The true effigies of the most eminent painters and other famous artists that have flourished in Europe curiously engraven on copper-plates : together with an account of the time when they lived, the most remarkable passages of their lives, and most considerable works ...

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Title
The true effigies of the most eminent painters and other famous artists that have flourished in Europe curiously engraven on copper-plates : together with an account of the time when they lived, the most remarkable passages of their lives, and most considerable works ...
Publication
[London :: s.n.],
1694.
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Subject terms
Artists.
Engravers.
Portraits.
Artists -- Portraits.
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"The true effigies of the most eminent painters and other famous artists that have flourished in Europe curiously engraven on copper-plates : together with an account of the time when they lived, the most remarkable passages of their lives, and most considerable works ..." In the digital collection Early English Books Online 2. https://name.umdl.umich.edu/A57086.0001.001. University of Michigan Library Digital Collections. Accessed May 4, 2024.

Pages

IX. Iulio Romano

Was the disciple of the incomparable Raphael, whom he so intirely loved and imitated that none of his disciples came nearer the designs of that renowned person: The first proof of his Ability, was in those curious paintings in Leo the 10ths Galleries, of the Creation of Adam, and The sacrifice of Noah: Raphael seeing that he wanted nothing of a compleat Painter, instructed him also in Architecture, and made him the most considerable in that Art next himself and Buonarota, and his affection towards him was so great, as to make him his Heire both of his Goods and glory, leaving his whole Estate to him and one more, upon this condition, that he should finish the History of Constantine which Raphael had begun in the Pope's Palace, judging none fit or capable but him alone to perfect a Work suitable to its first beginning: Which he accordingly set about, after the death of Leo the 10th under the Pontificate of Clement the 7th: Following his Masters design therein, he divided the History of this Emperor into four great pieces. The first represents Constantine making an Oration to his Army, upon the sight of the Cross which appeared to him in the Aire with these words In hoc signo Vinces. The second is the Bat∣tle between him and Maxentius and the defeat of Maxentius, who is seen as he is drowning in the Tiber, where he was for∣cibly carried by his high-metalled and unruly Horse, that flounces and makes violent struglings in the Water. The Soldiers Armes, and military Ensignes are exactly after the manner of the Antient Romans, the Patterns whereof, Julio took from Trajan's and Antonines Pillars: The next is the Baptism of Constantine by Pope Sylvester; In the 4th is the said Prince at the feet of the same Prelate, who fits upon his Pontifical chair in St. Peters Church, which appears in an ad∣mirable Perspective, Constantine presents him with a Modell of Rome in Gold, as a token of his Donation of this City to the Holy See: After he had finished these he travelled to Mantoae where he was kindly entertained by the Duke, who bestowed

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on him at his first coming, a stately and richly furnished House: This Prince having a degh to build a noble Pallace for him∣self, employed Julio in it, who showed upon this occasio••••ot only his great skill in Architecture, in the order and design of the building, but adorned the inside with most exquisite rari∣ties of painting. In some of the Roomes are described the Amours of Cuid and Psyche; Their marriage: The Banquet of the Gods at her Wedding. Venus her anger against Cupid for forsaking her: The whole surrounded with a Work in Basso-relievo of Fesions, Garlands and Grotesque Work very curious. In the Room of an Antichamber he painted the fall of Icarus in such an Invention, that surpassed the Judgment of the best Artists. He represents him in his flight making towards the Sign Cancer and the Sun entring into that of Leo, which melts the wax of his Wings, and with the force of its Beams sets the feathers on fire, which fly about the Ayre, the smoke whereof and the crackling as they fly in sparkles looks so natural, that the sight makes a man almost think he heard them. Terrour and amazement appears in the Countenance of the audacious youth, his body looks as if it were tumbling headlong from the upper Region of the air with such a swift motion and with that force, that it seems loose from the Cieling and is apt to fright those that suddenly enter the room, he seeming to be just falling in that violent motion upon their heads: Below is the disconsolate Daedalus casting a ruefull look towards heaven, where he sees and bewails the disastrous misfortune of his Son: Although these are admirable, yet be∣ing resolved to do his utmost to make something more sur∣prizing, he chose for his subject, The story of the Giants en∣deavouring to scale Heaven, this was wrought in another Room of the same Palace most incomparably: In the top he painted a Heaven invironed with Clouds where all the fabulous Deities of the Heathens appear in various postures expressing different passions. Juno stirrs up the Winds and Tempests, Pallas prepares for the fight, and seems to consider the success with uncertainty, Venus in a great fright runs to Mars for assist∣ance, Neptune secures himself with his Trident, Apollo driving the Charior of the Sun in some confusion is stopt by the Hours, Diana looks pale and wan fearing the Heavens should be de∣stroyed, Saturn runs away, to avoid the Confusion, Pan lays hold of a Nymph, that is making her escape, Bacchus, Silenus and several Satyrs are seeking places to retreat to; Ʋulcan having a great Hammer upon his shoulder, looks with much earnestness upon Hercules who is incouraging Mercury to the fight, Jupiter appeares in the top of all the Roof in an admi∣rable fore-shortning, and darts his Thunder-bolts with a counte∣nance inflamed with anger. Below all, is the field of Battle, the Giants appear heaping Mountain upon Mountain to climb up to Heaven, but are hindred by the resistance of some of the Gods, Jupiter disperses them with his Thunder, Briareus lies groveling under a Mountain that he had torn up with the Trees, houses, and other buildings upon it, others killed with thunderbolts lie stretched out dead in several postures, amongst the rest one lies languishing and gnawing the ground and mak∣ing horrid Grimces through the anguish of his pain; through the cleft of a rock, are several to be seen flying in great con∣fusion up and down the fields, which Figures appear very strong and prety by the light that proceeds from certain flashes of lightning, some are overwhelmed with Rocks, others perish under the ruines of Temples and buildings thrown down by Earthquakes: Among the rest there is a Chimney built so artificially, that one would conclude it to be part of those ingenious ruines; upon it is Pluto drawn followed by Furies, who full of terror accompany him to Hell: Several of his designs have been curiously graven in Copper-plates and published to the World in prints, of which sort are these that follow; A Chyrurgion cupping a Womans shoulder: A Madona travelling to Egypt, where Joseph holds the Ass, while some Angells pull down the boughs of the Date-trees that Christ may gather fruit: A She-wolf giving suck to Remus and Romu∣lus: A great Design of a Prison, where the Prisoners are put to torture in several manners. After this Incomparable person had lived a considerable time in these Imployments at Mantua in great splendor and renown, he died to the great grief of all that knew him and his accomplishments, in the year 1546 and in the four and fiftieth year of his age.

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