Sculptura, or, The history, and art of chalcography and engraving in copper with an ample enumeration of the most renowned masters and their works : to which is annexed a new manner of engraving, or mezzo tinto, communicated by His Highness Prince Rupert to the authour of this treatise.

CHAP. V. Of Drawing, and Design praevious to the Art of Chalcography; and of the use of Pictures in Order to the Education of Children. (Book 5)

AS the Rules of Measure and Proportion have an universal influence upon all the Actions of our lives; it was a memora∣ble, and noble saying of a great Person of our Nation, discoursing to us once concern∣ing the dignity of Painting, and the arts which attend it:* 1.1 That one who co••ld not De∣signe a little, would never make an honest man: How that observation succeeds in the ge∣neral, we have not made it much our ob∣servation; but this we are bold to pro∣nounce. That he shall never attain to the excellency of a good Chalcographer, who is not more then ordinarily skill'd in the fa∣culty and art of Drawing; a thing so high∣ly necessary, that Donatellus was wont to tell his Disciples (discoursing sometimes

concerning the accomplishment of this Art) that to de••••ver it in a single word, he would say, DESIGNE; because it was the very Bans and Foundation, not only of this, but even of all those free and noble Scien∣ces of Fortification, Architecture, Perspe∣••••ive, and whatsoever also pretended to any affinity with the Mathematicks, as really leading the Van, and perfective of them all.

But to treat Methodically of this, or as we have already enlarged in the History and Progresse of Chalcography, and the sur∣viving labours of the most renowned Ma∣sters, would require no lesse time and pains: It were indeed a noble, curious, and useful work, but almost impossible to accomplish; because the Original Drawings of the great Masters, being dispersed amongst the hands of the greatest Princes, and men of Science only, are preserved with jealousie, and est••em'd, as so many Jewels of greater value, then those of Pearles and Diamonds. For some of them being the very last workes, though but imperfect draughts of so Excellent Artists; they have for the most part been in greater esteem, then even those of larger bulke and more fi∣nished; as Pliny instances in the Iris of Aris••ides, the Medea of Timomachus, and

some others; because (as he there speaks) such touches did even expresse the very thoughts and prime conception of the Workman, as well as the Lineaments which he presents us; and that there is a certain compassion in our Natures, which indears them to us, so as we cannot but love, and desire the hands which perished in the midst of such famous pieces: Add to this, their inimitable Antiquity, then which (according to Q••intilian) nothing do's more recommend things to us, from a certain Authority which it universally car∣ries with it;* 1.2 so as we seem to review what they did of old in this kind; as if (with Liba••ius) the Gods had imparted some∣thing of extraordinary to the Masters of the Ages past, which the nature of man is not now capable of attaining.

These difficulties therefore consider'd, it will not be required of us in this Chapter, which pretends to celebrate and promote the Art of Drawing, and Designe, only as it has relation, and is an absolute requisite to that of Chalcography, and to prescribe some directions and encouragements, which may prepare and fit the hand with a com∣petent address•• therein.

Whether Design, and Drawing, were

the production of Chance or Excogitation, we determine not; certain it is that pra∣ctise and experience was its Nurse and per∣ficient; by some thus defin'd to be A visi∣ble expression of the Hand resembling the conception of the mind: By which Definition there are who distinguish it from Drawing both as to its Original, and Formality; For Design (say they) is of things not yet ap∣pearing; being but the picture of Ideas on∣ly; whereas Drawing, relates more to Copies, and things already extant: In sum, as the Historian differs from the Poet, and Horace has well expressed it,

—Pictoribus atque Poetis Quidlibet audendi semper fuit aequa potestas.* 1.3

We could easily admit this Art to have been the most antient, and with Philostratus, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, of kin even to Nature her self: But to take it some what lower, there goes a tradition, that some ingeni∣ous Shepheard was the inventor of it, who espying the shadow of one of his sheep on the Ground (interpos'd between him and the culminating, or declining sun) did with the end of his crook, trace out the Profile upon the dust: and truly some such vulgar accident (for chance has been a fruitful Mother) might first probably intro∣duce

it; however afterwards subtiliz'd upon and cultivated, till it at length arriv'd to that degree of excellency and esteem, which it has happily gained, and so long continu'd.

But to quit these nicer investigations, and proceed to some thing of use, as it con∣cernes the Title of this chapter: The first and principal manner of Drawing is that with the pen; the next with Crayon, whither black, white, red or any of the intermedial co∣lours, upon paper either white or colour'd: We will not say much concerning wash∣ing with the pencil, or ••ubbing in the shades with 〈◊〉〈◊〉 and dry Compositi∣ons, because it is not t••••l our Disciple be a consummat Artist, that he can be edified with designes of this nature, and, after which, they are of excellent use and effect.

The pen is theref••re both the first, and best instructive, and has then (as all the o∣ther kinds) attain'd its desired end, when it so deceives the eye by the Magic, and innocent Witch-craft of lights and shades, that elevated, and solid bodies in Nature, may seem swelling, and to be embossed in Plano, by Art.

To arrive at this, you must first draw the exact lineaments, and proportion of the subject you would expresse in prosile, Con∣tours

and single lines only; and afterwards, by more frequent, and tender hatches in the lighter places, strong, bold, or cross in the deeper.

By Hatching is understood a continual Series, or succession of many lines, shorter, or longer; close, or more separate; ob∣lique, or direct, according as the work re∣quires, to render it more, or lesse inlightned; and is attain'd by practise with a swift, e∣ven and dextrous hand; though sometimes also, by the help of the rule and compass; e∣very man being not an A••elles or Pyrgote∣les to work without them. Now the best expedient to gain a mastery in this Address, will be to imitate such prints, and cuts, as are most celebrated for this perfection: Such (amongst plenty of others) are those of Henry Goltzius: The Sadelers, Harman, Sanredam, Vosterman, and above all, that rare book of Jacomo Palma graven by O∣doardo Fialetti: Of the more Modern, the incomparable Natalis, Nanteuil, Poilly, Cor∣nel. Blomaert; These for the Burin: For Etching, Callot, Morine and Bosse; especially in those his latter pieces, which have so nearly approach'd the Graver. After these, let our Learner design the several mem∣bers of bodies a part, and then united,

with intire Figures and Stories, till he be a∣ble to compose something of his own, which may support the examination of qualified Judges. But the 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 or first draughts of these; would not be with too great curiosity, and the several minutiae that appear in many Coppies; but with a cer∣tain free and judicious negligence, rather aiming at the Original, then paining of your self with overmuch exactnesse: for nocere saepe nimiam diligentiam, was an old observation; and therefore the antient Painters (sayes Phi∣lostratus) more esteem'd a certain true and liberal Draught, then the neatness of the Figure, as he expresses it in Amphiaraus's Horse, sweating after the conflict; since Drawings and Designes are not to be like Polycletus's Canon, which took its several parts, from as many perfect bodies, by a studied, and most accurate Symmetrie: It shall suffiice that the prime conceptions of our Artist be perform'd with less constraint; a coal or pensil of black-lead will serve the turn, reserving the stronger, and deeper touches for a second pass of the hand over your work; and last of all, penning the Contours, and out lines with a more even and acute touch, neatly finishing the hatches with a resolute, constant and slowing hand; especially, as it approaches to the

fainter shadowes, terminating them in lost and misty extreams, and thwarted (if you will counter-hatch) at equal, and uni∣form intervals (but not till the first be dry) or, if with single stroaks (which to us ren∣ders the most natural, and agreeable effects) with full, deep hatches, and their due di∣minishings.

But it would haply be objected, that these accurate Designes of the pen, were never esteemed among the nobler parts of Drawing, as for the most part appearing to finnicall, stiff and constrain'd: To this, we reply; that the remark is not impertinent, as commonly we find by experience: But it has not proceeded from the least defect in the Instr••ment, but from that of the Artist, whose aptitude is not yet arriv'd to that perfection which is requisite, and does infallibly confirme, and dispose the hand to whatever it addresses; affording so great a delight and satisfaction to some excellent Workmen, as that they never desir'd to advance further, then this Tri∣umph of the pen, which has celebrated their names, and equaliz'd their renown with that of the most famous Painters: For such were (in this nature) the incom∣darable Drawings of Don Giulio Clov••o,

Albert Durer, Passarotto, yea Titian himself, when the fansie took him: The foremen∣tion'd Goltzius, especially, for his Diana sleeping, drawn with a pen on a cloath prim'd in oyl, which was sometimes sold at Amsterdam for 200 pounds; and that labo∣rious, and most stupendious work of his, now part of his Majesties collection, where he has drawn with the pen upon an height∣ning of Oyl, a Venus Cupid, Satyr, and some other figures, as big as the life it self, with a boldness, and dexterity incompara∣ble: and such are some things which we have seen done by Signior Thomaso a Flo∣rentine; our ingenious friend Mr. Vander Douse (descended of that noble Janus Dou∣sa, whose learning, and courage the great Scaliger, and Grotius have so worthily cele∣brated) now in the Court of England. To these we add Rob. Nanteuil at Paris, and of our own Country-men, those eight, or ten Drawings by the pen of Francis, and John Cleyn, two hopefull, (but now desceased) Brothers, after those great Cartoons of Ra∣phael, containing the stories of the Acts of the Apostles, where in a fraternal emulation, they have done such work, as was never yet exceeded by mortal men, either of the former, or present Age; and worthy

they are of the honour, which his Majest•• has done their memories, by having pur∣chased these excellent things out of Germa∣ny, whither they had been transported, or, at least intended: There is likewise one Mr. Francis Carter (now in Italy) not to be forgotten amongst those whose pens deserve to be celebrated: But it is not here that we are to expa••iate far on this par∣ticular, as designing a Chapter only, much less shall we have leasure to proceed to black, and white Chalke (as they call it) upon coulour'd paper, in which those ma∣ny incomparable, and Original Drawings of the old and great Masters are yet ex∣tant, wherein a middle Colour wrought upon two extreams, produces (on an in∣stant) that wonderfull, and stupendious roundness, and exstancy, which the Pen is so long in doing, though, so infallible a guide to its well doing; that having once attain'd the command of that instrument, all other Drawings whatsoever, will seem most easie and delightfull: Neither shall it then be requisite to continue that exactness, since all Drawing is but as an Hand-maid and Attendant to what you would either Grave or paint.

But by this perfection and dexterity at

first, did even those renouned Masters, Julio, Parmegian, and sometimes Polyder, himself (not to insist on Rubens and Van∣dyke) proceed, whose Drawings in this kind, when first they made their studies in Italy, were exceedingly curious, and finished; though in all their more recent, and ma••u∣rer Designes, rather judicious then exact, because of that time which such minute fi∣nishings did usually take up; and, that when all is done, it is still but a Drawing, which indeed conduces to the making of profitable things, but is it self none.

Yet so highly neceslary is this of Draw∣ing to all who pretend to these noble, and refined Arts; that for the securing of this Foundation, and the promotion and en∣couragement of it, the greatest Princes of Europe, have erected Academies, furnished with all conveniencies, for the exercise, and improvement of the Virtuosi: Such illustri∣ous and noble Genius's were Cosimo di Me∣dices, Francis the First, Carlo Borr••meo, and others, who built, or appointed for them, Stately Appartiments even in their own Palaces, and under the same Roofe: procuring Models, and endowing them with Charters, Enfranchisements, and ample Honoraries; by which they attracted to

their Courts, and Countries most of the resin'd, and extraordinary spirits in all the Arts and Sciences that were then celebrated throughout the World.

Nor it seems has it been the sole glory of those illustrious Princes to cherish and eno∣ble men of Art: the Greek and Roman of old had them in special veneration; but in none of their Courts, were men of Science carressed to that degree, as in that we have read of the Emperours of Japons at present, who does not only entertain, and nobly accommodate them, but never stirs abroad without their company. These great men sayes my * Authour (meaning Physitians, Painters,* 1.4 Sculptors, Musitians, &c. quos proprio nomine appellant Contubernium Caesa∣ris) march before the King whither he go forth in Litter or on Horseback; and being elected of Persons of the greatest birth in his Dominions, they alwayes continue at his Court, richly appointed with sallaries; but otherwise, to bear no office whatsoever which may in the least importune them, eo solum electi, ut Imperatori ad voluptatem & delecta••ionem consortium praestent, as being therefore only chosen, to recreate and di∣vert the Prince with their excellent conver∣sation: These being men of the rarest parts,

and endowments in his Empire, have pre-eminence in all places next the King; then come the Guards in the reere, which consist of a more inferiour Nobility: Thus farr the Historian: We know not how this Instance may in these dayes be inter∣preted; but certainly the Courts of Princes were in former Ages, compos'd of men of the greatest virtue and talents above the rest, and such as possess'd something of ex∣traordinary (besides the wearing of fine cloaths, and making the bone mine) to re∣commend them. We insist not on Sculp∣tors, and painters only, especially, as such men are now for the most part Vitious, or else of poor and mechanick spirits; but as those Antient and Noble Genius's were heretofore accomplish'd; and such as of late were Raphael, Durer, Leon Alberti, Da Vinci, Rubens, and at present, Cavalier Ber∣nini, &c. persons of most excellent endow∣ments, and universally learned, which ren∣dred their Fautors and Protectors famous, by leaving such marks of their admired Virtue, as did eternize their merits to after Ages.

Thus it was, that Myron, Polycletus▪ Phydias, Lysippus and others of the Antient, procured such lasting names by their divine labours: They wrought for Kings, great Cities and Noble Citi∣zens:

whereas others, on the contrary, (Men haply of no lesse industry and science) had little or no notice taken of them; be∣cause they received no such encourage∣ments, were poor and neglected, which did utterly eclipse and suppress their fame; such as those whereof Vitruvius does in the Preface to his third book make mention, where he speaks of Chiron the Corinthian, Hellas of Athens, Myagrus of Phocia, Pha∣rax the Ephesian, besides Aristomenes, Poly∣cles, Nichomachus, and several others, who being excellent Masters and rarely en∣dow'd, perish'd in obscurity, and without any regard, from the unequal hand and di∣stribution of fortune, and for want of be∣ing cherished by Princes and great men: But to return;

In these places had they books of Drawings of all the old, and Renowned Masters, Rounds, Busts, Relievos and entire Figures, cast off from the best of the An∣tique Statues and Monuments, Greek and Roman; There was to be seen, the Lao∣con, Cleopatra, Antinous, Flora, Hercules, Commodus, Venus, Meleager, Niobe, &c. whereof the Originals are still extant at Rome: There were likewise divers rare and excel∣lent Statues, both of brass and marble; Modells and divers fragments of Bases, Colomns,

Capitals, Freezes, Cornishes and other pieces moulded from the most authentique re∣mains of the antient famous buildings, besides a universal collection of Medaills, things Artificial and natural.

But to recover our Drawing again, as it concernes the Art of Chalcography, we have already mentioned such of the most accomplish'd Gravers, whose labours and works were proposed for exemplars and imitation: Nor let the most supercilious painter despise what we have here alledg∣ed; or imagine it any diminution to his Art, that he now and then put his hand to the pen, and draw even after some of those Masters we have so much celebrated: wha•• Andrea del Sarto has taken out of the prints of Albert Durer, improving, and reducing them to his manner (not for want of in∣vention, and plagiary like, as all that have any knowledge of his works can justifie) has no way eclipsed, but rather aug∣mented his glory; as on the other side, that divine piece of his, the Christus mor∣tuus, which he gave to be cut by Augusti∣no Venetiano; The Triumphs, Vas••s, and Anatomies of old Rosso, by whomsoever en∣graven, and those other things of his af∣ter Domenico Barbieri: Paulo Veroneze did

much study the prints of Durer, and that incomparable painter Antonio Vassalacci, (call'd otherwise Aliense) made notable use of that his prodigious collection of Stamps of the most rare hands: not to recapi∣tulate what were published by Raphael him∣self, and infinite others; by which they have sufficiently made appear, the value they attributed to this Art; by desiring (as much as in them lay) to render their works famous to posterity, by thus com∣municating them to the World, though many times, through the hands, but of ve∣ry vulgar, and ordinary Gravers.

And here we should have put a period to this Essay, and the present chapter, as having abundantly vindicated the necessity and worthiness of Designe and Drawing, as it is praevious, and introducto∣ry to the Art of Chalcography; had not one curiosity more prevented us; which be∣cause it so much concernes the conducting of Hatches and stroaks, whither with pen, point, or Graver; pretending (at least very ingeniously hinting) to a method, how by a constant, and regular certitude, one may express to the eye, the Sensation of the Relievo, or extancie of objects, be it by one, or more hatches, cross and counter,

we think not impertinent here to re∣cite, as briefly as the demonstration will permit.

The principal end of a Graver that would coppy a Design, or piece compos'd of one, or more Objects, is, to render it correct both in relation to the Draught, Contours and other particularities, as to the Lights and shades on the Front, flying or turning, in bold, or faint touches; so as may best express the Reliefe; in which Gravers have hitherto, for the most part, rather imita∣ted one another, then improved, or re∣fined upon Nature; some with more, some with fewer stroaks: having never yet found out a certain and uniforme guide to follow in this work; so as to car∣ry their stroaks with assurance, as know∣ing where they are to determine, with∣out manifestly offending the due rules of perspective.

If in truth Nakeds, and other polite Bodies were so formed, as that we might detect the course, and inclination of the Threads, Fibers, and Grain, so as we per∣ceive it in Stuffs, Cloth, Linnen and o∣ther Draperies; nothing would appear more facile; for let them assume wh•••• phy they will, it does not at all concern

the tissue, Tenor or range of the Threads and Wales (as they call them) which is easily imitated, both as to their inclinations, and distances from the point of sight.

But since we are much at a loss, and can perceive no such direction or clue in Nu∣dities, and other smooth surfaces, it were haply worth the while, to find out some expedient which should assist the imagina∣tion in this affair, and that might encoun∣ter the difficulty upon other terse and e∣ven objects, by forming such stroaks, and directors upon them in our Imagination; observing, that there are some parts in them commonly to be distinguished from the Mass in gross; for example, the hairs in men, eyes, teeth, nails, &c. that as one would conceive such lines, or hatches on those Masses, others may likewise be as well fanci'd upon those lesser, and more de∣licate members:

To effect this, the following Ichonisme is thus explained.

[illustration]

Suppose, in the upmost Figure of this plate, the object (O) to be the representation in perspective of the portion of a Bowle, ex∣pos'd to the beams of the Sun; and the let∣ters e. s. r. t. a Frame, or square of Wood barr'd and strung in even and straight lines, parallel inter se.

Then another Thread, viz. m. n. crossing them in perpendicular. The frame in the mean time suppos'd to incline towards the Bowle, O. 'twixt it, and the Sun, which represents to you all these threads project∣ing their shadowes upon the Bowle, and the surface where it is situate.

Suppose now the same upon the Relie∣vo or Mass it self; it is evident, that these Threads, in whatever manner you interpose the said Frame 'twixt the Bowle and the Sun, that they will perpetually cast their shadowes parallel inter se, cutting it as it were, into several plains, uniforme, and pa∣rallel also.

You see likewise in this very Figure, that the oblique, and direct shades o u x y are caused by the cathetus m t n, and the pointed curved lines upon the Bowle O, viz. o z n 12. &c. are formed by the parallels which intersect the perpendicular.

But the same frame posited between the

Sun and a Head in Relievo of white marble, or the like (as in the inferiour example) will not render the shadow of the threads alike upon all the parts parallel inter se (as in the former) though the same were sup∣pos'd to be cut by like plain, and mutual Parallels as was the Bowle O. However, so shall they appear, as to hint the tracing of parallels on the Relievo, or assist the ima∣gination of them there, and consequently, how to designe them upon objects made ••fter the same Ordonance in perspective pa∣••allel, as one may conceive them upon the Relievo of an Ordonance in Geometrical paral∣••el, viz. as in the Figure O. or to speak more distinctly, supposing them the same on the irregular, as one the regular.

Consider then upon the Head, the con∣course of those imaginary parallels in per∣spective, shaded with the pointed lines; and how the intercurrent hatches, which they comprehend, pursue the same course and tenor, or perspective parallelisine.

From these instances now, it will not be difficult how to apply the same upon all the sorts of bodies representable by Graving, and to comprehend in one's imagination, the concurrency and uniforme tenor of the particles, as we may so call them; Only,

there is this particular to be observed, tha•• the projecture of the threads will not ap∣pear alike perspicuous in the deep, an•• shady parts of Relievos, as upon the illu∣minated, being lost in the dark: But thi•• is easily supplyed by the imagination, 〈◊〉〈◊〉 by holding a loose thread parallel to th•• shaded, neer to the body of the Figure by which the course of the rest may be wel•• conceived. And this may serve to giv•• great light to him that shall either grave i•• Copper, or draw with the pen, for th•• Symmetrically conducting of his hatches•• determinatively, and with certitude, b•• thus imagining them to be Geometricall•• marked upon the Relievo, or embossemen•• of the Natural, whereever he encounter i•• and after this conception, to trace them out upon his Plate, or Draught in perspective.

And indeed, that which is chiefly consi∣derable and ingenious in this, is, that of their Perspective; since the shades of the lines (in the foremention'd example) which were upon the parts more, or lesse turn'd, appear to our eye accordingly, with more or less force, which renders clear a different effect, as to the swelling and extancies of the parts, then we find it in works where this method has not been observed; so as truly, this may

••eem to be the most certain expedient of expressing by hatches, the Relievo of objects, whether with the Pen, or Burine. And this ••s the sence of a much larger discourse, which Monsieur du Bosse has proposed, treating of the practise of Perspective upon irregular Surfaces, and we have thought fit to insert into this Chapter; not only because it is new and pretty; but, for that (to us) it appears to be of good use, and as may be seen in some of the late heads graven by the incomparable Nanteuille, who had been the sole occasion of this ingenious consideration, about the time of our last being at Pa∣ris.

But if this (like the diligence of Mecho∣panes, which Pliny affirmes, none was able to understand but an Artist only) seem to be a disquisition more refin'd then useful; for that few of our Gravers work off from the Round, upon whichalone the observation is practicable; yet shall it be necessary to admonish, that shadowes over dark, too deep and suddain, are not com∣mendable in these works, as seldom so ap∣pearing in the life; and therefore hatch∣ings express'd by single stroaks, are ever the most graceful and natural; though of grea∣ter difficulty to execute; especialy, being

any wayes oblique; because they will ••••∣quire to be made broader, and fuller 〈◊〉〈◊〉 the middle, then either at their entranc•• or exit; an addresse much more easie wit•• the Burin, and the Pen, then with the point▪ Though Monsieur Bosse's invention of the Eschoppe, does render the making of thi•• Sulcus, much more facile: But to attain this Masterly, and with assurance of hand, our Workmen may do well to imitate the Gravings of the Sadelers, Villamena, Sauanneburg, Gaultier; but especially Clau∣dius Mellan, Natalis, Poisly, Nanteuill, Cornelius Blomar, H. Gaultzius▪ And for the Etchers in Aqua Fortis, Callot, and Du Bosse in some of their last cuts, es∣pecially; Though even the counter hatch∣ings also, coming tenderly off, and well conducted, (so as 'tis to be seen in some of the prints of M. Antonio's, C. Cort. Aug. Carracio and other Masters) render both an admirable and stupendious effect: For it is in this well placing of White and black, wherein all this Art, and even that of paint∣ing does consist: Thus Aglaphontes us••d but one Colour, no more did Nitia the Athenian Painter; and it was this Relievo also for which the famous Zeuxis became so re∣noun'd: not to insist on Heredices the Co∣rinthian,

and Thelophanes the Sicyonian, who were both of them but Monochromists; and, 'till Cleophanes came amongst them, no dissemblers, as owning no other Co∣lours but those eminent Contraries; that is, the lights and the shades, in the true managing whereof, so many wonders are to be produc'd by this Art, and even a certain splendor, and beauty in the touches of the Burin, so as the very Union and co∣louring it self may be conceiv'd without a∣ny force upon the imagination, as we have before observed in these excellent Gra∣vings of Natalis, Rouslet, and Poisly, after Bourdon, and in what Greuter, Blomart, and some others have done after Monsieur Poussin, Guido Rhene, Cortoon, &c.

But here by the way, let no man think we mean by this Coloree (as they term it) in Drawing and Graving, such a position of the Hatches as the Chevalier Wolson has invented,* 1.5 and Pietro Santo the Jesuite has follow'd, to distinguish their Bla∣zons by: But a certain admirable effect, e∣merging from the former union of Lights, and shadowes; such as the Antients would expresse by Tonus, or the Pythagoreans in their Proportions, and imitated in this Art, where the shades of the Hatches intend,

and remit to the best resemblance of painting, the Commissures of the light and dark parts, imperceptably united, or at least so sweetly conducted, as that the alteration could no more certainly be de∣fin'd, then the Semitons, or Harmoge in mu∣sick, which though indeed differing; yet it is so gentle, and so agreeable, as even ra∣vishes our senses, by a secret kind of charme not to be expressed in words, or discerned by the ignorant. And this it is, which has rendred it so difficult to coppy after De∣signes and Painting; and to give the true heightnings, where there are no hatchings to express them, unless he, that Copies, Design perfectly himself, and possess more then the ordinary talent and judge∣ment of Gravers, or can himself manage the Pencil. But to return to Prints again, we are to understand, that what the Ar∣tists do many times call excellent, does not alwayes signifie to the advantage of the Graver; but more frequently, the De∣sign, consisting in the lineaments, proportion and ordonance, if these be well, and ma∣sterly perform'd, and for which we have so recommended the practise of this Art to our English Painters in chap. IV. Though, to speak of an accomplish'd piece indeed,

it is the result of integrall causes only, and where they universally encounter.

We do farther add, that for this reason, copies are in Prints much more easily de∣tected, then in paintings, and by conse∣quence, more facile also to imitate, as u∣sing all one kind of Instrument, and fewer wayes of expression: But if there be a difficulty in it, those which are Etched in A. F. make it most conspicuous; both be∣cause the nature of the plates, and quality of the Waters, and their operations, may sometimes fall out to be so very unlike: But, to discern an Original prtnt from a Copy print (not to speak of such plates as have been retouch'd, and therefore of little value) is a knack very easily attain'd; because 'tis almost impossible to imitate e∣very hatch, and to make the stroaks of ex∣act and equal dimensions, where every the least defect, or flaw in the Copper it self, is sufficient to detect and betray the Imposture, as in that little Desce•••• from the cross of Hanibal Carraccio (already mention'd) is perspicuous, and which it were absolutely impossible to conterfeit. In the mean time, such as are profound, and well knowing, do establish their Judgments upon other particulars of the Art, and the very handling it self.

Lastly, that A. F. gives a tenderness to Landskips, Trees and Buildings superiour to that of the Burine (though that exceed infinitely in Figures) may be seen in that of Israels view of the Louvre before recited, and in some other works where there is an industrious and studied mixture, as in that second manner of Vosterman's which did so much please Rubens and Vandyke, e∣ven in the Portraicts which that excellent Graver published after those great mens paintings.

It was in the former Chapter that we made rehearsal of the most renowned Gravers and their works; not that we had no more to add to that number; but be∣cause we would not mingle these illustrious names and qualities there, which we pur∣posely reserved for the crown of this dis∣course; we did therefore forbear to menti∣on what his Highness Prince Ruperts own hands have contributed to the dignity of that Art; performing things in Graving (of which some enrich our collection) comparable to the greatest Masters; such a spirit and address there appears in all that he touches, and especially in that of the Mezzo Tinto, of which we shall speak here∣after more at large, having first enumerated

those incomparable gravings of that his new, and inimitable S••ile, in both the great, and little decollations of St. John Baptist, the Souldier holding a Spear and lean••ng his hand on a Shield, the two Mary Magdalens, the Old-mans head, that of Titian, &c. after the same Titian, Georgioon and others. We have also seen a plate Etched by the present French King, and other great persons; the Right Honourable the Earl of Sandwich sometimes (as we are told) diverting himself with the Burine, and herein imitating those Antient and renown'd Heros, whose names are loud in the Trumpet of Fame, for their skill, and particular affection to these Arts: For such of old, were Lucius Ma∣nilius, and Fabius, Noble Romans: Pacuvius the Tragick Poet nephew to Ennius; So∣crates the wisest of men, and Plato him∣self. Metrodorus, and Pyrrhus the Philoso∣pher did both design and paint; and so did Valentinian, Adrian and Severus, Emp••: so as the great Paulus Aemilius, esteem'd it of such high importance, that he would needs have his son to be instructed in it, as in one of the most worthy and excel∣lent accomplishments belonging to a Prince. For the Art of graving Quintilian likewise celebrates Euphranor, a Polite and

rarely endow'd person; and Pliny in that Chapter where he treats of the same Art, observes, that there was never any one fa∣mous in it; but who was by birth or edu∣cation a Gentleman: therefore He, and Ga∣len in their recension of the Liberal Arts, mention that of Graving in particular a∣mongst the most permanent; and in the same Catal••gue numbers it with Rhetorick, Geometry, Logic, Astronomie, yea Grammar it self; because there is in these Arts say they, more of fancy, and invention, then strength of hand; more of the Spirit, then of the Body. Hence Aristotle informes us that the Grecians did universally institute their Children in the Art of painting and Drawing,* 1.6 for an Oeconomique reason, there signified, as well as to produce propor∣tions in the Mind: Varro makes it part of the Ladies Education that they might the better skill in the works of Embrodery, &c. and for this cause is his Daughter Martia celebrated amongst those of her fair Sex: We have already mention'd the Learned Anna Schurman; but the Princess Louise has done wonders of this kind, and is famous throughout Europe for the many pieces which inrich our Cabinets, exam∣ples sufficient to vindicate its dignity, and

the value that has been set upon it; since both Emperours, Kings and Phil••sophers, the great and the wise, have not disdain∣ed to cultivate, and cherish this honoura∣ble quality; of old so nobly reputed, that amongst the Greeks, a Slave might not be taught it: How passionately does Pereski∣us, that admirable and universal Genius de∣plore his want of dexterity in this Art! Baptista Alberti, Aldus, Pomponius Guaricus, Durer, and Rubens were politely learned and knowing men; and it is hardly to be imagin'd of how great use, and conducible, a competent address in this Art of Drawing and Designing is to the several advantages which occur; and especially, to the more Noble Mathematical Sciences, as we have already instanc'd in the Lunary works of Hevelius, and are no less obliged to ce∣lebrate some of our own Country-men famous for their dexterity in this incompa∣rable Art; such was that Blagrave, who himself cut those Diagramms in his Ma∣thematical Jewel; and such at present, is that rare and early prodigy of universal science, Dr. Chr. Wren, our worthy and accomplish'd friend. For, if the study of Eloquence and Rhetorick were cultivated by the greatest Genius's and Heroic persons

which the World has produc'd; and that by the suffrage of the most knowing, to be a perfect Orator, a man ought to be uni∣versally instructed; a quality so becoming and usefull, should never be neglected.* 1.7 Omnium enim Artium peritus erit Orator, si de Omnibus ei dicendum est: He that would speak well upon all subjects, should be ig∣norant of none: It was Cicero that taught Quintilian the importance of it, where he tells us, that in his opinion, no man could pretend to be Omni laude cumu∣latus Orator,* 1.8 a perfect and accomplish'd O∣rator indeed, nisi erit omnium reram mag∣narum atque Artium scientiam consecutus. It is the sentence of that great Man, and therefore to be embraced by us, especially on this occasion; because it was imme∣diately after he had expresly instanc'd in Caelatura & Sculptura, that of cutting and Engraving: for it is worth the observati∣on, that the Ages which did most excell in Eloquence, did also flourish most in these Arts, as in the time of Demosthenes and the same Cicero; and as they appear'd, so they commonly vanish'd together; and this remark is universal.

But now for close of all, and to verifie the admirable use which may be deriv'd

from this incomparable Art above the rest, let us hear what the learned Abbot of Villeloin, Monsieur de Marolles has le••t upon Record in the Memoires of his own life, Anno 1644. after he had made a ve∣ry handsome discourse (which we recom∣mend to all good Roman Catholiques) con∣cerning Images, upon occasion of a super∣stitious frequenting of a certain renown∣ed Shrine, pretended to have done Mira∣cles at Paris, but was detected to be an imposture: The passage is thus,

Dieu m' a fait la grace, &c.

I am (saith he) greatly obliged to God, that though I have ever had a singular af∣fection to Images, I was never in my life superstitious; I have yet made a collection so prodigious, that they amount to no less then seventy thousand (he adds after∣wards ten thousand more) but they are all Copper-cuts and engravings of all sorts of Subjects imaginable. I began to be ad∣dicted to this kind of Curiosity but since the year 1641; but have so cherish'd the humour, that I may truly affirm, with∣out the least exaggeration, that I have some prints of all the Masters that are a∣ny

where to be found, as well Gravers, as Designers and Inventors, to the number of above four hundred; And these are ranged in books of Charts, and Mapps, Cal∣ligraphy, Architecture, Fortification, Tacticks, Sieges, Circumvallations, Battails, Single-Combats, Naval Fights, Maritime Pieces, Landskips, Townes, Castles, Seas, Rivers, Fountains, Vasas, Gardning, Flowers, Ruines, Perspective, Clocks, Watches, Machines, Goldsmiths Works, for Joyners, and Workers in Iron, Copper, Embroydering, Laces, Grotesque, Animals, Habits of several Coun∣tries, Anatomies, Portraictures, Cartouches and Compartiments, Antiques, Bas-reliev's, Sta∣tues, Cataphalcos, Tombs, Epitaphs, Fune∣ral pomps, Entries, Cavalcados, Devises, Me∣daills, Emblems, Ships, Cabinet pieces, Trees, Fruits, Stones, Dances, Comedies, Baccha∣nalias, Huntings, Armories, Tournaments, Massacres, Executions, Torments, Sports, Heroic and Moral Fables, Histories, Lives of Saints, and Martyrs, pieces of the Bible, Religious Orders, Theses, and above ten thousand Portraicts of renowned Persons, without counting (amongst these) a∣bove sixscore Volums of Masters whose names he there enumerates Alphabeti∣cally. This Curiosity (sayes he) I affected

from my youth; but did not much culti∣vate till of late years, preferring it even before paintings themselves (for which yet I have infinite esteem) not only for that they are more proportionable to my purse; but because they better become our Li∣braries: so that had we a dosen only, that were curious of these Collections in France; especially amongst persons of con∣dition (such as Monsieur de l' Orme, the late Monsieur de la Mechinier, &c.) Taille-Douces would come to be extraordinary rarities; and the Works of Lucas, Durer, Marke Antony, and the Polite Masters which are now sold at four, or five hun∣dred Crownes a piece, would be then va∣lu'd at three times as much; a thing in∣credible, did not experience convince us of it; those who are touch'd with this kind of affection, hardly ever abando∣ning it, so full of charmes, variety and in∣struction it is. Truly, me thinks, that all Princes especially, and great Men should be stored with these works, preferrable to a World of other trifling Collections, and less fruitfull; as comprehending so many considerable, remarkable things, and notices of almost all sorts of subjects ima∣ginable. Thus far the Learned Abbot.

But it leads us yet farther, when we seriously reflect, how capable this Art is above all other whatsoever, to insinuate all sorts of Notions and things into Children, and be made an Instrument of Educati∣on superiour to all those Abstracted termes, and secondary intentions where with Masters commonly torment and weary their ten∣der and weak Capacities: And this we have discover'd by much experience, and could here produce examples beyond be∣liefe in a Child at present not six years old, who does both know, and perfectly comprehend, such things and Actions as hardly any at sixteen, some at twenty have yet attained, who pursue the com∣mon Method of our Grammar Schooles, without these aids, and advantages: For, since Nihil est in Intellectu, quod non prius fuit in sensu;* 2.1 and, that as the Poet had well observ'd.

Segnius irritant animos demissa per Aurem Quam quae sunt Oculis subjecta fidelibus—.* 2.2

What can there be more likely to in∣forme and delight them, dum animus majora non capit, then the pictures and re∣presentations of those things, which they

are to learn? We did mention before the Hieroglyp••ical Grammar published by Dr. Couvay; and it is well known, how Eilhardus Lubinus in an Epistle to the Duke of Stetin, has celebrated and con∣triv'd an Institution of youth by this Art: Such as was also the Design of that Prodi∣gie of a Man, La Martelay, who had alrea∣dy collected and digested such a choice num∣ber of cuts, and so universall, as by which he more then pretended (for he really effected it) to reach all the sciences by them alone, and that with as much cer∣titude, and infinite more expedition, then by the most accurate method that was ever yet produced: What a speci∣men of this Jo. Amos Commenius in his Or∣bis sensualium pictus gives us in a Nomen∣clator of all the Fundamental things and Actions of Men in the whole World, is publick, and I do boldly affirm it to be a piece of such excellent us••, as that the like was never extant; however it comes not yet to be perceived: A thousand pitties it is, that in the Edition published by Mr. Hoole, the cuts were so wretchedly engraven: I do therefore heartily wish that this might excite some gallant and publick minded person, to augment and

proceed farther upon that most usefull de∣sign, which yet comes greatly short of the perfection it is capable of, were some ad∣ditions made, and the prints reformed and improved to the utmost, by the skill∣full hand of some rare Artist. In the mean time, what a Treasury of excellent things might by this expedient be conveyed, and impressed into the waxen Tables and Ima∣ginations of children; seeing, there is nothing more preposterous, then to force those things into the Eare, which are visible, and the pro∣per objects of the eye, For picture, is a kind of Universal Language, how diverse soever the tongues and vocal expressions of the se∣veral Nations which speak them may appear; Solet enim pictura tacens loqui, maximeque pro∣desse, as Nazianzen has it.

So as if ever, by this is that long sought for Art most likely to be accomplish'd: Nor can any words whatever hope to reach those descriptions, which in a numberlesse sort of things, Picture do's immediately, and as it were at one glance, interpret to the meanest of capacities: For instance, in our Herbals, books of Insects, Birds, Beasts, Fishes, Buildings, Monuments, and the rest which make up the Cycle of the Learned Abbot; some of them haply never seen be∣fore,

or so much as heard of, as Aelian does upon occasion ingenuously acknow∣ledge. And what do we find more in re∣quest amongst the Antient, then the Ima∣ges of their Heros and Illustrious prede∣cessors? such as Atticus, and Marcus Varro collected; all which consider'd, we do not doubt to affirm, that by the application of this Art alone, not only Children; but even Stripplings well advanc'd in Age, might receive incredible advantages, pre∣paratory to their entrance into the Schoole Intellectual, by an Universal, and choice Collection of prints and cuts well design'd, engraven and dispos'd, much after the man∣ner and method of the above nam'd Vil∣leloin, which should contain, as it were, a kind of Encyclopaedia of all intelligible, and memorable things that either are, or have ever been in rerum Natura. It is not to be conceived of what advantage this would prove for the Institution of Princes and Noble Persons, who are not to be treated with the ruder difficulties of the vulgar Grammar Schooles only, and abstru∣ser Notions of things in the rest of the sci∣ences, without these Auxiliaries; but to be allur'd, and courted into knowledge, and the love of it by all such subsidiaries and helps as may best represent it to them in Picture, No∣menclator,

and the most pleasing descripti∣ons of sensual Objects, which naturally slide into their fluid, and tender apprehensions, speedily possessing their memories, and with infinite delight, preparing them for the more profound and solid studies.

Seneca indeed seems to refuse the Graphica•• sciences those advantages which others of the Philos••phers have given to them amongst the most Liberal, as reckoning them somewhat too voluptua••y for his Stoical humour: yet did Socrates learn this very Art of Carving of his Father; Diogens drew the picture of Pla••o; and the Orator Messalla commends it most highly: But what more concernes out present instance, is, that it was by the appro∣bation of the great Augustus himself, that Q. Podius the Mute should be diligently taught it: We could tell you of a person of good Birth in England, who (labouring under the same imperfection) does express many of his conceptions by this Art of Drawing and De∣signing: And if (as 'tis observ'd) it furnish us with Maximes to discern of general Defects and Vices, especially, in what relates to the proportions of humane bodies, it is certainly not to be esteem'd so inconsiderable as by many it is. Polygnotus could express the Passi∣ons, and Aristides the very interiour motions of the soul, if we will believe what is recor∣ded:

But whither it advance to that pre∣rogative; this we read of for certain, (as to our pretence for the Education of Children) that when L. Paulus demanded of the Con∣••ur'd Athenians a Philosopher to instruct his little ones, they prefer'd one Metrodorus an excellent Painter before any of the rest: What Quintilian sayes of Euphranor is suffi∣ciently known; and if some great Princes have not disdain'd to take the Pincil in the same hand in which they sway'd the Scepter and the Sword; and that the knowledge of this divine Art was usefull even to the pre∣servation of the lise of an Emperor (for such was that Constantinus P••r••hyrogenitus) it is not without examples sufficient to sup∣port the dignity of these Arts,* 2.3 that we have with so much zeal, recommended them to Princes and Illustrious Persons.

And now we have but one thing more to add before we conclude this Chapter, and it is for caution to those who shall make these Collections for curio••ity and ornament on∣ly; That where we have said all that we can of This, or any other particular Art, which may recommend it to the favour, and en∣dearment of great persons; our intention is not, that it should so far engage them in its pursuit, as to take from the ••obler parts of life, for which there are more sublime and

worthy objects; but, that with this (as wit•• the rest which are commendable, innocen•••• and excellent Company) they would fill up all such spaces, and opportunities, as too of∣ten lye open, expose and betray them to mean complyances, and lesse significant di∣versions: For these was Aratus a great Col∣lector, nor less knowing in the judgement o•• Pictures; so was Vindex and many others▪

—Namque haec quoties Chelyn exuit ille Desidia est, hic Aoniis amor avocat antris.* 2.4

He allowes himself these relaxations only when he is tyred with the more weighty af∣fairs and concernments: Finally, that they would universally contend to do some great thing, as who should most merit of the Sci∣ences, by setting their hands to the promote∣ment of experimental, & usefull knowledge▪ for the universal benefit, & good of Mankind.

This, this alone, would render them de∣servedly honorable indeed; and add a lustre to their Memories, beyond that of their Painted Titles, which (without some solid Virtue) render but their defects the more conspicuous to those who know how to make a right estimate of things, and, by whose Tongues, and Pens only, their Tro∣phies and Elogies can ever hope to surmount, and out-last the vicissitudes of fortune.

Notes

• * 1.1

  Thomas Earl of 〈◊〉〈◊〉 l. Matth. of Eng∣land.
• * 1.2

  〈…〉〈…〉
• * 1.3

  Arte Poet.
• * 1.4

  Descrip. Reg. 〈…〉〈…〉.
• * 1.5

  Theatre d' honeur. Testes a Gentil.
• * 1.6

  Polit. l. 8. ••. 3.
• * 1.7

  Quin••il. inst. l. 2.
• * 1.8

  De Orat. 1.
• * 2.1

  Aristot.
• * 2.2

  Horat.
• * 2.3

  Luit∣prand▪ Hist.
• * 2.4

  Statius Vind. H••rc. E∣pitrapez.