Page images
PDF
EPUB

1

the great

Sculpture where and when in its ascendent Page 33, 37
Statues to what head reducible.

33 Sculptores marmoris, metal. in gypsum, &c.

ib Signa at Rhodes, Athens, and other places, in what prodigious numbers

34 Statues almost as many as men

ib The contest betwixt art and nature in point of fertility ib Statues improveable to a politic as well as expenceful magnificency

ib απσφραγίσματα

ib Pyrgoteles only permitted to engrave the effigies of Alexander

ib The pictures of queen Elizabeth and other princes, how profaned and abused

34, 35 Augustus would have his figure cut only by Dioscorides, and why

35 Sculpture in what materials most eminent Dipoenus, Prometheus, Ideocus, Eucirapus, Lysistratus, De.

mophilus, Dædalus, Leochares, Policarmus, Myrmecides,
all famous culptors

ib
Figulina vafa cælata, why broken by Cotys
Hydriæ engraven, and bread
Gold feldom engraven, and why

ib Mentor his curious works

ib Acragus his works

ib Boethus's maiter pieces

ib The works of Calamis, Antipater, Stratonicus, Tauriseus,

Aristeus, Eunicus, Hecates, Praxiteles, Posidonius, Ledus,
Zopirus, Pytheus

37 Medalists, who moft excellent, and in what emperor's times

the best were cut. When they degenerated Sculpture, when it degenerated in Greece and Rome 37 And whence its decay proceeded

ib Sculpture, when it arrived at Rome

ib Sculpture and writing, when first among the Danes and Nor

36
ib

37, 62

38

vegians Runic characters

ib Græf-fæx, what

ib Vice and avarice, the occasion why sculpture degenerated, and

is not since arrived to the perfečtion of the ancients 39 By what means it may recover

40 Alexander

1

Alexander Magnus, Augustus, Francis I. Cosmo di Medicis,

and Charles V celebrated for their affection to arts Page 40 Time and leisure required to bring a work to perfection 41 Sculpture and chalcography ancient in China, on what materials, and how wrought

ib Letters in Europe first cut in wood

ib The ink-maker for the press dignified amongst the Chinese with a liberal salary and privileges, and not accounted a mechanic

42 Sculpture found in Mexico, and other parts of America ib Typography not found out by the Greeks and Romans, to be much wondered at, and why

ib

CH A P. IV. Of the invention and progress of chalcography in particular;

together with an ample enumeration of the most renowned masters and their works

43 Engraving on plates of brass for prints when first appearing ib Typography when first produced in Europe

ib Prints in the infancy of this art

ib The devil a monochrom

ib M. 3. M. C. what they import

ib What sculptors added the year of our Lord to their works Who were the first gravers

of prints The Italian gravers and their works Maso Finiguerra the first print-graver in Italy

ib Enameling gave the first hint for the engraving of prints The graving of prints, from how mean a commencement it ar. rived to this perfection

ib Baccio Baldini, his works and countersign

ib Albert Durer, when he flourished, his incomparable works,

contest with Lucas and Mark Antonio, and how precious his works

45, 46. 47, 64, 81 Lucas Van Leyden, his works, emulation of Durer 46, 47, 64 Mark Antonio, when he flourished, his works, contestation with Albert, &c.

46, 47, 48, 49, 50 For what vile prints reproved Raphael Urbin, how he honoured the gravings of M. Antonio Martine of Antwerp his works, how esteemed by Michael Angelo

44 R. S. what it fignifies

L 2

Marco

51

47, 48

48 Marco di Ravenna, his works

Page 49 A. V. I. what it imports

ib Giovanni Battista Mantuano, his works

51 I B. M. whose name it fignifies

ib Sebastiano da Reggio's works

ib Giorgio Mantuano's works

ib Etching in aqua fortis when first produced

51, 52 Damaicus fymeters

52 Ugo da Carpi, his new manner of cutting for divers colours, and his works

ib The works of Baldassare Peruzzi, Francisco Parmegiano, Beccafumi, Baptista Vincentino, Del Moro, Girolomo Cecu

52, 53 Giacomo del Cavaglio, his works both in copper and stones 53 Enea Vico de Parma, his medals and other gravings

ib The works of Lamberto Suave, Gio Battista de Cavaglieri 54 The works of Antonio Lanferri, Tomaso Barlacchi, Antonio

Labbaco, Titian, Giulio Buonafoni, Baptifta Franco, Renato, Luca Penni, Francesco Marcolini

54, 55 The works of Gabriel Giolito, Christophoro Coriolano, Antonio

Salamanca, Andrea Mantegna, Propertia de Rolli 55, 56 Martin Ruota, Jacomo Palma, Augustino and Annibal arrache

55, 56, 57 The works of Francisco Villamena

58 Giovanni Magi, Leonardo Isabella and Bernardino Parasol

58, 59 Cutting and engraving in wood how difficult and different from chalcography

59 The works of Antonio Tempesta, Cherubino Alberti, Horatio

Borgiani, Raphael Guido, Giovanni Baptista della Marca,

Camillo Graffico, Cavalier Salimbene, Anna Vaiana 59, 60 Stephano della Bella

61 Medal gravers and gravers in metal and precious stones, &c.

62, 63 The Diamond by whom first engraven Medals, the knowlege of them how noble and profitable, and

by what means to attain it effectually, gentlemen of note skilful medalists

ib The German and Flemish chalcographers, and their works ;

viz. Aldegrave and his cypher, Hans Sibald Beme and his mark, Jerome Cock, Frans Floris, Cornelius Cort, The Sadelers, Herman Muller, Sim. Frisius, Matthew Miriam,

Hans

63 Hans Holbein, Justus Ammannus, Holtzhusen, Hans Bros. fehaemer, Virgilius Solis whose eyes were put out for his lewd gravings, Henry Goltzius, George Nouvolftell, Matthew and Frederic Greuter, Saenredamus, Cornelius Galle, Count Goudt, Swanevelt, Pandern, Bronchorst, Matham, Paul Brill, Nieulant, Boetius, Londerselius, Van Velde, Nicholas de Bruyn, Ægidius Coninxlogenfis, Stradanus, Mallery, Bollwert, Paulus Pontius, Suannebourg, Neffe, Vofterman, Vorst, Christopher Jegher, Van Vorst, Sir Anthony Van Dyke, Sir Peter Paul Rubens, Peter de Jode, Colaert in steel, Suyderhoef, Jo. Baur, Vander Thulden, Abraham and Cornelius Blomaert, Natalis, Ferdinand, Verden, Uriefle, Winegard, William Hondius, Van Keffel, Clovet, Caukern, Lucas Kilianus, Cornelius Vischer, Vo. villemont, Nolp, Lombart, Hertoc, Rembrandt, WencefLaus Hollar, Hevelius, Anna Maria a Schurman, Breughel, Oftade, Corn Clock, Queborn, Cuftos, Le Delfe, Dors, Falck, Gerard, Bens, Moestuer, Grebber, Geldorp, Hopfer, Gerard, Bens, Chein, Ach. d' Egmont, De Vinghe, Heins, Ditmer, Cronis, Lindoven, Mirevel, Kager, Coco cien, Maubease, Venius, Firens, Pierets, Quelinus, Stachade, Schut, Soutman, Vanulch, Broon, Valdet, Bifcop, Druefken, Pieter Van Aelft, Swart Jan Van Groenighen, Lucas Cranach, Joos Ammannus, Hubert Goltzius, &c.

Page 63 ad 82 The French chalcograpers and their works ; Petit Bernard,

Nicholas Beatricius, Philippus Thomafinus, Crispinus Magdalen and Simon de Pas, Claudius Melan, Mauperch, La Pautre, Morin, N. Chaperon, Francis Perrier, Audran, Couvay, Perelle, Chauveau, Poilly, Heince, Begnon, Huret, Bernard, Rognesson, Rousselet, Bellange, Richet, L'Alman, Quesnel, Soulet, Bunel, Boucher, Briot, Boulange, Bois, Champagne, Charpignon, Corneille, Caron, Claude de Lorain, Audran, Moutier, Rabel, Denisot, L'Aune, De la Rame, Hayes, Herbin, David de Bie, Villemont, Marot, Toutin, Grand homme, Cercau, Trochel, Langot du Loir, L'Enfant, Gaultier, D'Origni, Prevost

, De Son, Perei, Nacret, Perret, Daret, Scalberge, Vibert, Ragot, Boiffart, Terelin, De Leu, Mauperche, L'Afne, Huret, La Hyre, Goyrand, Golignon, Cochin, Israel Syl.

vefter, Robert Nanteuil, Jaques Callot, and Bosse 82 ad 90 Chart-gravers, Cordier, Riviers, Peroni and Gomboust, 90,91

The

The French calligraphers

Page 86 The English chalcographers and their works ; Payne, ecil,

Wright, Faithorne, Barlow, Gaywood, Lightfoot, Glover, J. Fellian, and Switzer

91, 92 Medal-gravers, and for intaglias, Symonds, Rawlins, Restrick, Johnion

92 Calligraphers, Coker, Gery, Gething, Billingly, &c. ib An invitation to the English Chalcographers to publish his Majesty's collection, the benefit and honour of it

92, 93 The landschapes, views, palaces, of England, Levantine parts,

Indies, &c. together with the cities, isles, trees, plants, · flowers and animals, to be cut in copper and reformed, were a most acceptable and useful work

93 Painters encouraged to set their hands to the graver 94 The use of this collection

ib CHA P. v. Of drawing and design, previous to the art of chalcography;

and of the use of pictures in order to the education of children

95 Measure and proportion have influence on all our actions ib A saying of Thomas earl of Arundel and Surry

ib Drawing of what consequence to the art of graving ib Design the basis of sculpture, and of many other free and noble sciences

ib Original Drawings esteemed, and for what

96 Antiquity of what effect

ib Design and Drawing defined and distinguished, its antiquity and invention

97, 98 Accident and chance fruitful mothers Drawing with crayon, pen, &c. the method, and how to be performed with success

ib Hatching, what and how attained by imitating good masters, and by what method

99, 100 Overmuch exactness and finishing, a fault in drawing, and why. Polycletus's canon

ib Accurate designs with the pen not esteemed, and why. excelled in them to admiration

100, 101 Vander Douse, Francis and John Cleyne, Francis Carter, &c. celebrated

101, 102 Colours, the production of a middle colour wrought on two extreams

Rubens's

98

102

« PreviousContinue »