg, Albert 
Durer's Maſter, flor. in 1490. 

Mr. Lane. 

Mr. Rolet. 

Ar. Vanſculp. 


N. 

Nicholas Vicentino, he engraved the Works 
of Parmigiano, and flor. in 1 15 5s 5 

Nicholas Chapron, of Paris, N. C. flor. in 
1649. 

Nicholas Manuel, of n N. M. B. Hr. 
in 1318. 

Nicoletto, of Modena. 

Nicholas Beatricetto. 

Nicholas Beatrici, of Lorrain, N. B. 1. F. 
Number 149. 

Nicholas Bylli. 

Nicholas de Bruin, N. B. Number 28. 

Nicholas du Puys, -of Paris. 

Nicholas Dorigny, of Paris. 

Nicholas la Fas, a Frenchman. 

Nicholas Laigniel. 

Nicholas Mignard, of Paris, ak; in 1695, 
aged 85. 

Nicholas Perrelle, a Frenchman, Eugraver 
to Nicholas Pouſſin, aud 9thers, 

Nicholas Poilly, à Frenchman, died in 
1696, aged 70. 

' Noel Garnier, flor. in 1618, Number 4. 

M 2 O. Oliver 


—— 


— er —— 
— — — — . 4 


— —— — 
hs GENT — —— — 


—— —A—=—— ——— — 


— —e 
— Wars 


— —— e — pan" 


— 


| 
| 
| 


244 An Alphabetical INDE x 


* 


Oliver Gatti, an Engraver of Bologna, flor. 
in 1626. 


Oliver Polz, be died about 1693: 


. | 

Padre Angelo Lorenzini, Min. Conv. Bol. 

Paul Brill, of Aen. died in 1626, 
aged 72. 

Paul Bianchi, P. B. F. | 

Paul Pontius, of Auen flor. in _— 
aged 57. 

Paul Maupini. 

Periecouter. Number 40. 

Peter Aquila, flor. in 1681. 

Peter Artſen. | 

Peter Breughel, died in 1556. Number 3. 

Peter Cottart. Number 46. | 

Peter Daret, of Paris, flor. in 1654. Num- 
ber 74. 

Peter de Jode, he Elder, born in the Year 
1602, and died in 1634. 

Peter del Po. 

Hs., F. H. 

Peter Iſelburgh, of Cologn, for. in 1020. 

Peter Lombard, flor. in 1666. — . 

Peter Mercand. Number 42. 

Peter Mignard. 

Peter Quaſt. Number 43. 

Peter Ryſbrack, on his Landſtips. 


Peter 


of EN GRA VERS. 24 f 
Peter Santi Bartoli, P. SS. Bart. of Peru- 
gia, died in 1700, aged 65. 
peter Soutman. 
P. Servuter. 
Peter Simon, of Paris, for. in 1673. 
Peter Stefanoni, P. S. f. 
Peter Stivens, of Mechlin, for. in 1629. 
Peter Teſta, of Lucca, he died in 1651; 
aged 41. Number 96. 
Peter Vander Borcht, P. V. Borcht. 
Peter Vander N elpe. Number 115. 
Peter Vanſickleer. 
Peter Voeriot. Number 53. 
Philip Adler, of Padua. Number 16. 
Philip Abiati, of Milan, flor. in 1704. 
Philip Napolitano. 
Philip Paſſari. 8 £ 
Philip Thommaſini, Phil. Th. flor. 7 
1589. 


R. 
Raphael Guidi, of Tuſcany. 
Raphael Sadeler, born in 1555, 5 1 for 


in 1 595 
Raphael Scaminoſſi. Number 104. 


Raphael Sancio, an Inventor. Numbers 
99, and 145. | 
Raymond La Fage. 
Ravenſtein, or Gaſpar Reverdin, flor. 1 
1640. Number 11. | 
M 3 Rayner 


246 An Alphabetical IN DE x 


Rayner Perſino, of Amſterdam, a Com- 
Panion of Cornelius Bloemaert. 

Ravignano, ſee Mark da Ravenna. R. S. 

Regnaſſon, N. for. in 1646. 

Rembrandt, er Van Rhin, died in 1668, 
aged 62. Number 126. 

Remigio Cantagallina. 

Keynoid Boivin, alſo Renato. Number 7. 

Reynold Lochon. Number 69. 

Ralph Brein, of Zurick. 

Ralph Mayr, flor. in 1638. 

Robert de Vorſt, flor. in 1628. 

Robert Nanteuil, a Frenchman, he died in 
1678, aged 48. 

Roberta, R. B. T. A. 

K. V. A. Gaudenſis. 


8. 

Saenredam, See Hans (or John) Saenre- 
dam. 

Salvator Roſa, a Painter, Engraver and 
Poet, of Naples; he died in 1675, aged 
60. Number 106. 

San Martino, of Bologna, this Artiſt was 
Abbot Primaticcio, of $t, Martin's. 
Number 91. 

Samuel Hainzelmanus, of Augſburg. 

Schelde a Bolſuvert, for. in 1660, Num- 
ber 125. 


Scuppen, 0 Paris. | 
Pen of Saben- 


of ENGRAVERS 247 
Sabenzanus. Number 109. 
Silveſtre da Romana. Number 101. 

Simon Cantarini,. called of Peſaro, S. C. 
Simon Friſio. 

Simon Guillain, S. G. of Paris, flor. in- 
1646. 

Simon, of Paris, flor. in 1673. 


Simbaldo Scorza, of Genoa, He fied in 


1031, aged 41. 

Siſto Badalochio, , Parma, for. in 1607. 

Spagnoletto, See Joſeph Ribera. Number 
— 
Stephen della Bella, of Florence. S. B. Le 

died in 1664, aged 30. Number 136. 
Stephen Baudet, of France, for. in 1675. 
Stephen Carteron, S. C. F. flor. in 1615. 


Stephen Colbenſtagh, of Rome. Num- 


ber 94. 


Stephen du Perac, of Paris, he died in 


1601. 
Stoltzius. Number 2. 


Svaneburgh, he engraved the Works of Ru- 


bens. 


Suſanna Sandrart, of Norimberg, flor. in 
A | 


. 
Theodore Cornher, of Amſterdam, he died 
in 1590. 
Theodore Crugher, or Greuger, T. 8 
Number 1 50. 


M 4 5 Theo- 


— 


— — —— ä.. 7«⁰7—.— anne te 4. one 


— —-— — — ũ ́Dͤ V— 


. det oi. - 


| 


** 2 
ar >, —— r e U . es es ] p.! ̃ wü.... —˙¹f ⁵ . 7—rÜ' 


— — 


"oy — Is — os. =_ —— - IIS vn ner 
— — * — 
— 8 —— — — — — — 
ag * * b — — 


-— e i. tem 
r 


248 An Alphabetical IN DE x 
Theodore dalla Croce, of Holland. 


i heodore Mattamio, of Haeflem, flor. in 
1663. 
Theodore Van Tulden. Number 116. 
Theodore Zaghel. Number 65. 
Thomas Barlacchius. 
Tibso, for. in 1686. | 
Tobias Stimer, of Schafuſe, flor. in 1390. 


V. 
Valentine Senezius, V. S. flor. in 1622, 
Van Rhin, See Rembrandt. | 
Ventura Salimbeni, of Siena, V. 8. In, 
aged 56. 
85 42 Fontana, of Bologna, an Engra- 
ver on Wood, 
Veſpaſian Strada, Veſ. S. of Rome, died in 
1618, aged 26. | 
Ugo da Carpi, flor. in 1500. 
V cent Caccianemici, V. C. of Bologna, 
Virgilio Sole, or V. S. Numbers 19, and 
=: : 5 


| | W, 

Waer Van Hoſſanen. Number 15. 

William Delft, of Holland, died in 205 
Number 151. 

William Corteſe. 

William Faithorne, of London, 4. in 


my” 
Wen- 


of ENGRAVERS 249 

Wenceſlaus Hollar, a Bohemian, died in 
I © 4 , 

Wolfgangus Kilian, of Augtburg, 43 in 
1054 

W. Vallis Hor. in 1675. 

W. Vaillant, flor. in 1726. 


6 


Zazingeri, See Martin Zinkio. 
Zinkio is the ſame as Martin Zazingeri. 


250 An Alphabetical LIST 


e 


AN 


Alphabetical LIS T 


QF T'H 


SURNAMES Le fore zhe CHRISTIAN 


Names, of Painters, Engra- 
vers, and Sculptors. 


Note, The Letters P and S, before the 
Names, ſtand for Painter, or Sculptor. 


AB; John Allen, Francis 
Abiati, Philip Altorf, Adam 
Adamo, Mantuano Ambrogi, Domenico 
Ackerſtout, William | delli 
Adam, John Ab- Amling, Corne- 
Adler, Philip | lius Guſtavus 
P. ÆAlſheimer, Adam Carolus 
Agoſtino, Veneziano_| Guflavus 
Aguccio, Giovanni Amon, Juſtus 
Alberti, Cherubino IP . „Jodocus 
Aldegraft, Albert Ammon, Claudius 
S. Algardi, Aleſſandro Andrea, Nicolas 
Allard, Carolus | Andreani, Andrea 


Alet, John Charles | | 
| Angelo, 


of EN GRA VERS, Cc. 251 


Angelo, Michael, ee 
Buonaroti 
Anrien, J. B. r. 
Aquila, Francis 
„Petrus A 

Artſen, Petrus 
Aubry, Peter 
Aveline, ſen. 
Audenaerd, Hubert 
Audran, Charles 

—, Gerard | 
, Benedict 
, Claude 
„John 
Auroux, Nicholas. 


, 


P. 


P. Badaloccio, Siſto 
P. Badiale, Aleflandro 


Baldung, Hans 


P. Baldini, Baccio 
Balieu, Bernard 
„Peter de 
P. Baltens, Peter 
Balthaſar, Peter 
P. &&. Bandinelli, Bac- 
cio 
Barbé, John 
Barlacchius, Thomas 
Baron, John 
Baron; Bernard 
P.Barocci, Frederico 
Baroni, Giuſeppi 
Barri, Giacomo | 
Barriera, Domenico 


P. Bartoli, Pietrò Santo 


P. Baugin, John 
Baumgattner, J. G. 
Bary, Henry 


P. Baur, Guil. or Jo. 


Will. 
P. Bazicaluva, Hercules 
Bain, Nicolas 
P. Beatrici, Nicolas 
Beatricetto, Nicolo 
Beauvais 


P. Beccafumi, Domenico 


Becket, Iſaac 


Belange 


Belli, Jaques 


P. Bernardi, Gio. 
Bertrand, Philip 
Beaufrere, P. 
Beuſecom, T. V. 
Bertelli, Ferando 

| , Lucas 

Bertini: Domenico 


Beverenſis, Nicaſius 


Bianchi, Paolo 


Bignon, Francis 


P. & S. Bink, Jacobus 


Bie, Jaques de 
Bifcaino, Bartol. 


. Paulus 
Bleker, Cornelius 
Bleſendorf, Samuel 

Bleſwart, Henry 

Bleſwick, F. 


Baudet, Eſtienne 
M 


Fo Bloemart, Abraham 
5 Bloemaert, 


Beham, John Sebald 


Berghem, Cornelius 


Biſi, Fra. Bonaventura 


1 — —ũ— . . ,]⏑—·⁰— 0 


252 
Bloemaert, Cornelius 

—, Frederick 

, Hercules 
Blois, A. te 

P. Block, Daniel 

F „Emanuel 

P.,——, Adolphus 

F „Benjamin 
Bion; Michael le 
Blond, la 
B ondeau, Jaques 
Bloeteling, A. 
Bocklin, 7J<C. 

P.Bocklaer, Joachim 
Boel, Quirinus 


2 


: . . f 
Boham, Bartolomeus 
Bois, M. de 
Boivin, Rene 
Boiſſavin, L. 

Boitard, Lewis Philip 

Bol, * | 

P.Bologneſe, Franceſco, 

See Primaticcio 

Bolognini, Jo. Bap- 
BW 

Bolonnois, E. de 

Bolſwaert, Scalſe a 

Bolſwerd, Bl. 

———, Boetius 
Bolzoni,. a 
Bonaccini, Jo. ad 
18 

Bonar, A. 
Bonaſone, Julio 

Bonavera, Domenico 


n 


— 


| 


( 


An Alphabetical LI 8 T 


Bonez. 
Buonmartino, Iſrael 
Martin 
Bonnart, Nicolas 
Bonvicinus, B. 
Borgiano, Horatio 
Borrecheus, Matthew 
Bos, or Bus, Corne- 
lius 
Bos, . Boſch 
HP. Boſs, Antoine 
Both, Andrew 
Bouche, Pet. Paul 
Bouchet 
Boulanger, John 
Boud, R. 
Boudan, L. 
. Jobn 
» Philip, Jun. 
„Frederic 
+ P. Balthaſar 
RS © | 
P.Brebiette, Peter 
P.Brein, Rodolf 
Breſanck, Hans 
P. Breſcia, Giov. Maria 


da | 
, Giov. 
tonio 
P. Breughel, Peter 
Brifsart, P. 
H. Brill, Pact: 


An- 


iP. Bits, Franceſco 


Brittiano, Baptiſta . 
UN J. Baptiſt 


Brixianus, 


4 


of ENGRAVERS, Ge. 


Brixianus, Jo. An- 
tonio 

Bronchorſt, John 

Broſamer, Hans 

Bruf, John 

Bain G. le 

, Charles le 

Brun, Horatio 

Brun, Peter de 

Bruin, A. D. 

, Nic. de 
Brye, Theodore de 
Buffagnotti, Carlo 

P. & S. Buonaroti, Mi. | 

Angelo 

P.Burchmair, Hans 
Burnford, Thomas 
Bylli, Nicolo. 


. C. 
P. Caccianemici, 
cenzo 
P. & S. Calcar, John 
Callot, Jaques 
Camaſſei, Andrea 
Campagnola, Dome- 


nico | 
—, Julio 
P.Candidus, Peter 
Cantagallina, Remi- 
gio 
Cantarino, Simone 
Canuti, Domenico 
e 
Capitellus, Bernardus 


1 


i 
| 
| 
| 


| 


| 


| 


| 7" SHER Antonio 


. 


Vin 


253 
P. Carracci, Agoſtino | 
H'. „Annibal 


P.——, Franceſco 
P.——, Lodovico 
„Paolo 
Cardi, Lodovico 
Carpi, Ugo da 
. 
Carteron, Stephanus 
Caſſione, J. F. 
Caſtelli, Bernardo 
Cauſe, Henry 
P.Caſtiglione, Jo. Be- 
nedict 8 


„ Jo. Bap- 
tiſt 


P. Ceſio, Carlo 
Du Change, G. 
Chapron, Nicolas 
Chaſteau, N. 
Du Chaſtel 
Chaveau, Francois 
Chatres 
Chereau, F. 
Cheron, Elizabeth 
Cherpinion, C. 
Cheſneau, Henry 
Chevau, F. 
P.Chiari, Fabritio 
 Chiarini, Marc An- 
'tonio | 
Cignani, Carlo 
Ciamberlano, Luca 
Ciro, Ferri 


— —— En ng — — — —— 
— —— — — —— 2: ä — 


Capriolo, Aliprando 


P. Clef, 


254 An Alpbaterical LIST 


P. Clef or Cliven, Hen. de | 

FR. =—, Mar- 
tin de 

P. Clerc, le, jun. 

| , Sebaſtien 

— Aubert 

Clovet, Albert 

Clouvet, P. 

, R. 

Cluet, Hubert 


Corteſe, William 
Coſſin, Lovis 
Conrad, Abraham 
Cottart, Peter 
Cotta, 16. 
Couvay, John 
Cranogio, Lucas 
Cremonius, Andreas 
Crep py | 


Cruger, Theodore 


Coblentz, Herman P. Culembach, John 


Cochin, ſer. 
, Jun. 
Cock, Jerom 
Coenhert, "Fheodore | 
, Dirich . 
. Lowers - 
Cocxis, Michael 
Coget, Anthony 
| Cokerken, Cornelius 
TE. Van - 


Colbenſtagh, Stephen 


Collaert, . | | 


Collin, Richard 

, Nicolas 
Congius, Camillo 
Conrad, Abraham 
Conſtantini, Jo. Bap- 

tiſt 

Coquin, Lovis 
Coraglio, o. Jacob 
'Coricori, "0, | 
Coriolanus, Bartolo- 
meus | 
Cormet 
Cort, Cornelius 


Culot 
Cundier, John | 


Cuxti, Franceſco 


Cuſtodis, Domenico, 
D, 
Dac, John, the ſame 
with John Aback 
Dalla Croce, Theo- 
dore 
Dankers, Henry 
Dankert, Cornelius 
Dannoot, Peter 
Paret, Peter | 
David, Jerom 
"Carat 
„Henry 
Dent William 
Jacob 


Della Bella, Stephano 
Del-Pòô, Pietro 55 


De rlois, M. | 


Detteltus," [es | 


Delrochers, Eſtienne 


„Jun. 


Devaux, Robert 
P re 


Diamner, 


F ENGRAVERS, Ge. 


Diamner, H. F. 

P. Dolfin, Olivier 
Doino, Catterino 
P. Domenico, Fioren- 

tino 
P. Domenichino, 
Dom. Zampieri 
Dorat, Jac. 
Dorigni, Michael | 
, Nicolas 
| BR M. 
Drevet, Peter 
„Claude 
Dubois, M. 


or 


Du Change, Gaſpar 


Duflos, Claude 
Dupuis, Nicolas 
E. 


E. 
Edelinck, Gerard 
, Nicolas 
Eimart, "Goo. Chriſt, 
Eland, Henry 
Elipart, J. Ch. 
Elſtrac, Robert 
Erhard 
Erlinger, Francis. 


F. 
1 Aber, John, ſen. 
, John, Jun. 
Fage, Nicolas la 
Ts 1 9 
Falda, Jo. Baptiſt 
Falk, John 


Jerom 


2 5 


255 
Fantetti, Ceſare 
Farjat, Benedict 

P. Farinati, Paolo 
Febure, le 
Ferace, Canute 
Fevre, Claude le 
Fiiian, John 
P.Finiguerra, Maſo 
Fiolettus, Edward 
Flamen, Albert 
Floræ, Guill. Nico- 
las a 
Flos, Claude du 
P.Fontana, Dom. Ma- 
ria 
, Gerardo 
P. 8 | 
F rancia, F ranceſco 
Maria 
Francoforma 
Francus, Baptiſta 
Freij, Agnes 
Freij, Giacomo 
Frizius, Simon 
Froſno, John 
Fruytiers, Philip. 


3 
Gagliardus, Philip 
Gagliardi, Bartolo 

meo 
Galle, Theodore 
Galle, Philip 
, Cornelius, ſen. 
, Cornelius, jun. 


Gallo, Bernardo 


Gal 


256 

Galleſtrucci, Jo. Bap- 
tiſt 

Gantrel, Stephen 
Garnier, Noel 
Gatti, Oliviero 
Gaudenſis, R. V. A. 
Gautier, Leonard 
Georgi, George 

> John 

P. & 9. De Ghein, Jaq. 
Gbiſi, Georgio 
Giffart, Peter 
Giminiano, Jacintho 
Giovane, Franceſco 
Giardini, Melchior 
Glover, George 
Gole, John 
Gomie, Luigi 
Golkentonius, 

bertus 

F.Goltzius, Hubert 

P. —, Henry 
Gourdelle | 
Graffico, Camillo 
Granhomme, Jaques 
Greut, Joſeph. 
Greuter, F. 


Al- 


„Theodore 
 P.—, Matthew 
F: „Jo. Frede- 
1 
P. Gribelin, Sam. ſen. 
„ Sam. jun. 


| Grignon, Jaques 
Grimaldi, Franceſco 
Grunevald, Matthew 


| 


An Albbatetical LIS T 


Guarnier, Anthony 

Guerra, Giovanni 

Guerrieri, Franceſco 
P. Guidi, Rafael 
„Mich. Agnolo, 
his Lou 


P.Guido Reni 


Guignon, V. 
Guillain, Simon 


Gyger, Jo. Conrad. 
H 


Habert, N. 
Haelwegh, Albert 
Hagen, 8. 
Hainzelman, John 
„Samuel 
Halbeck, John van 
Halle, 8. 
Hanzelman, Elias 
Harrewin 
Hay, Charles de la 
Hemſkirk, Martin 
Heiden, Jacob ab 
Heim, W. C. 
Heince, Zachary 
Hendricx, Giles 
HFerkenever, Jac. 


Guil. 

, Leonard 
Hen Maria 
Hertz, Jo. Daniel 
Heviſſen, Cornelius 
Hiſben, Peun 
Hoefnaghel, Joris 
Hoelwigh, Adrian 
Hogenberg 

Holbens, 


of ENGRAVERS, c. 257 


Holbens, of Haerlem 
Hollar, Wenceſlaus 
Holſtein, P. 
P.Hondius, Henry 

, William 
Honofii, Creſcenzo 
Hopfer, Jerom 

, David 

, Lambert 
Houbraken, Jaques 
 Houget, John 
Houſſe, Patil dela 
Hubert, Gaſpar 

, Adrian 
Huberti, Francis 
Hulſius, Francis 
Humbelot 

Huret, Gregory 
Huybreckt, Peter 
Hys, Peter. 


I. 


Jacquart, Ant. de 
Jeaurat, E. 
Imperiali, Girolamo 
Jode, Peter de, ſen, 
„Peter de, jun. 
Jolain, Jac. 
Jongelinx, . 


Jongh, N. de 
Iſaac 

Iſac, Jaſpar 

| lader Peter 
Juſter, J. 


ö 


| 


K. | 
Kaldung, Hans 


 Kerver, Jaques 


Kilian, Lucas, ſen. 
„Lucas, jun. 


3 Bartholomew 


„Wolfgang 
„Philip 
Koning, Cornelius 


Eraling, John 


Kruger, Lucas 
Kuſſel, Matthew 


„Melchior. 


L. 
Ladelſpeldricht, John 
Laignel, Nicolas 


Lamſweard, Stephen | 


van 
Landry, P, 
Lanferrius, Antonius 
Lanfrank, Giovanni 
Lang, Mauritz | 
Langlois, John 
Larmeſſin, D. de 
Laſne, Michael 
Later, John de 
Lankerken, Corne- 
lius 
Laurent, A 
Laurentio, Efare 


Laurenzani, Giaco- 


mo 
Lauri, Giacomo 
Lawers, Nicolas 

: "EY 


—— — 


258 
Lawers, Conrad 
Le Bas, Jaques Phil- 

lipe 
Lenfant, John 
Leonart, G. F. 

, J. F. 

H. Leonus, Octavius 
Lens, Bernard 
Leotard 
Lepicie 

P.Leyden, Lucas van 
Leyſebetten, . 
Licinio, Antonio 
Liefrank 7 
Liefrinck, Hans 
Lieu, Thomas de 
Ligozzi, Giacomo 
— - ly 
Lochon, Rene 

P.Lolli, Lorenzo 
Lombardus, Lam- 

bertus 
Lombart, Peter 
Lommelin, Adrian 
1 
P. Lorenzini, Padre An- 
gelo 
Lorichius, Melchior 
Louvement, Francis 
Louys, John N 
Lubin, Jaques 
Luccheſe, Michael 
Luciani, Antonio 
Lucini, Ant. Fran- 
oo 
N Laß Li: 


' 84 14 


- oh A, Iphabetical LI 8 + 0h 


| 


* 


Lyvius, "> ny 


. Mal Floria 
P.Maggi, Jo. Baptiſt 
Magliar, A. 


5 F. Major, Ifaac 


Malleri, Philip de- 
, Charles 


Malpucci, Beraio 


| P.Mantegna, Andrea 


Mantuana, Diana 
Mantuanus, Giorgio 
-, Jo. Baptiſt 
Manuel de Berna, Nic. 
P. Maratti, Carlo 
Marc. Ant. Raimondi 
Maria, Domenico 
Mariette, . | 
„John 
Mariotti 
M,artinez 
Martino, Iſrael 
Maſſon, Antoine 
P. Matham, Jaques 
7 of s I heodote, 
his Son | 
P.Mattioli, Lodovico 
' Mavelet, Charles 
Maupini, Paolo 
P. Mayer, Dieterick 
— Henry 
„Conrad 
” ' Rodolf” 
P.Mazzola, Franceſco 
\ Meck, or V. Meche- 
lin, Iſrael 


1 Maelar, 


of ENGRAVERS, Sc. 


 Melar, Adrian 


F. 
P. 


F, 
P, 


Mellan, Claude 
Mellan, G. 
Melloni, Franceſco 
Mercand, Pierre 
Mercati, Jo. Baptiſt 
Merian, Matthew 
Merl, John 
Meſlacer, John 
Metelli, Agoſtino 

, Giof. Maria 
Meyſſens, Jobn 


Cornelius 


Micarino 

Miele, Giovanni 
Mignard, Nicolas 
„Pierre 
Mignot, Daniel 
Mocetus, Hieronymus 
Moncornet, B, 


Montbard 


Moretti, Giuſeppi 


Nadat 


Morin, John. 
Moro, Battiſta del 
Moyreau, John 
Muller, John 
——, Harman 
Muckerken. _ 


N. 


Nantueil, Robert 
Napolitano, Filippo 
Nardois, J. Galiot 


Natalis, Michael 


Nefs, Jaques 


| 


259 
Neve, Francis | 
Nicoletto, da-Modena 
Nuvolſtella, Jo. Geo. 


e 
Occo, Adolphus 
Oddi Parmagiano, 

Mauro 


Orlandi, Giovanni 


Ottens, F. 


P. 
Panorn, Alois Cal ab. 
P. Paul Veroneſe, or Ca- 
liari 
P. Paraſole Norſi no, Le- 
onardo 
P. Parmegiano, Fran- 
ceſco 
Parmegianino, Fran- 
ceſco 
Paſquilino, Jo. Bap- 
| tiſt 
Paſs, Criſpin, ſen. 
, Criſpin, jun. 
„or Paſleus, Si- 
mon - 
Paſſari, Filippo 
Paſſaro, Bernardino 


P. Paſſarotti, Bartolo- 


meus | 
Patavinus, Gaſpar. 
» Gerard: 


Patigny | 
P.Pautre, John le 


| Payn, John 
Peel, Matthew 
Penni, 


— ——U—öjœà—äLUʒᷓ7̃— — 


260 An Alphabetic al 1ST 


Penni, Lucas 
P. Pens, George 
P. Peroch, Eſtienne 
P. Perelle, Nicolas 
Periecouter 
HP. Perrier, Francois 
H. Perſin, Rainerus 
Perundt, George 
H. Peruzzi, Baldaſlar 
Perzyn, Robert 
Peſareſe, Simon 
P. Peſne, John 
Picart, John 
„Eſtienne 
„Bernard 
Picinæ, Elizabeth 


Piccina, Iſabel, a Nun 


P. Piccino, Jaques 
Piccioni, Matteo 
Picquet 
Piper, Francis le 
Pitau, N. 

Podeſta, Jo. Andrew 
Poilly, Nicolas de 

„Francis de 

x polemberg, Cornelius 

H. Pond 
Pontius, Paulus 
Pool, Matthew 
Popels, John 
Poſſemieres, Adrian 
Preſlier, F Copen- 

hagen 
Procaccini, Camillo 
P. Procaccinus, Jul. 


Cxiar. 


Q. 
Quaſt, Peter 
Queborn, Criſpin 
P. Quiter, Hermannus 
Henry 


R. 
Randon 7 
Raimondi, Marc, 

Ant. 
Ravenna, Silveſter da 
Ravennati, Marco 
Ravenate, Simon 
Francis 
Ravenſtein, Gaſpar 
Regnaſſon, N. 

P. Rembrandt, van Rhin 
Reverdin, or Raven- 

| ſtein | 

P.Ribera, Giuſeppi 
Ricci, Jo. Baptiſt 
Ridolfi, P. 

„ Robert 

 Rochfort, de 
Roger 
Roghmans, Giertruy 
Rogheman, Hendr, 

Lambert 
Roli, Joſeph Maria 
Romſteadt, Chriſto- 
pher 

FT Roſa, Salvator 
Roſſi, Hieronymus 

, Henrico 

\ Domenico di 


| P. Roſa, „Martino 
Roulet, 


of ENGRAVERS, Oc. 


Roulet, Jo. Louis 
Rouſſel, Paul 
Re Giles 


P. Rubens, Sir Peter Paul 


Rucholle, P. 
P. » Zgidius 
Rugeri, Guido. 


8. 5 
Sadeler, Raphael 
„John 
„Rodolph 
„ Agidius 
„ Juſtus 


Saenredam, John 


P. Salamanca, Antonio 


Salimbeni, Ventura 
Salmenicius, Andreas 
Sandrart, John Jacob 
„ Joachim 
„ Suſanna 
Sarrabat, John 
Saraceni, Carlo 
Sarragon, John 
Sauve, John 
Scalzi, Lodovico 


<S = 


5 


Scaramuccia, Luigi 
Schauflig, Hans 
Schenk, Peter 
P. Schon, Martin 
Schoonebeek, Adam 
Schorel, John | 
Scotin, G. 
—, J. B. 
Scorza, Simbaldo 


261 
. Scuppen 
Sebenzanus 
Secu, Maitin de 
Scruuter, P. 
Septimius, Hercules 
Setti 
Scupel, John a 
Sezenius, Valentinus 
Sichen, Cornelius 


1 Silveſtre, Suſanna 


—, Iſrael 
Simon, Peter 
„John 
Simmoneau, Car. ſen. 
, Car. jun. 
Sirani, Givovatini 

, £1izabetha 
„Jo. Andrea 
en Rh 
Smeltzing, John 
Smidtz, of Berlin 
Smith, John 


— 


* off 
. 


bf Smith, Thomas 


Snyers, Hendrick 
Sole, Virgilius 


| + Sole, Jo. Joſeph da 
Scaminoſſi, Raffaello 


Sorito, Jo. Baptiſt 
Souberaine _ 
Soutman, Peter 


* Spagnoletto 


Specchi, Aleſſandro 
Spiez, Hubert 


LP pierre, Franceſco 


. Spirinx 
P. Steen, Franciſcus 


Stella, Claudius 


Ste- 


1 


1 — —— = 


K — — — — WW ‚ —— 


— 
— —— — —— Go 
— — ra Soy x my N 


262 


. ͥKÄ—T — „ — W —22 
— — > a et + ED IEE 


P. Stivens, Peter 


Stringa, Franceſco 


Suavius, Lomkdrt 


Sweerts, Michael 


H. Tempeſta, 


P. Terzi, Franceſco 


P. Tibaldi, Domenico 


Stephani, P. 
Stephanoni, Pietro 


Stimer, Tobias 
Stock, Andreas 
ee 


Strada, Veſpaſiano 


| 


Stuerhelt, F. 


Suruge 

Suſtermans, Lombart 

Suyderhoef, John _ 

Swanenberg, Wil- 
liam | 


Sylvett, John 
{ 5 


Tardieu, Nicolas 
Taſiniere, George 
Tavernier, M. 


nico 
, Antonio 


Teſta, Pietro 

——, Julio Ceſare 
Teftana, Joſeph 
—, Jo. Baptiſt 
Thelot, Jo. Philip 
Thibout, B. 
Thomaſſin, E. 
. S. un. 
ein, H. 


| 


Dome- | 


An Albhabetical LIS T 


Timus, L. 

Tinti, Lorenzo 
Tomaſini, Filippo 
Tompſon, Philip 
„Robert 
Y. Torre, F laminio 
Torrebat, Francois 
Trento, Antonio da 
Troſcel, B. 
a „John 
TW] ƷC•bꝛ A. 
TIO John. 


Vat Andrea 
Vænius, Gisbert 
Vaillant, William 
| „William 
Valder, John 
Valet, William 


FH. Valeſio, G. Luigi 


Valk, John 
„Gerard 
Vallée, 8. 

Valleius, A. 

Van ZElft, Nicolas 
Audenard, R. 
- Boons, David 
Boucle | 
— Bremden, D. 
Craen 


— Culmhac, Hans 
1 Dalen, C. ſen. 


3 


- Dalen, C. jun. 
Dyck, Sir An- 
Thane 


Tibo 


vs Gunft, Philip 


Van - 


of ENGRAVERS, &c. 


Yao Hoſſanen, Uvaet 


» 


Lochum, Mi- 
chael 

Luych, H. 
—Mechelin 


, coe 

oF. Mieris, W. 

— Rhin 

Savoyen, Ca- 

rolus 

Schuppen 

—— Scheindel, G. 

Semple, Peter 

— dichem, C. 


Sichem, Chri- 
topher 
— Schoor,, Jaques 
——  Sickler, Peter 
— Somer, Peter 
Somer, M. 
Tulden, The- 
odore 
— Uden, Lucas 
Uliet 
Voerſt, Robert 
. Witerliout, | 
4 Ares | 
— VYande- Steen, 
Francis 
—— Velde, John 
Velde, Will. 
Venne, Andrew 


Vandel Borcht, Peter 


H. 
P. 


Hulſen, Eſaias 


Mecelin, The- 


Munichuyen 


— 


P. Villamena, 


263 
Vanden Embden, 
Martin | 
Vanden Hoeye, Rom- 
bout 
Vander 
John 
Doel, Anthony 
Heyden, Jacob 
Nelpe, Peter 
Staren, Dirick 
Vandi, Franceſco 
— , Jo. Baptiſt 
Var, Dirich, the = 
phew 
Vans, John 
Vaſſouns, John 
Vaughan, Robert 
Veenbuyſen, Jo 
Venenti, Julio Ce- 
ſare 
Veneziano | 
Verkelie, N. 
„Hans 
Vermeulen, C. 
Vertue, George 
Viani, Giovanni 
Vicentini, Gio. Nic- 


cola 


-— 


Bruggen, 


— —, Uberto 
Vico Fass 


F. ran- 
ceſco 


P. Viſcher, Cornelius 
Viſker, John de 


Viſker, 


= 


264 An Alpbabetical LI 8 FT, Ge. 


Viſker, L. 4 
——, Nicolas 
Vivares, F. 
P. Vivien, John 
Ulric, Benny ä 
ger 


Voerierot, 


Voet, Alexander, jun. 


Vouillemont, Sel, 
Vorſt, Robert de 
Vos, Martin os. 1 


P. Voſterman, Lucas, 


— Lucas, 
Ja - 
W. 
Wagman, Hendrick 
Waldreicx 


Waterlo, Antonius 
Watteau | 
Waumans, Coenrad 


Weigel, Chriſtopher | 


White, Robert 


| 


. Will, 


Widerman, Elias 
Wierx, Anthony 
Hieronymus 
J. G. | 
Wilant, * 
Wingendorf, G. 
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Wolfgang, G. A. 
P.Wolgemut, Michael 


2 365 Wormache, Antonius 


Z. 
S. Zabello, Jo. Fran- 
ceſco 
Zagel, Mattheus 
„Theodore 
Zani, Jo. Baptiſt 
Zarlati, Sioſeffo 
 Zazingeri _ 
Zenoi, Domenico 
Zink, 029 
Zylvedt, A 


* 


Zyll, C. 


