Bezaleel (d) Jos Lib. 2. of Antiq. zaleel and Aholiab to make Golden Images of Cherubins and all the Ornaments of Architecture and Sculpture for the Tabernacle and the Ark of the Covenant CHAP. IV. The Egyptians Communicated these Arts to the Phoenicians and They carried them into Grece WE have no certainty that the Art of Designing was in Grece before the year of the World 2600 but that from the Egyptians it went to the Phoenicians under Agenor who Reigned at Tyre His Grandson Cadmus brought the first Letters and (a) About the Year of the World 2600. It was Cadmus who carried the first sixteen Letters of the Alphabet into Grece Palamedes added four about the time of the Trojan War Tacit. Ann. Lib. 11. Plutarch and Pliny Lib. 7. Chap. 56. Arts into Grece There he Built Thebes which he called so from the famous Thebes in (b) This City was so Famous that Germanicus made a journey on purpose to survey its magnificent Ruins H. R. de Coiseteau P. 276 and Cornelius Tacitus Lib. 2. says That in that one City were raised 700000 Soldiers Egypt About the end of the Third Age (c) In 2496 Athens was founded and it is supposed Argos was elder than that and Sicione then Argos Athens was founded by its First King Cecrops who came from Egypt where it is very probable he also laid the first Foundations of the Arts and Sciences It was here the famous Dedalus was born of the Royal (d) He lived about the year 2644 he was of the Race of the Kings of Athens Sons of Metion Cousin-German of Theseus according to Pausanias in his Attic. Diodorus Siculus and Eusebius Lib. 3. of P. E. and Plutarch in the Life of Theseus Diopenes and the Scylli were Sons of Dedalus Milo p. 828. They were Engravers and lived at Sicione Plin. L. 36. C. 4. Family excellent in the Art of Designing and Famous for his (e) It is thought the Beauty of his Statues gave occasion to the report of their Self-motion Machines and self-moving Statues he was also the first Engraver we have mentioned in the Grecian History This Learned Man Travelled into Egypt to see the Labyrinth from whence he formed the design of that he afterwards Built in Crete and though it was not the hundredth part of that in Egypt notwithstanding it was so famous for the Beauty of the Architecture and Sculpture that it was reckoned (f) Plin. Lib. 33. c. 13. among the Seven Wonders of the World Thirty four years after the Institution of the Olympick Games (g) In the year of the World 2836 began the Olympick Games from which time the Grecians computed Time by their Olympiads which returned every Five years happened the destruction of Troy at which time Architecture and Sculpture were much cultivated by the (h) Dedalus having lived near 200 years before the destruction of Troy his School brought up and sent several Engravers to Athens Sicione Candie and Sicily Milo and Pliny Lib. 36. c. 4. Grecians This is sufficiently evidenced by the structure of the Trojan Horse which an ingenious Engraver made for them who was also an excellent Architect (i) His Name was Epeus Dicrateus Justin Lib. 20. c. 2. Plin. Lib. 7. c. 56. after that he Built the City of Metapontus the Citizens (k) This City of Metapontus was in old Lucania which is Calabria It is now called Tore di Mare whereof to testify the Veneration they paid to his Memory kept the Iron Tools wherewith he made the Trojan Horse as venerable Relicks in the Temple of Minerva The elegant Description Homer gives us of the Buckler of Achilles is a sufficient evidence that the Arts of Cutting and Engraving were practised in Grece for that famous (l) Homer in his Iliads Lib. 18. It was held in great esteem in the year 3079. Ovid speaks also of this Buckler in the Thirteenth Book of his Metamorphosis Poet expresses so elegantly the Beauty of that Work that his Descriptions seem rather to be Engraven than Writ He moreover feigns by reason of its Excellence that it was wrought by Vulcan himself As for the Trojans it cannot be denied but that Engraving was in use among them for that Poet tells us that Eneas (m) Eneas went into Italy in the year 2872 he was the first King of the Latins after whom for 543 years there Reigned Nineteen Kings to the time of Romulus took particular care to carry his Penates or Houshold Gods along with him particularly the Palladium of (n) Plutarch in the Life of Fur. Camillus The Fifth Age began at the Foundation of Solomon's Temple and ended at the deliverance of the Jews out of the Babylonish Captivity containing from the year 2992 to 3468 which is 476 years Troy and the Idols of the Samothracians he took along with him into Italy CHAP. V. The Arts of Designing flourished under the Kings of Israel ONE hundred and fifty six years after the destruction of Troy Solomon being about to Build a Temple to the true God would not undertake that peice of Work till by diligent search he had found out all the most able and ingenious Workmen both in his own Dominions and elsewhere To this end he had recourse to the King of Tyre (a) Chron. Book 2. c. 2. The Temple of Solomon was finished in the year of the World 3000. his Friend who sent him Hiram whom through respect he called Father and who excelled in all Arts as appeared by the Architecture of the Temple and of the (b) Hiram made Two Palaces for Solomon the one in Jerusalem and the other in Mount Libanus Chron. 2. c. 9. Palaces which he inrich'd with innumerable Ornaments of Sculpture and Works of Gold In these spacious Buildings were to be seen the (c) This Throne was of Gold and Ivory with Figures and Lyons Magnificent Throne of Solomon the Cherubims the Vessels of Gold the Altar the Pillars and great (d) This Sea of Brass and several other rich Works were broke to pieces in the time of Nebuchadnezzar Sea of Brass which held 300 Measures of Water supported by Twelve Brazen Oxen All which rich Works demonstrate that Hiram was skilled in the Art of Founding as well as other parts of Designing Solomon after this led astray by his Concubines Built Temples to the Goddess of the (e) The Goddess of the Sidonians was Astarthon Sidonians to the Idol of the (f) The Idol of the Ammonites was Moloch Ammonites and to that of the (g) And that of the Moabites Camos Moabites After which Jeroboam and several of the Kings of Israel continued the Worship of false (h) They Sacrificed to the Idols of Baal and the Golden Calf and Jeroboam established that Worship 3 Kings c. 16. Ahab also Built a Temple to Baal in Samaria where he had 450 Prophets and 400 others who served in the Groves and all were fed at
will have Designing to be only a clear and vivid Genius whereof whosoever is deprived is as it were blind since he can't discern the just Rules and Symmetry of Things Armemini de veri preccetti D. L. P. C. 4. le Chevalier Bisigno in his Treatise of Painting Vasari thus defines Designing 'T is a visible Expression of the Thought the Soul has conceived Designing from which Geometry is inseparable CHAP. II. Of the Practice of the Arts of Designing and their Progress among the Assyrians IN the 2d (a) The 2d Age is computed from the Deluge to the calling of Abraham and includes 426 Years Age the Art of Designing began to appear in Sculpture and Architecture for after Noah had re-peopled the Earth the Assyrians began to Cultivate these Arts. The first Essay that shewed it self was the Tower of Babel which was never perfected by reason of the Confusion of the Languages Belus commonly called Nimrod the (b) Gen. Chap. 11. This was in the Year of the World 1879. 222 Years after the Deluge and 127 Years before the Death of Noah This Nimrod reigned 65 Years according to Euseb Gen. 10. First King of the Assyrians was the Author of that famous Structure and afterwards in the same Place built Babylon where he arrogated to himself divine Adoration Ninus's Son erected to him the first Temple in the World and consecrated (c) 'T was about the Year of the World 1944 that the Statue of Belus was made which is the same Idol the Scripture mentions under the Name of Baal Belphegor c. Statues to his Memory which was the first Rise of Idolatry It was this Ninus who founded Ninive a City of (d) Jonas Chap. 3. and Diodorus Siculus L. 3. We here follow the Chronological History of the Sieur de Royaumont Prior of Sombreval in his History of the Old and New Testament three Days Journey in length and made himself Master of all Asia His Wife Semiramis finish'd the Walls of Babylon which were reckoned one of the seven Wonders of the World to which might have been added the Gardens wherewith that City was adorned and which were on the Tops of the Palaces Semiramis Moreover caused the Mountain (e) It is not improbable but that Dinocratus might take this for a Pattern when he proposed to Alexander the Great to cut out the Mountain Athos into his Statue Vitruvius L. 2. The Mountain Bagiston was a Rock of seventeen Furlongs in Circumference it was Carved into the Statue of Semiramis with the Figures of a hundred Men offering her Presents P. Lomazzo Idea del T. del Pitt P. 22. Valerius Maximus makes also mention of a prodigiously great brazen Statue of this Queen Bagiston to be cut in the Shape of several Statues and carried the Arts and Sciences into (f) Among the Arts of Designing that were practised at Babylon Painting was one since that Princess caused to be painted on a Bridge which she built in that City the Figures of several Animals in Colours as is reported by Diod. Sic. and the aforesaid P. Lomazzo P. 22. Egypt and among the Thebans after having Conquered those Kingdoms All Historians agree that Babylon was a very (g) Pliny Lib. 6. Chap. 26. says That Babylon was sixty Miles in Circumference That its Walls were two hundred Foot high and fifty thick that the Temple of Jupiter Belus was standing there in his Time Herodotus says This City was four hundred and eighty Furlongs in Circumference The Death of Semiramis is reported to have happened in the Year of the World 2038. Justin Lib. 2. Diod. Sic. Lib. 3. beautiful City that it was full of magnificent Buildings and Famous for the Temple of Jupiter Belus That it had a hundred Gates of Brass which shews us that the Fusion of Metals was then in Use and that other pieces of Workmanship which depend on Designing were then discovered Hence it is also Evident that the Arts of Designing were not found out by Chance since those first and excellent Pieces of Architecture and Sculpture could not have been performed without the Help of Art which had been transmitted down to those great Designers contemporary to (h) Noah died in the Year of the World 1944. Lamechs's Father lived with Adam fifty six Years Noah and removed but two Generations from Adam CHAP. III. Of the Heighth to which Painting and Engraving arrived among the Egyptians THESE Arts having been so successfully practised among the Assyrians were by them carried into Egypt and all their Conquests in so much that the Egyptians were the first who cultivated them Their Labyrinth was a proof of it It was a (a) It was the King Petesuccus who built it It was moreover enriched and dedicated to the Sun by the King Psammaticus Plin. Lib. 36. Chap. 13. The Obelisks which were transported from Egypt to Rome by Augustus likewise denote the vast Magnificence of the Egyptians Building so admirable that besides its ingenious Windings and Meanders there were all the Temples of the Egyptian Gods adorned with Columns of Porphiry with the Statues of their Divinities and of their Princes with several rich Palaces which made that Edifice so famous and remarkable that the first Architects of Grece were wont to travel thither to Study the Depth of the Rules of their Art This famous Labyrinth and the wonderful Buildings it included give us a lively Idea of the surprising Greatness of the Architecture and Sculpture of this People their Pyramids their Obelisks which are still to be seen and the Fragment of the Colossal (b) Pliny Lib. 36. Chap. 12. Image of Sphinx the Head whereof was a hundred and twenty Foot in Circumference are evidences of this Truth In the 3d (c) The third Age of the World began at 2083 from the calling of Abraham to the Year 2517 wherein the Children of Israel went out of Egypt Age these Arts flourish'd in the Reigns of the Pharaohs Abraham when he travell'd into Egypt Taught there Arithmetick and Astrology The Assyrians and Chaldeans employ'd themselves so much in Sculpture that it became common not only in the Temples but in Private-houses as Laban had Idols which his (e) Gen. Chap. 31. Jacob espoused Rachel in the Year 2253 and the eighty fifth Year of his Age. Daughter Rachel stole when Jacob and his Family parted from him After that Jacob went and lived in Egypt where his Posterity encreased and learned the Arts of Designing and (f) At this time began the fourth Age of the World at 2517 and ended at the building of Scolomon's Temple 2992. gave a Proof of the Progress they had made therein in the Wilderness by the ill Use they put them to For being tired with expectation of Moses's return down from the Mount they made the (g) Exod. Chap. 32. Golden Calf whereupon he forbid the making of Idols and Idolatry After this by the Order of God he chose (h) Exod. Chap. 37.
Greece by Cecrops and Cadmus who carried them along with them out of Egypt and Phoenicia to the Grecians Painting being one of those Arts and which had appeared down from the Time of Semiramis with Architecture and Graving went also to the Greeks since that is inseparable from Designing But the happy Time when Painting began to be in it's greatest Splendor in all the States of Greece was in the eighteenth (a) You must Note That they did not compute the first Olympiad from the Institution of the Olympick Games But from the Year of the World 3400 which is about the Time of Azarias King of Israel thirty Years before the Foundation of Rome according to Vigenere in the Tables of Philostratus p. 328. The Painter Bularchus flourished about the Year of the World 3400 about 300 Years before Alexander the Great Olympiad when the famous Painter Bularchus lived who is most Celebrated of any of those Times He drew the Battel of the Magnesians and the Picture was Sold for it's (b) It was King Candulus of Lydia who bought this famous Picture He was the last King of the Race of the Heraclides Plin. Lib. 35. Chap. 8. This King was before Nabuchadnezzar ninety Years Pliny says that he died at the same Time as Romulus Lib. 35. Chap. 8. weight in Gold which shews that Painting was then in very high Esteem which was about the Year of the World 3400. Some Ages after appeared the Works of (c) In the eighty third Olympiad according to Pliny Lib. 35. Chap. 8. Peneus filled the Temple of Jupiter Olympius with his Pieces Pausaniar in his Eliac Androcida a Painter of Cizicenia painted for the City of Thebes the Battel of Leuctrum Plutarch in the Life of Pelopidas They count the sixth Age of the World from the deliverance of the Jews by Cyrus in the Year 3468 and that Age lasts till the Year 4000. Peneus Brother of Fidias who painted the Battel of Maraton which the Athenians gain'd over the Persians with great Applause And in this excellent Piece which was in the Porch of Pecilla he represented the Captains of both sides in the heat of the Battel (d) Pliny Lib. 35. Chap. 10. Miron and Polignotus in the ninetieth Olympiad had so great Reputation that the Athenian Senate ordered them to Paint the Delphick Temple and that which was called the Porch of Athens The Amphitrions who were the Heads of the Senate were so pleased with their Performances that as a further acknowledgment of the Merit of these two Painters they assign'd them very fine and handsome Lodgings At this Time there were a great many very Famous Painters and among the rest (e) Zeuxis lived in the fourth Year of the ninetieth Olympiad He raised his Fortunes to that Pitch that he would sell no more of his Pictures but gave them away Thus he presented his Alemena to those of Agrigentium and Pan to Archelaus Plin. Lib. 35. Chap. 9. Zeuxis famous for the Excellence of his Pencil and the Riches he acquired He had Contemporary with him Eupompus Timanthus Androcida (f) Pliny farther mentions several other Greek Painters and among others Euphranor of the Istmus who flourish'd in the hundred and fourth Olympiad He was also an ingenious Engraver having made several Pieces in Marble and some Colossus's He writ of Symmetry and Colours Plin. Lib. 35. Chap. 11. And Pausanias in his Atticks P. 4. tells us of a Gallery where this Painter painted on the Wall the twelve Gods Theseus the Lawgiver the Battels of Cadmus of Leuctrum and Mantin Euphranor Parasius and several others the last excell'd particularly in the Justness of his Proportions Eupompus brought up Pamphilus the Macedonian Master of Apelles Pamphilus was instructed in all the liberal Arts particularly Arithmetick and Geometry without which he esteem'd it impossible to Succeed in Painting By his Authority and the Regulations he made in the Academy of Painting (g) Diagraphicon Pliny calls it Diagraphice Lib. 5. Chap. 10. he engaged the most considerable Youth of the City of Scicione and of all Greece to learn the Arts of Designing which then were esteemed Liberal and had in so high Veneration that only the (h) Plin. Lib. 35. Chap. 10. Nobility and Gentry were permitted to Exercise them Hence this City became very Famous for the great Number of excellent Painters and Engravers that were bred in it Apelles who was the Scholar of Pamphilus carried Painting to that degree that the Antients allow'd him one of the first Places among Painters by reason of his great Qualifications Which honour obliged (i) Protogenes was no less esteemed by King Demetrius than Apelles by Alexander This Prince having besieged Rhodes went to see him Work in a House he had a little without the City and as he familiarly asked him how he could Work so Tranquilly he answer'd him That he knew indeed that he was come to make War against Rhodes but not against the Arts. This Prince set so high a Value on the Pieces of Protogenes that he would not Burn the City for fear of burning them chusing rather not to take the City than to be the cause of their loss Plin. Lib. 35. Chap. 10. Protogenes his Rival to acknowledge him for his Master Thus Alexander the Great justly chose Apelles for his chief Painter he gave him great Riches and made him a Present even of his own Mistress (k) Her Name was Campaspe Alexander gave her to Apelles when he had Painted her Plin. Lib. Chap. 10. This Author takes Notice that this was one of Alexander's greatest Victories thus to overcome himself in giving that which he so much loved to this glorious Painter He painted his Venus Anadiomenes by this Woman Plin. Lib. 35. Chap. 10. Apelles writ of the Art of Painting as did also his Pupil Perseus Vigenerus on the Pieces of Philostratus P. 55. because he perceived that he was passionately in Love with her The Persons of Quality had the same Esteem for Painting as this great Prince wherein they followed his Inclination This is verified in the Story of Aetion who after having Painted the Nuptials of (l) Lucian in his Dialogue entituled Herodotus describes the Beauty of this Picture which was yet to be seen in his Time in Italy This Author's Authority is sufficient to assure us of the Excellency of this Painter because he himself was very well skilled in the Art of Designing and had learnt Engraving in his Youth afterwards he became Intendant in Egypt for Marcus Aurelius Alexander and Roxana exposed the Work to publick View in the great Assembly of the Olympick Games where Proxenidas one of the Deputies of Greece then presided He was so charm'd with the Beauty of this Picture and thence conceived so great an inclination for the Painter that he gave him his Daughter in Marriage CHAP. IX At the same time that Painting was in it's Perfection in Greece Sculpture and Architecture were so also
Jezabel's Table Ahab also re-established the Idolatry in the High Places 4 Kings c. 16. Gods which made employment for the Gravers and Architects CHAP. VI. Sculpture was practised by the Babylonians and Persians SCulpture had hitherto been much more used by the Babylonians than by the Jews because that Kingdom had been always in a very flourishing condition Nebuchadnezzar made a Golden Image of (a) Dan. c. 3. v. 1. Sixty Cubits high and Six broad The Proportion of its breadth to its heighth shews us the nice Symmetry that was followed by those Ancient Artists particularly also in the Statue of Laocon wherein the same Measures were used its heighth was Thirty Measures and its Diameter Three thus Multiplying Thirty by Two and you have Sixty for the heighth and Multiplying Three by the same Number you have Six for the thickness which are the same Proportions with that great and rich Statue of Nebuchadnezzar Hence we may Note by the by That the Excellent Designers of all Ages have made use of the same Rules and Proportions to express the Beauty and Symmetry of Human Bodies by This magnificent Work of Nebuchadnezzar's sufficiently proves that the Arts of Designing flourished under the Babylonian Monarchy For to undertake the making a Statue of Gold of Sixty Cubits there must needs be excellent Gravers in the Kingdom whence it also appears credible that that Art had been there successfully continued for Fourteen hundred Years which was the time since it began to flourish there as we have noted under the Reigns of Ninus and Semiramis his Wife But Cyrus after the Conquest of Babylon establish'd there the Monarchy of the Persians It was he who order'd the rebuilding of the (b) First Book of Esdras Chap. 1. Ver. 3. Temple of Jerusalem and who restor'd to the Jews their Liberty He sent (c) Sanabasser was made Prince of Judea by Cyrus who gave him back the Vessels of the Temple which were 5469 of Gold and Silver 1 Esdras c. 1. v. 3 and 8 9 10 11. and Chap. 5. v. 14 15 16. Assuerus and Artaxerxes are the same Sanabasser from Babylon to lay the Foundations of that Structure and commanded the raising of Mony for that end and he also restored to the Jews all the rich Spoils of the Temple of Solomon which Nebuchadnezzar had carried away when he destroy'd it Artaxerxes did not yield to him in point of Magnificence and Grandeur for the Galleries and Porches of his Gardens were adorned with (d) There were hung round on every side hangings of Azure Crimson and of Colour of Jacynth Ester Chap. 1. v. 5 6 7. Marble Pillars He had Beds of Gold and Silver even down to the Floors which were of Alabaster and inlaid with Emeralds which render'd a very agreable and charming Variety Hence we see that the Arts of Designing continued in as great Splendour in the Monarchy of the Persians as in that of the Babylonians CHAP. VII Of the Arts of Designing in Africa and Carthage IN the fourth Age Pigmalion (a) Pigmalion was the Son of Melin. He reigned in the Year of the World 3147. and the 124th of Solomon's Temple He obliged his Sister Dido to retire the 7th Year of his Reign out of the Kingdom Dius cited by Josephus Lib. 1. against Apion Justin Lib. 18. King of Tyre did no ways degenerate from the excessive Love the Princes of Phoenicia entertained for the Arts and this gave Occasion to the Story that was reported of him viz. That this King was punished for the Hatred he bore to Women by falling violently in * Ovids Metramorphosis Lib. 8. Love with an Ivory Statue he had made This demonstrates that Graving was practised with a particular Esteem among the Tyrians since that Great Prince made it one of his chiefest Pleasures His Sister (b) Appian General of the Libick War says That Princess went from Phoenicia with a Colony and that she carried along with her all the Riches she could get together She made use of a Stratagem to build that City for having asked of the Carthaginians as much Land as she could Encompass about with an Ox's Hide when they had agreed to it she cut out the Hide into Thongs and encompassed round the Place where Birsa was built which Word in Greek signifies Leather The Fortress of Birsa which was part of Carthage was built in the Year of the World 1316. Menander Hist of the Kings of Tyre It is quoted by Josephus Lib. 8. of his Antiquities Chap. 13. and Lib. 1. against Apion Dido brought the Arts and Sciences among the Carthaginians by establishing her self at (c) Carthage was founded by the Phoenicians fifty Years before the Destruction of Troy Xorus and Carchedon founded it Apian Lib. c. 1. Carthage and the Arts flourished there with that Success that no Place in the World was in that Point before it The Statue of Apollo which was in the Temple of that God near the (d) This Gate was called Cotton Gate of Carthage sufficiently testifies the happy Progress Sculpture had made therein This Figure was all of Gold the Soldiers of Scipio pillag'd this * The Temple of Apollo was so Rich that it was all over gilded Appian of the Lib. War Chap. 14. Temple which was all over guilt and broke to pieces that magnificent Statue which amounted to a thousand (e) The Soldiers made six hundred thousand Crowns of the Gold of this Statue of Apollo One Talent being valued at six hundred Crowns One hundred and two Years after the Ruin of Carthage it was rebuilt by Augustus Talents of Gold The Triumph which this General made of the Spoils of Carthage sufficiently shews that these Arts flourish'd there in a very great Heigth for Rome had never yet seen any triumphal Entrance that equall'd this of Scipio Africanus For there was display'd a prodigious quantity of Gold and Silver with a great Number of (f) The antient Statues which were shewn at the Triumph of Scipio prove that the Arts of Designing flourish'd sooner at Carthage than at Rome App. c. 14. antient Statues very rich and Bucklers of Gold whereof that of Asdrubal was so excellently Engraved that it was kept it the Capitol Whence it appears that those great Carthaginian Generals were very Curious and Admirers of these Arts particularly Hannibal who during his Retreat with Artaxes the King of Armenia practised Architecture Since it was he who laid the Platform of the Capital City which from that King was called Artaxata and survey'd all the Buildings of it at the request of that Prince (g) Pliny Lib. 35. Chap. 3. (h) Plutarch in the Life of Lucullus In 1694. There was found in Tripoly an Ancient Figure which was carried to Versailles which was the Statue of a Woman cloathed which further proves that Graving was practised among the Africans CHAP. VIII Of the time wherein Painting began to flourish in Greece THE Arts of Designing were brought into
35. Chap. 3. There is a Piece of his to be seen at Rome in the Garden of Aldobrandinus There are some also on the Piramid of C. Cestius which are yet to be seen though they were done in the time of the Commonwealth by the same Cleophantes painted naked and of so charming (d) Plin. Lib. 35. Chap. 3. Beauty that a certain (e) This Minister's name was Pontio Minister of the Emperor Caius became passionately in Love with one of them This Passion of his sufficiently attests the Excellency of those rare Pieces and made Pliny to assert that among all the Arts that depended on Designing there were none that arrived so soon to perfection as that of Painting The esteem which reigned for this excellent-Art still encreased at Rome in the time of the Consul Mexala (f) Plin. Lib. 35. Chap. 4. Mexala set up this Picture in the Curia Hostilia in the four hundred and ninetieth Year of Rome who presented the publick with a Piece whereon was painted the Battel he obtain'd over the Carthaginians and King (g) Plin. Lib. 35. Chap. 4. Hieron Scipio also caused the Picture of the victory he gain'd in Asia to be set up in the Capitol Fabius Pictor (h) Fabius Pictor Plin. in the same place He takes notice of several other Roman Knights who were Excellent at Painting as Turpilio of Venice Alterius Labeo the Praetor and Proconsul of Provence Q. Podius Nephew of Q. Podius the Consul and made by Caesar Co-heir with Augustus of the race of Consuls signaliz'd himself by the Temple of Health which he painted this piece was yet remaining in the time of the Caesars Marcus Scaurus (i) Plin. Lib. 35. Chap. 11. was a very great lover of Painting he compounded with those of Sicione for the Mony they owed the Romans and instead of Mony took Pictures of those of Sicione and carried them to Rome The esteem which this Art was in encreasing the Palaces and Temples began to be filled with Pictures by the Gifts of great Men. Caesar the (k) Plin. Lib. 35. Chap. 4. These pictures of Ajax and Medea were done by Timomachus Bizantinus he made them for Caesar the Dictator who paid him eight hundred Talents which was an extraordinary Price Plin. Lib. 35. Chap. 11. Dictator dedicated the Pictures of Ajax and Medea to the Temple of Venus Augustus (l) Augustus had them placed in the highest Place of the Forum Plin. Lib. 35. Chap. 4. hung two in the Court of his Palace the one of War and the other of the Triumph of Alexander the Great painted by the illustrious Apelles Agrippa his Favourite extremely admired Painting and gave for two Pictures (m) Plin. Lib. 35. Chap. 4. Agrippa bought them of the Cizenians the one represented Ajax the other Venus twelve thousand Sesterces Tiberius (n) Tiberius bought this Picture for sixty Sesterces Plin. Lib. 35. Chap. 10. also set so high a Value on Painting that he spared no price to obtain the Picture called the Archigallus of (o) Archigallus was a Priest of Cibole Tertullian in his Apolog. Zeuxis In the time of Augustus painting was in a very high Esteem and arrived to it 's highest degree of Perfection Nero (p) Plin. Lib. 36. Chap. 7. Cecilius Metellus among other fine Pictures wherewith he embellish'd the Temple of Castor and Pollux set up there a picture of Flora done to the Life by reason of its extraordinary Beauty Plutarch in the Life of Pompey The Poets also used to exercise Painting for the Poet Paccuvio painted the Temple of Herculus which was in the forum Boarium who was always filled with magnificent Ideas caused his Picture to be drawn one hundred and twenty Foot high One of his Servants adorn'd with Pictures the Porticus of Antium (q) Plin. Lib. 35. Chap. 7. he who began to paint the Plays of the Gladiators was C. Terentius Lucanus where there were painted several skirmishes of the Gladiators during the time of the Plays which was one of the most glorious Festivals of Painting for the Courtiers not only admired the Arts of Designing themselves but also engaged their Princes to (r) Painting continued in great Esteem at Rome till after the time of Titus Attius Priscus and Cornelius Pinus painted the Temple of Honour as also that of Vertue for that Emperor Plin. Lib. 35. Chap. 10. encourage them a happy time for them to arrive to perfection in CHAP. XI Of the time wherein Sculpture began to be in Esteem among the Romans AFTER the Reign of the Kings Sculpture began to appear at Rome they erected a Statue to Horatius (a) In the year of the Foundation of Rome 247. Tit. Liv. Lib. 2. Cocles to Immortalize the Victory he obtain'd over the Army of Porsena and at the same time was set up in the Via Sacra the Equestral Statue of Clelia But in the time of the Consul Marcus Scaurus this Art was continued with greater ardency when he embellished his Theatre with Three thousand Metalline Statues Several other Consuls contributed also by their Victories to the enriching of Rome with the Spoils (b) Plin. Lib. 34. c. 7. they got from the two (c) The Kingdom of Naples where is Tarant which was anciently called Sicily on this side of Phares to distinguish it from the Island which was called Sicily on the other side of Phares G. and J. de Blaeu in their Theat of the World Plutarch in the Life of Publicola Sicily's from Africa and from Greece the most considerable of these Spoils were the Statues which shone at the Triumphs of these Consuls This appeared at the Triumphs of Fabius Maximus of Marcellus of Scipio and of Paulus Emilius Fabius carried from (d) Fabius Maximus could not carry from Tarant the famous Colossus of Brass of Lysippus which was Sixty Foot high And as they were packing up the Booty the Register ask'd Fabius What he would have done with the Gods meaning the Pictures and Statues of the Gods he answer'd him Let us leave them their angry Gods to further chastise them He only carried away a great Hercules Plutarch in the Life of Fab. Maximus Tarant a Statue of Hercules of a prodigious Magnitude He had it set in the Capitol by his own which was of Brass Marcellus (e) Rome before the Triumph of Marcellus had not the right Genius for Painting Sculpture and Architecture The true relish of the Arts of Designing was not yet enkindled in her she abounded with Barbarian Arms Harness Crowns and Spoils all soiled with Blood But after Marcellus the Romans began to consider and dispute one with another concerning the excellency of these sorts of Artists of their Arts and Performances whereas before their whole discourse and thoughts had been only employed about War or Husbandry and Tillage Thus Marcellus gloried to the Grecians That he had Taught the Romans how to value the admirable Works of Grece wherein
where they learnt the true Gust of Painting as did the Fryer John da Fiesole Fryer Philip Philippini Alexis Baldovinetti Andrew dal Castagno Andrew dal Verrocchio Dominick Ghirlandaio Sandro di Botticello Leonardo da Vinci Peter Perrugino Fra. Bartholomew of St. Mark Marriotto Albertinelli Michael Angelo and Raphael Urbin it was here he began to learn the Principles of his admirable way and several other Painters after Masaccio Vasari V. delli Pitt p. 299. Masters and ingenious Disciples in the Florentine Academy who afterwards spread over other Cities of Italy where they contributed to the Re-establishment of these Arts. CHAP. V. The French and the Dutch apply'd themselves to make Painting reflourish and found out the Secret of Painting in Oyl THE Florentines and the other Italians were not the only Persons who labour'd to perfect Painting For some others on this side of the Mountains contributed much thereunto although they had not the same advantages for Designing as those of Italy in having for Models and Patterns the fine Bass-Reliefs of the Ancients The Generosity of Charles the VIth contributed very much towards it among the French and was the first means to engage our Nation to Employ more than ordinary care on Painting and particularly on Glass which is called Glass-Painting (a) This is so true that in the time of Pope Julius the Second there was at Rome Claudius Francis who was a Painter on Glass it was he who survey'd all those sorts of Works which were made in the Churches and the Pope's Palace But as Bramanti had heard talk of the Ingenuity of William da Marcilla he caused the Sieur Claudius to write to him which he did offering him a good Pension to come to Rome where he painted on Glass the great Windows which are in the Hall near the Pope's Chappel but they were broke in pieces at the Sacking of Rome by the Shot of the Arquebusses Marcilla did also some of the same sort of Paintings in the Apartments of the Vatican and in the Church of St. Mary and in that de l'Anima after which the Cardinal de Corton carried him to his City where he Painted both on Glass and in Fresco several Pieces which were very much esteemed for he was an Excellent Designer full of Invention and Variety in Composing of his Histories this appears particularly in the great Windows of the Chappel of the Albergotis in the Cathedral of Arezzo which Marcilla painted after having work'd at Corton they are so Excellent that Vasari calls them Divine both for the fine Expressions of Christ calling St. Matthew from the receipt of Custom and of the other Apostles as well as for the fine Architecture and the Landskips which adorn that History Marcelli was so much considered in that City that it obliged him to stay there till his Death which happened in 1537. He had several Disciples whereof George Vasari was one Vasari Vita of William da Marcilla and which is used in Churches wherein the French have surpassed the Italians and other Nations For this King to (b) It was in the Year 1430. that King Charles the 6th granted new Priviledges to Henry Mellein Painter and Glafier and to all of that Art in Confirmation of those that had been granted by the Kings his Predecessors to Painters and Glaziers which proves that there were then Painters in France and that if the Art was not then in its Perfection it was not for want of Protection from our Sovereigns since to animate their Subjects to the Exercise of so noble an Art they exempted them from all sorts of Imposts See the Book of the Establishment of the Royal Academy of Painting and Sculpture page 45. excite his Subjects to the Love and Practice of Painting granted them great Priviledges and Exemption from Taxes and Subsidies and Lodging of Soldiers Flanders which had been anciently a Province of this Kingdom apply'd it self at that time very much to Painting and above all to drawing of Portraits which drew the Flemings from the Gothick Manner and by this means Painting arrived to Perfection in that Province by reason of the great number of Painters which were in all the Low-Countries and of the considerable Commerce they made of their Pictures in Foreign Countries But among all these Painters he to whom the Art is the most obliged is John Van-Eick surnamed of Bruges because he came to inhabit there He was an Extraordinary Chymist and by help of that Art he found out new Varnishes for his Pictures that wanted it as do all those that are wrought in Distemper But one Day as he had finished a Picture with a great deal of Care and Time he varnish'd it and set it to dry in the Sun but as soon as he perceived that the Heat had warp'd it and crack'd it so that one might see through the Joints of it which spoil'd it To avoid such Accidents for the future he found he must seek out for a Varnish that might dry in the Shade and because he found that the Oyl of Wall-Nuts and Linseed were the most drying he made use of them with some other Drugs and so made a new Varnish which no Painter in the World had yet found out and which was so earnestly desired After this he tri'd to mix his Colours with these Oyls and seeing that they were not endamaged by Water but that that made the Colour sink somewhat the deeper and that it shined without Varnish He found out by this means with a great deal of Joy that profitable Invention of Painting in Oyl He made thereof several Pictures the Reputation whereof presently spread it self throughout all Europe and this excited a great Curiosity in Painters to know how John of Bruges made his Painting so perfect In the mean time he kept his Secret to himself and permitted no body to see him Work that he might make so much the more advantage of his Discovery But this Painter becoming old imparted his Secret to Roger of Bruges his Pupil and Roger communicated it to Ausse who was his which gave occasion to bring Painting in Oyl into use and to the Flemish-Merchants to make an advantageous Trafick of it throughout the World although the way of Painting in Oyl did not go out of Flanders for several Years till the time that certain Florentine-Merchants sent out of the Low-Countries a Picture of John of Bruges to Alphonsus the first King of Naples This Picture for the Beauty of the Figures and the Invention of the Colouring was very much esteemed by this Prince and all the Painters of his Kingdom and among the rest by Antonello da Messina who had so vehement a desire to learn the Secret of Painting in Oyl that he immediately went from thence to Bruges in Flanders CHAP. VI. Of the Invention of Painting in Oyl and its advantage in Painting and how the Secret went into Italy ANtonello da Messina was scarce arrived in Flanders but he contracted an acquaintance with
wither'd and he became Lame this Nerve is properly the Tendon of the Muscle called the Biceps of the Thigh In Memory of this Action the Children of Israel did not Eat in Animals this part like the Tendon which was withered in Jacob by the touch of the Angel of the Lord. Idem Ver. 32. which evidentlv proves that it is not only the Nerve but the Tendon which makes part of the Muscle and the Motion of the Muscles by the Studies which he made under Mark Anthony de la Tour Professor in that Science The Beauty of the Celebrated Leonardo advanced his Reputation throughout all Italy and beyond it which made Lewis Sforza Duke of Milan send for him to come to him The first thing he set about was to Re-establish the Academy of Architecture founded at Milan a hundred Years before by Micheline For he shewed the way to that Assembly to leave their old Gothick Manner He made for this Prince several Pictures and among the rest the admirable Supper of the Refectory of St. Dominick He found out the Invention of making the Canal which carries the Water from Adda to Milan and to make that River navigable for thirty Miles beyond it But as Leonardo was always meditating on extraordinary Things for the Glory of the Prince whom he served he made a Model in Earth of a Figure on Horseback of a remarkable heigth and singular Beauty with a design to Cast it in Brass but that was not done whether for the difficulty of Founding so great a Work or for some other Reason and this fine Model was ruined when the French conquered the Milanese After Lewis Sforza was carried into France Leonardo returned to Florence where he Painted several Pieces and designed upon large thick Paper like Pastboard which Raphael also made use of and thereon brought to Perfection the Method of Perrugin his Master Julian de Medicis did no less Honour to Leonardo da Vinci than the Duke of Milan For besides the other Caresses he shew'd him he carried him to Rome to the Election of Leo the Tenth and he receiv'd of this Pope the like Honour but the Jealousy between him and Michael Angelo displeas'd the Court of Rome and obliged him to go into France where Francis the I. had passionately desired his Company for the Esteem he had for his Person and Pictures which hung up in his Closet at Fontainbleau In this Royal House this Painter grew Aged and made an Illustrious End for after he had received much Honour and great Riches from this Generous Prince he fell Sick and when his Majesty was advertised of it he went to Visit him Da Vinci would needs raise himself up to receive so glorious a Visit whereon finding himself extream Ill the King approaching him Embrac'd him and he Expired (c) Leonardo da Vinci died at the Age of 75 Years besides his Treatise of Painting which is Printed he composed several other Books one of the Anatomy of Human Bodies with Figures one of the Anatomy of an Horse another of Lights and Shadows and one of the Nature Weight and Motion of the Water filled with Designs of Machines but unfortunately they were never Printed John Baptista Strozzi has left us these Verses in his praise Vinci costui pur solo Tutti altri Vince Fidia vince apelle Et tutto il lor vittorioso Stuolo He had for his Pupils John Antony Boltraffo a Milanese Francis Melzi of the same City and some hold that Andrew de Solario was also his Pupil in his Arms. This Great Monarch loved Learning and Arts with so much Passion that he esteem'd it a Glory to Paint and Design and it may be said That this King revived Painting and Sculpture and Architecture For he was not contented to send for Leonardo da Vinci only but he drew from Florence a great number of Ingenious Men as Andrew (d) Andrew del Sarto was Born at Florence in 1478. he learnt the Trade of a Goldsmith then he took to Painting under Peter Cosimo who was then esteemed to be one of the best Painters in Florence He studied also in the Council-Hall the Pieces done by Leonardo da Vinci and Michael Angelo and made several admirable Pieces at Florence as the Cloyster of the Annunziata la Madonna del Sacco and several others which gain'd him a very great Reputation His Disciples were James de Puntormo Solosmeo F. Franciso di Sandro Francis Salviati George Vasari and Andrew Sguazzella who very much imitated him he work'd in a Palace a little without Paris as also did the said Vasari and it is very probable that it was from hence that those Pictures were carried to Paris which are in the great Gallery of the Jesuits which have the Way of Designing and Method of Andrew del Sarto Andrew lived forty two Years M. Peter Vettori made this Epitaph on Andrew del Sarto Admirabilis ingenii Pictori ac Veteribus illis omnium judicio comparando Dominicus Contes discipulus pro laboribus in se instituendo susceptis grato Animo posuit Vixit Ann. 42. Ob. A. MDXXX del Sarto Rosso Dominick the Florentine Salviati and several other Excellent Painters and Excellent Sculptors as he did also from Mantua Primaticcio a Bolonian and Nicholas of Modena all of whom work'd in and embellish'd the Royal Houses and stirr'd up the French to Emulation which made them very much improve in the Art of Designing Among these Illustrious Italians Andrew del Sarto held the first Rank in the Florentine-School for the Correctness of his Designing and because he had raised Painting to his highest Degree of Perfection Peter Perugino (e) Peter Perugino dy'd at 78 Years of Age in the Year 1524. Besides his Disciple Raphael he had several other very ingenious ones as Pinturicchio Perugino Rocco Zoppo a Florentine Philip Salviati Le Monte Varchi Baccio Ubertino a Florentine Peter John a Spaniard but one of his best was Andrew Lewis d'Ascesi and Benedict Caporali who also gave himself to Architecture and made Comments on Vitruvius had the same advantage at Florence and at Rome where he made several Excellent Pieces and particularly in the Chappel of Sixtus the Fourth But that which augmented the Glory of this Ingenious Painter was that he had for his first Disciple Raphel Sanzio d'Urbin CHAP. IX Of the Perfection of Painting in the last Age. IT was Raphael d'Urbin who raised Painting in the last Age to its highest degree of Perfection His Works which are at Rome at Florence at Bologna (a) At Bologna in the Church of St. John on the Hill are some admirable Pieces of Raphael which represent St. Cecilia with other Saints Raphael when he had finished this Picture sent it to Francis Francia a Painter of Bologna praying him to take care to set it up at the Altar he had disign'd it for Francia who believ'd himself to be a better Painter than in reality he was and who had a great
fresh as if they were newly painted For besides the Beauty of their Designing they had a very fine Colour and a wonderful Relief caused by a just distribution of Light and a grand Force of Shadow with an admirable Union and Perfection The Beauty of these excellent Pieces very much charmed Raphael at Florence and obliged him to contract an intimate Friendship with Bartholomew from whom he learn'd with a great deal of Care and Advantage the way of Painting and Colouring The Friendship of Raphael was also no ways disadvantageous to Frà Bartholomew for Raphael communicated to him the Rules of Perspective which he was not before so well acquainted with as he Thus Raphael Sanzio joining to the Gifts Heaven had favoured him with all the care and different Studies that were necessary formed that fine Method of his which shines through all his rich and judicious Compositions His Postures are easy natural and lively in each Expression his Proportions elegant and taken from the fine Figures of the Antients all the Airs of his Faces so noble that they seemed to have something of Divine in them in short he finish'd all the Extremities of his Figures with the utmost Perfection and had the truly fine Way of cloathing them these are those excellent Parts of the Art which make his Pictures the most perfect among the Moderns which this great Painter has made appear in the Palace of the Vatican in all the Halls and all the Lodges which he painted This is particularly to be seen in his Piece of the Transfiguration at St. Peters in Montorio which has always been esteemed as one of the chief Pieces of Painting and best Pictures in the World Those also which Francis the I. caused him to make in Oyl and which are carefully preserved in the Cabinet of the King sufficiently testify this Truth This Piece of the Transfiguration was also the chief Ornament of his Funeral Pomp which redoubled the publick Sorrow when they saw that admirable Picture near the Body of that rare Person and that Death had so soon deprived that Excellent Painter of Life who will always live in the memory of the Lovers of this Art By this it is easy to judge that Raphael was the most excellent Genius in this ART of the last Age and that he carried it to its highest Perfection But we may also say that this admirable Man was Happy to flourish under the Popedoms of Julius the IId and Leo the Xth. Princes very zealous for the revival of the Arts of Designing For this last Pope loved Raphael with such an Affection that at the time this Excellent Painter dyed this Generous Pope had proposed to Honour him with a Cardinals Hat (c) M. Esprit Flechier Bishop of Nismes relates this of Raphael in his History of Cardinal Ximenes Tome 2. P. 187. Raphael made Julius Romanus and John Francis his Heirs who were his Pupils he dyed at the Age of 37 Years and was buried in the Rotunda where Bembo made his Epitaph D. O. M. Raphaeli Santio Joan. F. Verbinat Pictori Eminentiss Veterumque Emulo cujus spirantes prope Imagines si contemplere Naturae atque Artis foedus facile impexeris Julii II. Leonis X. Pont. Max. Picturae Architect Operibus gloriam auxit A. XXXVII integer integros Quo die natus est eo esse desiit VIII Id. April M. D. XX. Ille est hic Raphael timuit quo sospite vinci Rerum magna Parens moriente mori and these Hope 's hindred Raphael from concluding a Marriage with the Neice of Cardinal de Bibbiena who desired it with a great deal of Zeal CHAP. X. Of the Painters of Lombardy who contributed to the Re-establishment of the ART AT the same time that Raphael and his School revived Painting at Rome the ingenious Artists of Lombardy (a) In Lombardy and the Provinces of the State of Venice there were several Contemporary Painters Disciples of the Bellini who contributed to the Re-establishment of Painting in several Cities although we only consider them as of the second Classe and these are the Dossi of Ferrara Sebeto of the same City Jacobello de Florus Guerriero of Padua Justus and Jerom Campagnola Julius his Son Vincent de Bresse Lewis Vivarino John Baptista de Corrigliano Mark Basarini Giovannetto Cordeliaghi Bassiti Bartelemi Vivarino John Mansueti Victor Bellin Bartelemi Montagne de Vincenze Benedictus Diada John Bonconsil and Victor Scarpaccio who was the best of them all There were also in those Countries at the same time several Good Sculptors as Bartelemi de Regge and Augustin Busto There was also at Bresse Vincent Verochio who was Excellent at Painting in Fresco there was also in the same City Jerom Romanino a good Designer and ingenious Artist but the most Excellent of those Painters at Bresse was Alexander Moretto But to return to Verona there were very Good Painters for befides Maestro Zeno a Veronese Liberale was very Excellent who was a Disciple of Estienne Veronese who had also others as John Francis Caroto of the same City Paul Cavazzuol and Francis Torbido also Baptista de Angelo his Nephew Moro learnt from his Youth of Georgeon and whom he left an Account of a Quarrel they had at Venice and retired to Verona where for some time he left Painting and afterwards took it up again in the School of Liberale no less contributed towards it in their Country So that we may look upon the beginning of the last Age as the happy Time wherein the Arts of Designing arrived in Italy to their highest Perfection For about that time Antony (b) Antony da Correggio was he who brought Painting in Lombardy to its higest degree of Perfection he made two Pictures for Duke Frederick of Mantua which he sent to the Emperor when Julius Romanus saw them he confessed that no body had advanced Painting and Colouring to so high an Excellence before These two Pictures were carried to Rome by Queen Christina one whereof is a Leda with other Women bathing themselves which are of an incomparable Beauty and Perfection as are also those in the Kings Cabinet painted both in Oyl and water Colours Correggio received at Parma a payment of sixty Crowns in Quatrini Money of Copper by carrying of which he so over-heated himself that he dyed at the Age of 40 Years he made his Chief Pieces about the Year 1512. M. Fabio Segni a Florentine Gentleman made this Epigram on him Hujus cum regeret mortales Spiritus artus Pictoris Charites supplicuere Jovi Non aliâ pingi dextrâ Pater alme rogamus Hanc praeter nulli pingere nos liceat Annuit his votis summi regnator Olympi Et juvenem subitò sidera ad alta tulit Ut posset melius Charitum simulacra reserre Praesens nudas cerneret inde Deas da Correggio by a particular Instinct of Nature without having any Master acquired a very agreeable and charming Way of Painting This ingenious
in that Part of his Book the Reason of those Sorts of Reflexions by a Geometrical demonstration on a Landskip he Engraved whereon is represented a Terras Walk and a Pillar thereon on the Bank of a River where they are reflected But for this Landskip he did not chuse a good Designer for on the Water he shews Places beyond the Column over the top of it where there could only be the Reflexion of the Terras wherefore this Example ought not to be taken for a Pattern in the mean while it is easy to find the Practice of representing these Reflections It is only necessary to take the Heigth of the Objects on the River's Bank and lay them down perpendicularly in a right line forwards to the place where the extremity of the Object reflected would come But to find the Reflexion of those that are distant from the Bank of the River you must prolong the Surface to the Plan of the Elevation of the Bodies and so take the Heigth of this Plan found or imagined and turn it perpendicularly forwards then its extremity will be the term of the Reflexion of the Object that appears on the Water In the explication of the principal Terms of Painting we will give a more ample Demonstration of this in Figures Fore-parts of the Figure On one of the sides he made a Suit of polish'd Armor whence one of the Sides was reflected and on the other side there was seen a Looking-Glass which reflected the other And after this way Georgeone represented at one View those different Aspects and this Picture was esteemed one of the best of his Painting This excellent Person dyed at the Age of thirty four Years of the Plague in 1511 with this further Encomium that he had taught the true Way of Painting to Titian and Sebastian afterwards called Frate del Piombo Titian Vecellio of Cadora was born in 1477 he came to Venice at ten Years of Age where he gave the first hints of his Inclination to Painting his Friends put him to John Bellino where he presently discovered an excellent Genius for learning all the Arts necessary and requisite to Painting But in the Year 1507 finding that the Method of Georgeone surpassed that of Bellino he imitated Georgeone with a great deal of care and became his Disciple and even exceeded him for he became the most famous Colourer of his Time As all Painters have since acknowledged This obliged Michael Angelo to say when he knew Titian at Rome That if at the beginning of his Studies he had been as happy as the Florentines and the Romans to have had as well as they the Antiquities to have learned by he would been the first Painter in the World Notwithstanding Titian Designed the best of any of the Venetian School he particularly excelled in Design those of the last Age and this appear'd in his Picture of Loves which was at Rome in the Ludovisian Vineyard For the Illustrious Poussin studied afterwards with the Famous Sculptor Francis Fiamingo who made the Cupids in that Piece and who by this means learned thereby the true Gusto and way of making Infants whereby he got so great an Esteem for Sculpture Moreover this great Reputation of Titian (c) The Merit of Titian was so much valued by Charles the Vth that he honoured him with the Dignity of a Knight and Count Palatine and gave him several Marks of his Esteem One day as the Emperor was seeing him Paint Titian let fall his Pencil the Emperor immediately took it up saying that Titian deserved to be served by Caesar and the Grandees of the Court being jealous of the Honours the Emperor heaped on him the Emperor said He could every Day make Great Men as they were but he could not make a Titian As often as he painted this Great Prince he received a Present of a thousand Growns of Gold Among the rest of the Princes of Europe whose Portraits he drew he did that of Francis the Ist which is still in the Cabinet of the King at Versailles and appears very lively Titian moreover began the Designs of several Pieces in Mosaick in the Church of St. Mark which were finished by Valerius and Vincent Zuccheri the best Artists of those Times Titian dyed of the Plague in the Year 1576 Aged 99 Years Several Painters endeavoured to follow the Manner of Colouring of Titian but he had but few Disciples because he did not care to take the Pains of Instructing them Among those he did Teach the most Ingenious were John de Calker who lived not long and dyed at Naples and Paris Bordone of Trevisano who imitated Titian the best of any He made some excellent Pieces in Oyl and in Fresco at Venice at Vicenza and at Trevis with several fine Portraits and Pictures in the Churches He came into France and served Francis the Ist whose Portrait he made as also those of the hansomest Ladies at the Court and several Pieces of History He also work'd for the Princes of the House of Lorrain then he went and painted at Ausburg and Milan whence he retired into his Country and only work'd for his Pleasure and lived very happily to the Age of 75 Years and then dyed John Marius Verdizzoti an illustrious Citizen of Venice was a great Intimate of Titian and ought to be reckoned among his Disciples since he learn'd of him to Paint There are Engraven some Designs of Verdizzoti which are Esop's Fables very curiously done made him sought to by all the Princes of Europe to draw their Pictures of whom he obtain'd great Honours and large Pensions Those which he obtained from Charles the Vth and Philip the IId sufficiently testify the Esteem they made of his Merit in Italy Germany and Spain where he gloriously embellish'd the Escurial as he had done other famous Cabinets of Europe CHAP. XII The same Curiosity was in all the Courts of Europe and chiefly in that of Mantua BY the Examples of all those great Men we have but now mentioned it is evident that this Curiosity had got among the Great Princes of the last Age who gave Proofs even to Emulation of their endeavours to Revive the Arts of Designing Thus Painting and Architecture made great Progresses by the Protection they found from the Princes and the Ingenuity of those Excellent Persons who Cultivated them At this time these Arts continued to flourish at Mantua for after Designing had begun to be established there by the Curiosity of those Marquiss's and Dukes who employ'd Leon Baptista Alberti Costa and Andrew Mantegna the famous Julio Romano made that City very fine Thus when this Illustrious Designer had finish'd Painting Constantine's Hall at Rome which Raphael his Master was to have done Frederick Duke of Mantua went thither where he was so charm'd with Julio that he oblig'd him to leave Rome and come to Mantua He there immediately ordered him to Build the Palace of T. whereof he afterwards painted all the Apartments and it was
Royal Square There were other famous Tuscan Painters (d) Dominick Beccafumi of Siena was also one of the best Painters of Tuscany He had a natural Inclination for Designing which made him often of his own acccord Design on the Sand as he kept his Flocks Afterwards he studied at Siena the Works of Peter Perugin and after that at Rome he studied those of Michael Angelo and Raphael then he went to dwell at Siena where he did several Pieces of Painting in the Church of the Dome and in other Places which were very much esteemed His Assistant at Siena was Sodoma who gain'd a very good Reputation Beccafumi died in 1549 at sixty five Years of Age. appear'd at Florence at the same time as niel da Volterra at Rome among whom were Jacob (e) James da Puntormo was born in 1493 and lived 65 Years Bronzin learnt of him and may pass for his Disciple da Puntormo Francis Bronzin his Disciple and Salviati Puntormo began under Leonardo da Vinci and in 1512 he continued to perfect himself with Andrew del Sarto Bronzin was in nothing Inferiour to him and there are to be seen of his Hand some Pictures excellently well done Salviati (f) Francis Salviati was born in 1510 and died at Rome in 1563. learnt Designing in the School of Baccio Bandinelli and Painting of Andrew del Sarto After having work'd for some time at Florence and at Rome he came in the Year 1554 into France where he was very well received by Primaticcio then chief Painter and Architect to the King but as soon as Salviati saw the Works of Rosso who had been chief Painter to the King and those of other Painters he affected to find Faults in them which raised great Expectations of what he would do He was emploied by the Cardinal de Lorrain to Paint in his Castle of Dampierre but not being pleased in France he returned to his own Country CHAP. XVIII The Cities of Ferrara and others of Lombardy and Urbin furnish'd the World with several good Painters FLORENCE was not the only City of Italy which bred Excellent Painters for Ferrara had several Dosso and Baptista his Brother were very ingenious Dosso was very much extolled by the famous Ariosto and cherished till his Death by the Generous Prince Alphonsus of Ferrara Alphonsus Lombardi an Excellent Sculptor was also Born in the same City he made several Portraits witness that which he made at Bologna of the Emperor Charles the V. whereby he gain'd very great Applause with an honourable Recompence from that Prince But one of the best Painters of Ferrara was Benvenuto Garofalo (a) Benvenuto Garofalo was Born at Ferrara in 1481. Besides Raphael who was his Friend he also contracted Friendship with Georgeone Titian and Julio Romano he grew Blind towards the latter end of his Life and continued so for nine Years he died in 1550. at Seventy eight Years of Age one of his best Pupils was Jerom de Carpi who went to Copy the fine Pieces of Correggio at Modena and at Parma afterwards he work'd at Bologna and Ferrara where he made a large Venus with Cupids which the Duke sent to King Francis this Picture is very much praised by Vasari he dy'd in the Year 1556. 55 Years of Age. There was also of Ferrara Jerom a Sculptor he work'd since Andrew Contucci his Master several Pieces in Marble in the Church of Loretta where he was employed twenty six Years without any Interruption he began to learn Painting Ferrara and Cremona and at Mantua under Corta Ferrara At nineteen Years of Age he went to Rome for fifteen Months then he return'd to Mantua and thence to Rome again where the Works of Raphael and Michael Angelo's grand Gusto of Designing charmed him so much that he repented he had spent his Youth in studying the Lombard Manner This made him resolve to leave them and become a Disciple and Imitator of Raphael during the space of two Years because he found himself very much in favour with that great Man whom he very unwillingly left for some Affairs of his Family which obliged him to dwell at Ferrara Benvenuto Garofalo was there very much esteemed by the Duke and the principal Personages of that City for whom he painted several Pieces in the Churches and in particular Houses his Works were very beautiful by reason he followed very good and just Principles which he received from Raphael and took particular care to joyn thereunto the Imitation of the best Nature The State of Urbin continued to yield ingenious Men and the Dukes of Urbin like them of Ferrara of Mantua and of Florence contributed to the revival of the Arts of Designing For Jerom Genga an Excellent Painter was in great favour with these Dukes He had studied under Peter Perugino with Raphael Urbin his Illustrious Countryman he practised also Architecture and the Duke Guido-baldo employ'd him to build and paint his Palaces of Urbin and Pisaro and to fortify this last City Bartholomew the Son of Genga was also an Architect and Engineer as well as his Father From this State of Urbin came those famous Brethren Taddeus and Frederick Zucchero and the celebrated Baroche Taddeus (b) Taddeus Zucchero Born in the Year 1529. dy'd in 1566. so that he lived but 37 Years learnt the Principles of Painting in the City of St. Angelo in Vado which was his own Country but as his Masters were but ordinary Painters he resolved at fourteen Years of Age to go to Rome there to study this Art where having nothing to live upon he was obliged to work for Picturesellers and when he had got some Money he employ'd himself in Designing and particularly to Imitate and Copy the Works of Raphael which he chiefly studied by these means he became very Excellent which may be seen in his fine Works which he has painted in the Castle of Caprarola and the Church of Trinity on the Hill at Rome His (c) Frederick Zucchero bequeath'd his Goods to the Academy of St. Luke Vite de' Pittori del C. Baglione p. 124. He also made Models very well and was a good Architect which made him to be so much the more considered by those great Men whom he served He published a Book Del'Idea de' Pittori Scultori Architetti del Cavaliero Frederico Zucchero divisa in duo lobri In Torino 1607. Brother Frederick followed the same way of Painting for he finish'd the Pictures which Taddeus had begun and at his Death left imperfect and was in nothing inferior to him Philip the II. sent for him into Spain where he was well receiv'd by that Prince who employ'd him to work in the Escurial (d) Frederick Zucchero was not the only Person who embellished the Escurial by his Painting for Pellegrino Tibaldi wrought several Pieces in the Cloyster and the Library He was born at Bologna in the Year 1522. His Father was of Walsada a Country of the Milanese Pellegrino after
Family This he continued till the Foundation of the Academy of Architecture at Rome was finished This Academy was composed of several ingenious Men one whereof was Marcello Cervino who was afterwards Pope This noble Assembly chose Vignola to Design and Measure for them all the ancient Buildings which made him entirely leave Painting to employ his whole time on Architecture and thereby to become one of the best Architects of his Age. The Fame of Vignola's Capacity and the Reputation he had got were the Reason that in 1537 Francis Primaticcio sent to Rome by Francis the I st gave him a Commission to mould and form some of the finest ancient Figures And afterwards he carried him into France where he work'd for that King in making several Designs for Buildings which were but in part finished by reason of the Wars He also design'd on Carton's for Primaticcio the History of Ulysses painted in the Gallery at Fountainbleau At the same time and in the same place Vignola was employ'd in casting several Statues in Brass of those he had modell'd at Rome and which are at Fountainbleau and he was so happy as to light on some very good Founders insomuch that those Brazen Figures were cast with so much Care that they scarce needed any further Work Vignola at his Return to Rome had the Honour of being the Architect of the Church of St. Peter and to continue that Building according to the Design of Michael Angelo He also made the Design of the Church of Jesus And one of his chief Pieces was the Castle of Caprarola which he built for Cardinal Farneâ—â— He painted with his own Hand several of the Chambers with Pieces of Perspective which were agreeable And for the same Cardinal he finish'd that side of the Farneze Palace which stands next the Tyber Vignola was also employ'd by Philip the IId King of Spain to make the Designs of the Church of St. Laurence and those of the Escurial His Designs were preferr'd to above twenty others of the best Architects in Italy and even to that which was made at Florence by the Academy of Designing A Design also which Vignola made for the Church of St. Petronio at Bologna was preferr'd to several others Those who gave this Judgment of it were Christopher Lombard Architect of the Dome of Milan and Julio Romano Painter and Architect to the Duke of Mantua Besides the fine Buildings of Vignola at (h) Vignola died at Rome in 1573 at the Age of sixty six Years His Life was writ by Egnatio Danti Rome and other Places he has also published a Book of the Orders of Architecture wherein the beauty and fineness of his Profils have made his Name famous Several other famous Architects appear'd at Rome towards the End of the same Age and among the rest Maderni who made the Front of St. Peters Church Afterwards Dominick Fontana besides the Buildings he made for Sixtus the Vth found out some extraordinary Inventions whereby he transported the Egyptian Obelisks at Rome and set them up in the Squares of St. Peter St. John Lateran and St. Mary del Popolo which 〈◊〉 the finest Ornaments of that City Fontana 〈◊〉 moreover chosen to be first Architect and Engineer of the Kingdom of Naples It was in this City he built the magnificent Palace of the Viceroy and several other Edifices CHAP. XX. The Arts of Designing flourish'd in France under Francis the I st and Henry the IId and their Successors BY what we have said of Vignola it may be gathered that the true manner of Architecture began to revive in France and even before his time for it began under Lewis the XIIth who caused Jocondo to come out of Italy King Francis his Successor had the like Inclination not only for Architecture but also for (a) This great Prince was so great a Lover of these Arts that he made it one of his Recreations to Design and Paint Paul Lomazzo Trattato D. L. Pitt in these Terms Epero si legge che ' l Rè di Francia molte volte si dilettava di prendére lo stile in mano essercitarsi nel disegnare dipingere Painting and for all the other Arts of Designing For he sent for several Ingenious Italians into France to whom he shewed particular Favours Rosso known in France by the Name of Roux was among the chiefest of his Favourites He was a Painter and Architect of a good Mein and very Ingenious This excellent Genius apply'd himself in his Youth at Florence to study the great Piece done by Michael Angelo in the Council-Hall Afterwards he painted of himself without following any Master Afterwards he went into France where he was so happy as to get the Favour and Affection of the King who allow'd him a Pension of four hundred Crowns After that he began to Paint the lower Gallery at Fountainbleau where he painted twenty four Historical Pieces of Alexander the Great This pleased the King so much that he gave him a Canonship in the Chappel at Paris Rosso moreover painted several Chambers at Fountainbleau which after his Death were somewhat changed There was a Book of several Designs of Anatomy which he had made for the King about to be engraved (b) Le Roux whom the Italians call il Rosso a Florentine Painter and Architect died at Paris in 1541 of a Melancholy which he conceived by having inconsiderately accused one of his best Friends of having robbed him The King and all that knew him were very sorrowful for his Death His Disciples and those who work'd for him in Painting and Plaister were Naldino a Florentine Master Francis of Orleans Claudius of Paris Laurence Picard and several others the most Ingenious whereof was Dominick del Barbieri a Florentine an excellent Painter and Artist in Stucco-work and also a good Designer as is to be seen by his Stamps but was prevented by the decease of this Painter Francis Primaticcio of Bolonia carried on the Works of Rosso at Fountainbleau He came into France in the Year 1531 a year after the Establishment of Rosso That which caused this Voyage of Primaticcio was that the King had heard of the Beauty of the Painting and Stucco-work wherewith the famous Julio Romano had adorn'd the Palace of T. at Mantua So the King desired the Duke to send him a Painter who understood Stucco-work Primaticcio had been six Years a Disciple of Julio Romano and had distinguish'd himself by the Beauty of the Stucco-work he made by the easiness of his Designing and by the way he had of managing Colours in Fresco This Painter was chosen out by the Duke of Mantua for Francis the I. who set him to Paint in Fresco and work in Stucco which had not till then been seen in France and after having had the Honour to serve the King eight Years his Majesty honoured him with the Charge of a Valet of his Chamber and afterwards he was rewarded with the Abby of St. Martin