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 ...

For the further satisfaction of the Curious in this Noble Art of Painting, it is thought not improper to subjoin the Character of some Italians and others, whose names no less deserve to be inrolled in the Book of Fame. And because their extraor∣dinary merits challenge an account something larger then ordinary, it is therefore our Design to select only some few of the most eminent amonst them, lest these sheets should swell to too big a Bulk, or the Reader be tired with too great Abundance.

I. Masaccio,

BORN in Tuscany: Was the first that gave a sort of action to his Figures, inspiring a certain Aire of life never before seen in Paint∣ing, taking thence all that stiffness which made them formerly look as if they represented life∣less Statues, rather then living substances. He had also a peculi∣ar excellency in Drapery, retrenching all that confusion which used to render it cumbersome and useless. He Painted many fine things both at Florence and at Rome, of all which the most remarkable was a Piece of St. Peters baptizing several Persons in a River naked, amonst which there is one which appears so prettily and so naturally, as it were, to quiver with cold, that one would think he saw plainly the shaking of the members and the shivering of the skin: And indeed such a marvelous elegance and dexterity attended all he did, that his Example served as a sput to the Industry of Michael Angelo, and Raphael Ʋrbin, and kindled that glorious heat in them, that gave life to their incomparable Workes. But that which was most to be admired was that he performed so many famous things in the compass of a very short life, dying before he was well 26 years of age. This flower being unhappily nipt in the bud and base∣ly poisoned by a malitious Villain.

II. Ant••nio de Corregio.

Born in a little Village of Lombardy; A Painter of great diligence and indefatigableness, who having not seen the beau∣ties of Rome or Florence, yet made the Roman Majesty appear in his pictures and that force that used to be seen in those that came out of those flourishing Schools, neglecting nothing that would add a grace and lustre to his Workes: In the Capuchins Church at Parma was the Annunciation Painted upon the Wall in Fresco, so rich a Piece that when the said Church was to be re-edified, they took care with incredible pains and cost to remove the whole Wall entire, lest they should lose or de∣face so rich an Ornament; There is a Nativity of his most in∣comparable fine, where the Body of our Saviour appears all resplendent with light, with which the Shepherds seem to have their Eyes dazl'd, covering their faces with their hands in a decent manner, as not being able to endure the brightness of those Rays. A Chorus of Angels appear hovering about them in the air, and seeming to celebrate this glorious Birth with a harmony that one would think nothing less then the hand of an Angel could represent it so artificially. Julio Romano used to say of some of his Pieces, that he could not have thought art could have gone so far. Besides the delicateness of his Co∣louring, he gave such a roundness to the Members, and such a delicacy and art in the hairs, that the most accomplished pens were at a loss to describe the elegance of his Pencil and the ravishing tenderness of his Nudities; such is his Venus drawn in a pleasant Landskip, accompanied with Cupids, who are whetting a couple of Arrows on a stone, one headed with Gold, the other with lead, hard by is a fountain, pleasantly Spouting forth Water, which washes the feet of the Goddess, and causes her to seem so really to shiver, that one connot be∣hold it, and be altogether unconcerned; This rare person having one day overheated himself in a Journey and drinking cold water by the way fell sick of a fever and died, in the year 1512 being but 40 years of age. Upon which one made the following Verses, which for their elegance ought not to be forgotten.

Hujus cum regeret mortales Spiritus artus Pictoris, Charites supplicuere Jovi: Non aliâ pingi dextra, Pater alme, rogamus Hunc praeter, nulli pingere nos liceat: Annuit his vot is summi Regnator Olympi Et Juvenem subito, sydera ad alta tulit, Ʋt posset melius Charitum simulachra referre Praesens, et nudas cerneret inde Deas.

III. Raphael Vrbin,

Sirnamed so from the place of his birth, which was on Good Friday Anno Dom. 1480 A person of so sweet a disposition and of so great beauty both of mind and body, that from his Infan∣cy to his death he was tenderly beloved by all that knew him; Having heard of the great fame and emulation that was be∣tween Michael Angelo and Leonard de Vinci he travailed to Florence, where the Examples of those great Spirits so awak∣••ned his Industry, that he resolved to do his utmost to equall their Renown, if it were not possible for him to exceed it: At Florence he met with all that he could desire, to satisfie his generous thirst of Glory, and with extream diligence copi∣ed all that he could find there worth his Curiofity and la∣bour, Adding thereto some Inventions of his own; At length believing Rome to be the firtest Theatre for him to discover his Excellency in, he offered his service to the Pope, by the recommendation of Bramante his near relation and the Popes Architect. The Pope when he saw the charmes of his Pencill was ravished with the sight, preferring him before all others, and indeed nothing was ever seen to equall what he has done nigh the Belveder, where he represents Mount Par∣nassus and the Quire of Muses in such a manner as has given astonishment to the ablest Painters: The Fountain of Helicon is environed with a Wood of Lawrell, the leaves whereof seem to move as being agitated by the blowing of the gentle Ze∣phyrs, in the Aire are many winged Cupids flying to and fro, and gathering the Branches of the sacred Wood, to compose thereof Garlands for the Muses and the Poets, who appear sit∣ting beneath at the feet of the sacred Sisters, singing such divine songs as were inspired by them, There is Virgill, Ovid, Ennius, Tibullus, Catullus, Propertius, and blind Homer amongst the An∣tients, Sappho, Dantes, Petrarch, Boccace with several others among the Modern, whom one can hardly believe but are all a live they appear so natural. There is a delicious Landskip ad∣joyning

adjoining which so pleasantly deceives the sight by its ingenious variely and its distances, that it seems sufficient to invite the beholders to take a turn in those Enameled Meadows and to seek the Pleasure of those shady Groves that present them∣selves to view, with so many charming excellencies and De∣lights. And it may be truely said of him, that he hath heap∣ed together in his Works, all that he could conceive to be sublime, and all those accomplishments the hand is capable of performing. Whilst the Divine Raphael (as he is usually cal¦led) displayed here the Treasures of his Art. Michael Angelo was at work on the other side of the Popes Chappel, where he kept himself so reserved, that the Pope himself could scarce get admittance to see his Work, yet Raphael, found an oppor∣tunity by the means of Bramante to make his observations of it; which when he saw, he much admired at the strength and boldness of his Strokes, in which he strove to imitate him, so that there arose no small emulation between these two famous Rivals, yet their way of Painting was very different, for Raphael fearing he could not be able to equall Michael Angelo in the strength of his Musculous Nudities, set himself to excell him in the design, and ordering of his Histories, in the loftness of his Subject, the amiable sweetness of his Figures, and the beauty of his Faces, and also in a lively expression of the Passions of the Soul in all which he not only surpassed his great Competitor, but all that came after him Tis reported there is a Piece of his, which he made for the people of Palerma, of Christ bearing his Cross, which was shipwrackt in the Vo••age, and afterwards recovered unhurt out of the Water, and being sent to Palerma, was by the people of that place carried to Mount Olivet, where it is said to remaine to this day, and is more adm••red by Strangers that pass that way, then the slaming Vesuvius or any other the singularities of that Countrey: There are also some curious Pieces in Cartons now in England, that were designed for Tapistryes, which are by the command of their present Majesties King Widia••n and Queen Mary lately set up in Hampton-Court, representing the History of Ananias and Saphira, St. Peters walking to our Saviour upon the Water, St. Pauls entertainment by the Inhabitants of Melita after his ship-wrack, and other Scripture Histories, by the hand of this excellent person. Neither must his School of the Philosophers be forgotten: In which is contained a description of the seve∣ral sorts of learned men and Philosophers in the World, dis∣puting with each other; in one place are the Astrologers making figures and schemes which they send by the Angel, to the Evangelists to be explained; amongst the rest is Dio∣genes with his Cup, which Figure is most excellent, Plato with his Timaeus, and Aristotle with his Book of Ethicks; it is not to be expressed how earnestly and intently the Astrologers and Geometricians are, severally handling the Instruments of their particular Sciences, amonst them is a beautiful young man, who seems with his Arms extended and other Gestures to ex∣press his admiration, by this is meant Frederick the second Duke of Mantua, who was at Rome when Raphael painted i•• there is also Bramante the Popes Arc••itect, drawing lines upon the ground with Mathematical Instruments, Zoroaster with a Globe in his hand, and last of all Raphael himself who appears with a modest look; in every Figure there appears so much life and Spirit that makes it incomparable. To conclude, He was a person of a Noble and generous Soul, amiable in his Conver∣sation, delighting naturally in doing good, well versed in History both sacred and profane, of which he made good use in all his Works; He died young in the 37th year of his age, on a Good-Friday, the day he was born on.

Hic ille est RAPHAEL, timuit quo s••spite vinci Rerum summa Parens, & moriente mori.

IV. Andrea del Sarto.

Was one of the most eminent Painters of Florence, which he attained to be rather by his earnest application to business, and the vivacity of his Spirit, then by the Instructions of his Master: Having attained to a good sufficiency in the Art, he was employed by Pope Leo the 10th to Paint the Triumphs of Julius Caesar, in his Palace of Pogio, together with two other Painters, who not being able to come near his elegancy, were forced to desist from the design, and to leave the whole glory thereof to him alone: He was extraordinary good at Inven∣tion as is manifest in those Pieces which contain the story of St. Philips life where he drew arnonst other things, certain Gamesters under a Tree, who for their swearing and blas∣pheming, being reproved by St. Philip, instead of reforming derided his Admonitions, when on a sudden two of them are killed by a Thunderclap and the rest terribly frighted, and that the dreadful effects of this sin might appear more amazing, with wonderful art, he drew a woman, running out of her House, at the noise of the Thunder, as if she were frighted out of her wits, also there is a Horse broke loose at the same Noise, who leaping and bounding in an extraordinary man ner expresses the disorder of the whole, very naturally and strong: likewise in the story of St. John Baptists life, where he represents him preaching in the Wilderness to the Multitude, and shows in the burnt hew of his person the austerity of his life, and particularly the air of his countenance is full of Spirit and Zeal, the Auditors appear with great attention (which is variously expressed in several looks and gestures) as astonished at his Doctrine, and when, he comes to bap••ze them, 'tis ••••atvellous to see what hast some are making to strip themselves, others appear already in the Water, but all discovering their earnest desire of being cleansed from their sins. He is much esteemed by the Italians to this day, for his rare Pieces which the Florentines preserve with much care and respect, and this they have shown upon all occasions, even in the midst of the sury and insolence of the several Factions that took their turnes there; for when they carried fire and desolation through the Suburbs of the City, they took care to preserve those Pieces of his hand, which were in the Monastery of St. Salvi, even when they spared not the Churches, nor the Cloisters themselves: Frede∣rick Duke of Mantoua had a Copy, by his hand, of Pope ••eo the 10ths Picture done by Raphael which was in the Palace of the Medicis in Florence, and this Copy was the more esteemed, because it was taken for the Original, Julio Romano seeing it in this Princes Closet, could not forbear saying, That it was one of Raphaels Master-Pieces; and this his mistake was not recti∣fied until Vasa••i showed him the name of the Copier on the reverse of the Picture: One of his most accomplished and best Fieces is Abraham's offering up Isaac, which he did for the King of France: but it happened not to come into his hands, being otherwise disposed of into the Island of Sicilia, hard by Naples: During the fiege of Florence some Commanders that were in the city, having run away with the publick money; order was given, to have them exposed, by being ••ainted up∣on the Front of the Palace of the ••odesta: and Andrea was de∣fired to do it; He excused himself in publick, and gave the doing thereof to one of his disciples, but notwithstanding pri∣vately went every day in at a Hole made in the Wall, and came out again by night, so that the work was by him so finished, that the Persons might be known by every one, and seemed to be alive. But afterwards, the Government ordered them to be wip••d out, having received satisfaction for the offence: He died of the Plague at Florence, aged 42. years:

V. Leonard de Vinci.

So many and great were the advantages that this famous person received at his birth, both of mind and body, that he may be lookt upon as a Miracle of nature; for besides au ex∣traordinary beauty of body, and so wonderful a strength that hewas able with his hands to snap in sunder an Horse shooe, or a Fire-fork, he was ••ndued with so sharp a Wit, and so subtle and piercing an understanding that he no sooner appli∣himself to the study of good Letters, but he became in a short time very skilful in the Mathematicks, Geometry, Musick, Paint∣ing; Musick first charmed his soul with its divine Harmony, and having naturally a sweet voice, he often took delight to joyne it to the sound of his Violin which he touched with that dexterity, that made his Musick to ravish the ears of those that heard it; but Painting was the Mistress he most adored, for which reason his father in his youth put him forth to Andrea del Verochio a famous Florentine Painter, who was a••••onished at his bold beginnings, Verrochio having begun a piece of the Baptism of St. John, ordered Leonard to paint an Angell hold∣ing up a Curtain in one part thereof, which he performed with such perfection, that it far surpassed his Masters work, who for vexation to be excelled by his disciple, thence forth abandoned the Pencil. When he was weary of Painting, he used to busy himself, in finding out ways how to levell Moun∣tains or make passages through them from one Valley to ano∣ther, as also by Machines of his inventing to raise prodigious Weights, draine marshes and such like projections of his working Braine. One day his father being returned from his Countrey house was desired by a friend of his to get him a Target painted by his Son: whereupon remembring what ••e had read of the Gorgons head and Medusa's shield, he got to∣gether a Collection of Serpents, Lizards, and such like Ani∣mals, from all which put together he made up the figure of an Horrid Monster whose head, instead of Hairs, was full of Ser∣pents, hizzing out of a dark Cavern with their poisonous breath, and sending forth fire and smoke out of its mouth in such a frightful manner that nothing could be more terrible, His father coming into his Chamber to see what he had made upon the Buckler, was so frighted when he saw the Piece which Leonard had placed on purpose in an obscure light, that he recoiled back and could not be induced to enter into the

room till Leonard told him it was only the Piece he came for, which his father wondring at, caused another to be made to conten: his friend, and sold it for 300 Ducats to the Duke of Mi∣lan. After this the said Duke sent for him, to Milan, where he Painted for the Dominicans there, that admirable Piece of our Saviours last Supper, in which the Countenances of all the Apostles are wonderfully expressed, but especially the two James's in whom there appears so much Majesty and Grace, that endeavyouring afterwards to express our Saviours, he was forced to leave it unfinished, for having a long time pon∣dered upon this glorious Subject, he thought his Art was in∣sufficient as not having force or elegance enough to represent the ravishing beauties of that divine Face: The Apostles in different expressions of their concern and passion seem very inquisitive and doubtfull who might be the Traytor: And de∣signing to represent Judas with the most lively image of the Treason he plotted in his Heart, he took a great deal of time to consider by what Strokes he might represent this Apostate black enough. The Prior of the Convent being vexed at this delay, and thinking he neglected it when he saw him some∣times half a day doing nothing but looking upon his Work, that he complained thereof to the Duke, who asking Vinci the reason of it, He replied,

that a Painter ought to consider diligently in his mind what is agreable to his purpose, before his Pencill goes to work, that he wanted but two Countenances to fin∣ish, to wit, out Saviours and Judas's, for our Saviours he had in vain attempted with the utmost of his skill to represent with that Majesty and worth it ought, the adorable countenance of one who was both God and man, but that he believed hehad now found a means to give Judas his true resemblance, and that he thought the surly and malitious look of the Prior would serve him as a fit pattern for that subject:

and indeed represented some of the fea∣tures of this ignorant Priest therein, to his great discontent; The whole work is a Masterpiece of incredible diligence, inso∣much that the very Cloth of the Table is done with so much exactness that Linnen it self, shows not better or finer. He had a marvailous dexterity in drawing persons and humors by the life from those Ideas he conceived of them upon a transi∣ent view, an example whereof he gave, in the merry postures of certain Clownes which he had a mind to describe with their ridiculous gestures, for this purpose, he invited several Rusticks to a splendid Feast, and having made himself and them merry with the jaice of the Grape, he uttered several Comieal Fancies amongst them, making them laugh heartily at his facetious Jests, In the mean time he diligently observed all their gestures and deportment, and what it was that wrought such Impressions in their mind, and withdrawing to his Chamber, he painted them in their several humors with so much life and reality that it occasioned no less mirth to be∣hold their several Grimaces then those Jests did, that caused them at the banquet. He was well skilled in Anatomy and wrote a Book upon that Subject, and also another of the Art of Painting which was Printed in Italian in the year 1650 and since translated into French, wherein he shows the way to perfection in this Art. He studied likewise Astronomy. When Francis the first entred in triumph into Milan, Leonard contriv∣ed for the diversion of this Prince a certain Lyon cur in Wood, which by certain Springs within, stalked along in great state for many paces in a great Hall, and at length stood still be∣fore the King, when of a sudden opening its breast, discover∣ed it full of Flower de Lys's. Amongst the many Faces which he painted to the life, is one of a Lady of incomparable beauty, which he took so much pains in, that he spent four Months about it; and lest the Lady should be tired by such tedious sittings, or by Melancholy, obscure or cloud that brightness that shone through her sprightly looks, he got Musick and Drolls to divert her all the while, to keep her in constant chearfulness. This was so rarely, finished with such an Air of Joy and pleasantness, and the Minutest things so exactly represented, that it yielded great delight to all that saw it. Francis the first King of France gave 4000 Crownes for it and placed it at Fountainbleau, where it still remains: And the rarity of it was so admired, that the Senate of Florence having built a stately Hall in the publick Palace, made an Order to have it painted by Leonard, who being glad of this occasion to show, he was no less an Artist then Michael Angelo, in great Des••gns, set about it, having with much Ingenuity prepared a Machine that instead of a scaffold carried him up and down in an instant at pleasure, The Subject was, a Bat∣tle of Nicholas Piccinino one of the Duke of Milan's Commanders, never was there seen such a representation of fury, disorder, and terror as appears there. Among others, there are some Gentlemen contending for a Standard, where the furiousness in attacquing and the obstinacy in defending it, is most livelily and curiously represented; in the thickest of the Conflict appears a couple of Horses raised upwards on an end, striking with their forelegs, and seeming to bite each other with that fury as if they were alive, under neath the Horses feet are two Figures short'ned, lying one upon another; the one with his Arms raised on high, doing his utmost to strike the other to the Heart with his Dagger; and the other strugling with his Arms and Legs as earnestly to avoid it; every where about it is an ingenious variety of Helmets, Breast plates, and other Arms, and Attirals of War, very agreable. After this he tra∣vailed to France, where he was received by the King with great kindness: A little after his arrival, he fell sick of his last sickness, when being visited by the King he had the honour to expire in the Arms of that great Monarch, as he was raising himself to receive him with due respect; the King finding him dying, could not forbear to embrace him in his last Agony, with the utmost affection and grief imaginable for so great a loss: He died in the 65th year of his age.

VI. Francis Mazzuoli

Was Born at Parma; in his Infancy he lost both his Fa∣ther and Mother, but was taken care of by two Ʋncles, who loved him tenderly, and spared for nothing in his Education; He seemed from his Cradle to be inclined to this Art, and to be born for a Pencil; He was no sooner put to School, but instead of minding his lesson, would be filling papers with divers figures, which even then he made exceeding well pro∣portioned; whereupon his Relations seeing something extra∣ordinary in this his Inc••ination, resolved not to be wanting to such hopeful begsunings, and therefore put him forth to be instructed by some of the best Painters thereabouts, so that Mazzuoli, at the age of 16, made such delicate Pictures, that it was matter of admiration to see so much Perfection and Ele∣gance in the Work of so young an hand; Hearing the great same of Raphael, and Michael Angel••, he desired leave of his Uncles to Travel to Rome, to see their Works. When he was there, that he might manifest to that Academy, that, it did not possess all the Glory of the Pencil, and the better to please their delicate Palate, he painted a Madona, with the Child Jesus pick∣ing Flowers out of an Angels Bosom, with utmost care; and that he might yet merit their further applause, by some furprizing novel∣ty, he drew upon a Piece of Wood, embossed in Mezzo-Relievo, his own picture, together with the Chamber he was in, and all its furniture as they appeared to him by the reflexion of a Looking-glass which was of the same bigness with his Wood, and then covered the whole with a dark sort of colour, yet something shining, that represented so exactly the transpa∣rency of a Looking-glass, and the sight was so ingeniously de∣ceived by it, that one could not presently discern but it was a real Looking-glass: He made for Pope Clement the Seventh a Piece of the Circumcision, in which he introduces a three∣fold different light, with marvailous subtlety, one comes from the luminous body of the Child Jesus, the other from cer∣tain Torches that lighten the Steps, the third from a Wide open∣ing where the sight has room to expatiate it selt in a large Perspective. This industrious persons was so earnest and in∣tent upon his Work, that when Charles Duke of Bourbon took Rome by Storm, he was insensible of the Town's disaster, until he saw himself surrounded with the enemies Souldiers in the Chamber he was painting in, and which was strange, these persons enured to blood and rapine, were so mollifyed with the delicate Charms of his Art, that instead of offering violence to him, they promised to protect him, and were as good as their Word, keeping him secure during all the time of the disorder and the sacking of the Town. Much after the same manner tis reported to have happened to Protogenes, When Demetrius laid siege to Rhodes, he continued all the while the Town was besieging, painting in a House he had without the Walls, Demetrius sent to know of him how he durst venture himselfe without the Walls:

I knew very well, said he, oh King, your Quarrel is only with the Rhodians, not with Arts.

The King took him into his Protection, and took so much delight to see him paint, that he even neglected the care of the Assaults, and the Conquest of the Town. But to leave this digression, and return to Mazzuoli, after he had thus escaped being plundered, he retired to Bologne, where, amongst many others, he gained an extraordinary reputation, by a picture of the Blessed Virgin which he made for the Pope, in which the Virgin appears, not only with an astonishing beau∣ty, but with an extraordinary vivacity of Carnation, that shows it self through a sort of yellow Muslin extreme fine; and the Head-tire is made with such delicacy and Art, that the Hairs seem loose and to flow in Curles with the wind. This Piece was so admired, that there were above fifty Copies made of it immediately, and sent through all Italy. No less curious was his Picture of the Emperor Charles the fifth with a little Boy presenting him with a Globe of the World. At last he fell to the unprofitable study of Alchimy, wherein he spent much time and mony to little purpose, and died in the year 1640, aged but 36. years.

VII. Le Rosso.

When he first set himself to Painting, he was resolved to propose none for his Imitation but Michael Angelo, and at∣tained to such an habit, that his Paintings have an extraordi∣nary Roundness, and are very strong; Florence, his native place, being filled with disturbances and factions, he was ob∣liged to retreat to places of greater security and quiet: Fran∣cis the first King of France, desiring to have him in his service, sent for him to his Court; thither therefore he Travelled, and taking Venice in his way, he Painted a rare Piece for the Poet Aretine, of the Amours of Mars and Venus. Being arriv∣ed in France, he finished many curious Pieces; the most re∣markable amongst them are those in the Galleries at Foun∣tainbleau, some representing the noble actions and exploits of King Francis the first. Others the Histories of Cleobis and Biton, Two brothers drawing their Mother, that was extreme antient, in a Chariot to the Temple of June: Jupiter and Danae, with the Golden shower: Adonis dying in the Arm•• of the Graces, and Venus appearing in great despair in a Chariot drawn by two Doves. The Battle between the Centaurs and Lapithees: A Venus chastizing Cupid for his forsaking Psyche: Chiron the Centaur instructing Achilles: The story of Semele's being consumed with Lightning by Jupiter: The Burning of Troy: A Tempest in a Black and dark night where amidst the light that is caused by terrible flashes of lightning, one sees the raging fury of the Sea excellently represented, and the different actions of seve∣ral men, who endeavour to save themselves from the Wrack; yet notwithstanding perish miserably in the Waves: This last is esteemed the best of all that have been mentioned, and is supposed to design the misfortunes of France in the Battle of Pavia: But the rarest of all his Works is a Bacchus and a Venus in two several Pieces; in both which he seems to have aimed at the utmost perfection he was able: The Bacchus seems so delicately soft and fleshy, that it looks more like a real body then a Figure represented by Colours only; on one side of it is a Satyr who lifting up a Curtain, thrusts forward his Goatish Visage, and seems to be much pleased to behold the jolly Lad; about him are several Antique Vessels, painted some of Gold, silver, Chrystal, and Earth, as the Trophies of a Bacchanalian Combat, with so great variety of Invention, that makes it extreme pleasant: He had an excellent way of painting Still-life, of which sort one is very-famous which he made, containing all that was necessary for the service of a Royal Feast, ranging in order. Ʋtensils of all sorts, Cups, Basons, Candlesticks Salvers, Salt-sellers &c. All of such different formes, and so curious, that the King caused them to be imi∣tated in silver gilt, and made use of them in his Reception of the Emperor, Charles the fifth at Fountainbleau. In fine he grew exceeding rich by the excellency of his Workmanship, living in much splendor and magnificence, keeping both men and Horses in great abundance, his House as full of sumptuous and rich furniture as the greatest Lord, himself was honoured by the chiefest of the Court, reverenced by all lovers of Art, and so beloved by the King, that he often found him more profuse in his liberality to him, then otherwise; But behold here the miserable uncertainty of worldly prosperity, in the height of all his Gran sure and Felicity, of a suddain he fell into a miserable condition by an unhappy disaster that befel him upon this occasion; It happened that Rosso was robbed of a considerable sum of money, and a certain Florentine that frequently haunted his House, as his friend, and a great lover of Art, was suspected by him of the Robbery, Rosso having great Authority, caused him to be imprisoned and put to the Torture, where he maintained his Innocency with that con∣stancy that procured his Release, After which resenting the disgrace with indignation; and finding his body mangled and broken by the excess of his Tortures, he prosecuted Rosso with all eagerness imaginable, resolving to leave nothing un∣attempted to have his full satisfaction and revenge; Rosso fearing the ill consequences of so s••erce a pursuit, and struck with remorse at the unjust treatment of this innocent person; formed a horrid design to make himself away, which he did by poison that he got a Peasant to bring him from Paris, under a pretence that he had occasion for it to make a Varnish of. The poison was so strong that the Peasant had like to have lost his hand in which he carried it. He had a great understanding in mixing his Colours, and to distribute them in the lights and shadows of his Drapery with such Art, that few have been able to imitate them. His Carnation was usu∣ally very natural and full of life, and distinguished as to the Ages and Passions, with marvellous Judgment; Besides the roundness of his Nudities, he gave to every part its proper and regular motion, by true observations of the Muscles making it appear he was well versed in Anatomy, and other like necessary qualifications of a good Painter: He died Anno Domini 1540,

VIII. Polidore de Caravage.

Was born in Lombardy. In his youth he was in so mean a condition, that he was forced for his subsistance to be a Com∣mon Labourer to Masons, carrying Water and other necessa∣ries towards building the Galleries of Leo 10th untill the sight of some of John d' Ʋdines Works excited in him a gene∣rous resolution to free himself from this unseemly Profession, and exchange it for something more glorious: A happy occa∣sion presented it self to him for this purpose, by the friendship he had contracted with one of D' Ʋdines Schollars, who com∣municated to him all his Masters good Instructions, and he followed his business so close, that he soon outstripped his obliging friend, and made himself taken notice of for a rare Artist: Being more addicted to study greatness of Design, than the delicacy of Colouring, he associated himself with one Pelegrine, an experienced Painter of Modena, and they toge∣ther painted that curious Piece, of The City of Rome, under the representation of a Woman holding the World in sub∣jecton, and to which the subject Nations are presenting their Tribute. The Wrestling of the Olympick Games in the Front of the House of Spinoli, wherein is perfectly described the strength and agility of Bodies. A sacrifice, with all its solempnity; The death of Tarpeia, by the Sabines. He also painted near St. Angelo, the Triumph of Furius Camillus; near to that The History of Phalaris, the Tyrant of Agrigentum, and the manner of Perillus's suffering the Torments of the Brazen Bull, which he himself invented for others: Also a Battle af∣ter the antient manner, full of goodly Inventions: Romulus with his plough marking out the Boundaries of Rome. The Court of Savelli is adorned by him with the ravishing of the Sabines, and the defeat of Porsenna by Horatius Cocles: In Mount Cavallo, is a most curious representation of one of the Vestal Virgins carrying water to the Temple, in a Sieve for a proof of her Virginity, another, of the unexspected reliefe which Furius Camillus brought to Rome, at the very instant when King Brennus was employed in seeing the Gold weighed which the vanquished Romans, were to have paid for their ransomes. Indeed Italy never had a person, that painted more of Antiquity, or more correctly then he: He thus bestowed his time in Rome for a long space living in great content and abundance; untill the taking and sacking of that Town by the Duke of Bourbon and his Army, after which he retired to Naples, and then to Messina, where he still increased so much in Wealth, that it proved the unhappy occesion of his death, for a Sicilian which he kept in his service, casting a covetous eye upon his Treasure, took his opportunity in the Night, and strangled him with a Napkin, and after he had robbed him made his escape for some time, but afterwards this bloody Murtherer was discovered and received the due Reward of his Villany.

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

on him at his first coming, a stately and richly furnished House: This Prince having a de••gh 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 Cu••id 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 Grim••ces 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 pret••y 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.

X. Iohn D'udine.

Was brought up by Raphael who took a singular affection to him and communicated to him the most curious secrets of his Art. He was the first founder or rather restorer of an In∣vention that had been lost for several ages, for it hap'ned that while they were digging under the Ruines of the Empe∣ror Titus his Palace, there was discovered several subterranean Valuts, adorned with variety of Grotesk work and of Festoons in Basso-relievo, made of firm and well compacted Plaister, which appeared as sound as if it had been but lately made, D'udine marvailing at the rarity hereof, se•• himself to consider of the composition of the Plaister, and so earnestly ben•• ••is mind thereunto, that after he had made divers Essays, heat last found out the secret of the antient composition of this kind of Plaister, by mingling the Dust or Powder of white Marble with Lime-stone, Raphael was the first to whom ••e communicated his success, who perswaded him to put it, in practice in Leo the Tenth Galleries: According to his Counsel D'udine made in those Galleries several Birds, fish, and other fancies in Bosso-relievo with so much grace and Art that when it was first seen, it was commonly said that this art appeared rather in its perfection, then in its beginning: In another place of the Popes. Palace he painted a pretty intermixture of Roses and Greens, with the twinings of a Vine, through which is to be seen the Azure of a transparent skye, so that the ten∣der Branches and leaves seem to hang loose from the Picture and to wave to and fro at the motion of the Wings of several little birds that are drawn fluttering about it, Art has here so lively imitated Nature, that each seem to have a real motion: As strange and rare as this may be lookt upon to be, yet what he did for the Cardinal de Medicis Palace in Mount Mario in the judgment of some went beyond it; In the Cieling he paint∣ed several living creatures in Festoons very fine, in the Garden is a delicate fountain which spouteth forth Water out of the mouth of a Marble ••lephant; about it are painted to the life a pleasing Variety of several Shel-fish and Sea-Monsters, in imitation of those he had taken out of a Temple of Neptune, discovered about that time, under the ruines of an old Palace. Hard by this was another Fountain, where Nature and Art seemed to strive which could do most to the perfecting the beauty of that solitude, out of the Cleft of a Rock, isued forth a Water as clear as Chrystal which falling by a rebound upon certain Jaspar-stones, seemed to wash of the spots, or rather charmed the sences by the mixture of its Silver froth, with the reflexions of stones of various Colours, and the sweet murmuring of its falling; In the Concavities of the rock were certain little Isicles in appearance, dangling so artificial∣ly, that the Eye could hardly discover this delightful cheat; on the top of the Rock was a Lyon cut in Stone, whose hair was supplied by the Moss that grew upon it, and which, by the posture it was in, seemed to Roar: In a Gallery of the Palace of Chigy, which Raphael painted, were some Festons of Flowers and fruit s•• finely painted by him, as well in their primitive Greenness, as in their full Maturity, that whoever saw them were apt to think they were moved by the agitation of the aire; the variety of Colours is very delightful, rejoic∣ing the sight with their curious mixture which seem to trans∣cend the beautiful variety of the Rain-bow; neither has he omitted to refresh his Flowers with the gentle breezes of the Zephirs, and the fannings of Aurora's sighs, who seems also to bedew them with her tears, as if she foresaw that some rude hand would soon crop them; the whole is expressed with the greatest resemblance and strength imaginable; Thus he lived delighting in this manner to employ his time, till he was very old, when both his mind and body being weakned with age, his hand wanted that vigour and elegance which he perform∣ed in his flourishing years. He died Anno Dom. 1564, aged 70 years, and was buried near his Master Raphael in the Ro∣tunda of Rome.

XI. Michael Angelo Buonarota

Was born 16 Mar, 1474, and descended of an antient Fa∣mily of the Earls of Canossa: His Father having many Chil∣dren, and but a small Patrimony, was forced to put them out to some Employment or other to get their living: Michael Angelo in his youth was much addicted to designing, and drawing Figures upon paper, which his Father taking notice of, when he was fourteen years old, put him to Dominick Ghirlandio, a painter of good repute in Florence, under whom he soon profited beyond all that were of equall standing with him, insomuch that his Master was astonished at the pro∣gress he made; One day finding a design of his Masters, which was copied by one of them with a Pen, he boldly touched up the Figures and added a new ornament to his Masters design which was judged very curious: Another time Girlandio, working upon a great design in the New Church of St. Maryes, Michael Angelo for his recreation drew a design of the Scaffold, the Tools, and different postures and figures of the Workmen in their several Employments, with so much art, and ingenuity, that his Master was aston∣ished at the sight, and foretold that he would one day be the Miracle of an Artist; Suitable to his excellency in painting was his ability in Sculpture, of which kind, he is much ap∣plauded for an old Faune of marble, which he made for Lorenzo de Medicis, laughing with his mouth open, showing his Teeth, some whereof seemed to he wore out with rotten∣ness; also the Battle of Hercules, and the Centaurs by the ad∣vice

of Angelus Politianus; a Hercules for the King of France: for a Roman Gentleman called Jacopo Gallo, a Cupid of Marble, with the figure of Bacchus, holding a Cup in his right hand, and in his left a Tygers skin, and a bunch of grapes, which a Sa••yr endeavours to eat of; in which figures are a mixture as it were of both sexes, they having the strength of the men and the toundness and ••leshiness of the women: A Cupid 〈◊〉〈◊〉, for a Gentleman of Milan, who sold it for 200 Ducats to the Cardinal St. George: These curious Works making him become famous, he was sent for to Rome, by Pope Julius the second to build a sumptuous Tomb, which the said Popede∣signed for himself; but Julius dying before it was perfected, the design was obstructed, and the figures which Michael An∣gelo had carved for this Monument were sent to the French King by whom they were charily preserved and put into the Castle of Equan, whence they were afterwards transp••rted to Richlieu Clement the seventh coming afterwards to be Pope, and designing likewise a Tomb for himself, Michael Angelo carved him five figures: The first was the Virgin holding the Child Jesus in her Armes, who turns himself very prettily towards his mothers bosome; and four others, representing Day and Night; Aurora and Crepusculum, whereof Aurora is said to be the softest thing in the world. Paul the Third being promoted to the Pontifical Chair, set him to draw that admirable piece of the last Judgment in Sixtus's Chappel in the Vatican, where the greatness of its design is so lofty, and Majestick, and the actions are so Natural, and agreable to the subject, that it is impossible to express its perfections, or give it its due charact∣er; on one side is the lively picture of terror and amaze∣ment, on the other side, of joy mixt with grief, fear with hope; whatsoever the Poets have seigned of the pleasures of the Elysian fields, or of the Torments of Hell, is there expressed by the bold strokes of his pencil; ••o that nothing can look more delightful and more terrible both together: Tis report∣ed, that the Pope coming one day to see it when it was nigh finished, attended by M••sser Biagis, his Master of the Ceremo∣nies, whose opinion of it being asked by the Pope, Biagio an∣swered, that in his Judgment, it was a very undecent thing to expose such a number of naked figures in so sacred a place as a Chappel, and that it was fitter to be placed in a Bawdy house then in the Popes Chappel. This displeased Michael Angelo so much that as soon as he was gone, he drew this Biagio to the life by the help of his memory, placing him naked in Hell with a great Serpent fastned to his middle, and environed with a Legion of Devills. And all that Biagio could do, could never get it out, but it remains there, as they say, to this day. This Work was eight years a finishing, at the end whereof the people thronged in C••ouds to see it on Christmas day 1541, and showed their admiration of the Artist, by repeated accla∣mations, making the Aire eccho to the name of Michael Ange∣lo. For the D••ke of Florence's Palace he made that curious History of the Battle near Pavia in a Cartoon: In the piece is a World of naked figures drawn as swimming in the river Arno to refresh themselves in a time of great hear, while they are thus doing an Alarme is supposed to be given by the sound of the Trumpe••s and Drums. Tis most pleasant to see with what hast the soldiers get out of the Water to dress them∣selves in order to engage the Enemy and assist their Com∣rades, who appear a far of attacqued by some of the Enemies Horse, amongst the rest is an old fellow with a Garland of Ivy about his head, trying to put on his stockings which he finds great difficulty to do by reason of the wetness of his feet, who seems to be so earnest and violent that his mouth looks distorted, and all the Nerves and museles of his body to be strained to get them on. This piece was most admirably de∣signed, full of curious and strong shortnings and was the study of all the Painters of that age.

He was a person very studious, and well vers'd in the Holy Scriptures, and Historians both Sacred and Prophane; well skill'd in Philosophy and Poetry, as appears by some Commenta∣ries he made upon Dantes and Petrarch, and some Italian Verses very elegantly writ by him to the Lady Marchionesse of Pesquara: As he attained to vast Wealth by his Industry, so he was very liberal and charitable towards the Poor, often giving large Sums for the marrying of Virgins that were poor: to one of his Nephews he gave four thousand Ducats at one time, and another time he bestowed on him ten thou∣sand Ducats. Asking one day one of his Servants called Ʋrbino, What he would do after his death? was answered by him, That he must then endeavour to get another Master: Alas! poor man (says Mièhael Angelo) that shall not be if I can help it, and gave him 2000 Ducats to live upon. These and such like Noble Qualifications, with which he was endued, together with his Excellent Parts, made him the Darling of the Age, belov'd and honour'd by the most considerable Princes of the World; as the Emperor Charles V. Francis the I. King of France, the Duke of Tuscany, and the Republick of Venice: Solyman the Magnificent, Emperor of the Turks, endeavour'd by extraordinary offers to get him into Turky, to assist him in some Designs he had on foot: Cardinal Hippolyto de Medicis seeing him one day taken with the beauty of a Horse which was in his Stable, sent him the Horse, with 〈◊〉〈◊〉 Mules laden with Provender, and a Groom to look after them. Thus ha∣ving gained a never dying Fame, and spent a long Life in great content and satisfaction, he vielded up to Nature the Tribute which was due to her, Feb. 1••th. 1564. aged 90 years, and was buried in the Church of St. Peter Major, being attend to his Grave by all the Artists of the City.

XI. Citian

Born in the Year 1480. Was the Disciple of Giorgion, whom he so nearly imitated, while he was under him, that some of his Works were not only supposed to be his Masters, but the best of them; which so anger'd him, that he turned him off, for fear he should one day eclipse the Reputation he had ob∣tain'd in the Art; which yet, notwithstanding, he failed not to do; insomuch that the Senate of Venice taking notice of his Merits, made him Painter to their Republick; by which Titian was obliged to make with his own hands the Portraits of all the Doges that were elected in his time, which were to be hung up in the Palace of St. Mark. Some time after he went to the Duke of Ferrara, for whom (amongst other things) he made a Venus accompanied with the Graces, and some Cupids; who never appeared so lovely to the eyes of Paris, as he has represented her in that Piece; he painted also the said Duke as big as the Life, leaning with his Elbow on a Piece of Can∣non; for which he was well rewarded, and extremely ap∣plauded. After this he returned to Venice, being obliged thereunto by the Duty of his place, and painted a great many Pieces, which serve to this day for an Ornament to their Churches, and most sumptuous Houses; particularly that in the Church of St. Giovanni Epolo, of St. Peter the Martyr is most considerable; the Saint who is something bigger than the Life, appears fallen on the Ground in a Wood; a Soldier attacks him, and gives him such a mortal Wound in the Head, that the horrer of Death appears in his Face, while his Compani∣on flying, shews an extraordinary apprehension; In the Air are two Angels environ'd with a sudden Glory that enlightens the Landskip; which way of embelishing his Pieces by Land∣skips he learnt of the German Painters, it being a thing not usual among the Italians before: Francis the I King of France coming with an Army into Italy, sent for him to his Camp to draw his picture, the like he did for the Emperor Charles the fifth armed Cap a pee which was so highly valued that he re∣cerved ten thousand Crowns for a reward. Also for an Annun∣ciation, which he presented the said Emperor, he received two thousand Crowns. In the, year 1546 he was invited to Rome, and presented to the Pope by Cardinal Farnese, who ordered him a lodging in the Belveder, where seeing so many glorious productions of Art, he was resolved also to leave some Monuments of his renowned pencil, which while he was do∣ing, Michael Angelo desirous to be better acquainted with a person, whose fame he had heard so much of, went often to see him, and could not deny him the praise that was due to his extraordinary merit, adding that he excelled in the round∣ness of his faces and the softness of his Carnation, and that if Titian had been but acquainted with the Antiquities of Rome, he would infallibly have surpassed the greatest masters, of the age. Titian having given satisfaction to the Pope and the best Artists in Rome returned again to Venice laden with honour and wealth. At his arrival he drew Mary Queen-Dowager of Hungary A Prometheus chained to mount Caucasus; Sysiphus rolling the stone in Hell. Tyrius gnawed on by Vulturs. Tantalus gaping after the Apples that fly away from him, and other excellent Pieces of the Poetical Fictions, which since came into the possession of Phillip the second of Spaine and were put into the Escurial. Our Saviour's last Supper which he made for the said King Phillip is a piece of extraordinary beauty and very great, being seven yards long. It is almost incredible what a great number of Portraits he drew of the several Princes and men of Quality in his time. The Emperor Charles the fifth who like Alexander would be drawn by none but this Apelles, was drawn three times by him, for every one of which he received one thousand Crownes, over and above an annual pension of two thousand Crownes out of the Chamber of Naples, and the honour of Knighthood, so that he grew exceeding rich, and arrived to an high degree of honour and reputation; He was of an admirable Constitution; having never been sick in all his life-time, ever pleasant and free; His house was the resort of all the Ingenious, and persons of the best Quality, he himself being extreme well bred and courteous. He had so great a love to his Art, that he continued his Labors therein, till he was fourscore and six years of age, at last he died of the plague at Venice, in the nineteenth year of his age.

XII. Perin del Vaga.

Seemed to be most unfortunate in respect of his first entrance into the World, for his father, who had consumed a good estate in extravagancy, was forced for his subsistance to list himself a Souldier in the service of Charles the Second King of France, when he made his expedition into Italy; His wife who attended him in his misfortunes, was delivered of this Child in the Camp, in the middle of all the Army; He was not above two months old, but the mother dyed of the plague and his father be∣ing forced to follow the Army, he was left alone in a Village, where he was brought up by the milke of a She-goat; and his father coming after wards to Bologna, there married a second Wife, who had likewise lost her Husband and Children by the Plague; this made her take compassion of this little crea∣ture, and having milk of her own, made an end of bringing it up; It was called Peter, and afterwards Perin; and being left by the father in the hands of some relations at Florence, and they growing weary of keeping him put him to serve an Apothecary; but not likeing that Trade, he was taken into the service of a Painter, called Andrea de Ceri, who conceiving good hopes of the Lad, took all the care imaginable to bring him up, behaving himself rather like a Father then a Master to him, and at last knowing himself not capable enough to make him a compleat Artist, and finding the Boy very ingenious, he put him to Ridolph Ghirlandio, one of the best Painters at that time in Italy, who carried him to Rome, and in a little time he outstripped all the young men that lived at the same time with Ghirlandio: At length having an aspiring mind and a mighty inclination to great designs, such as he saw emi∣nent in Michael Angelo Buonarota, and Raphael; he was in∣flamed with an incredible desire of imitating them, as most worthy his ambition and choice; but withall considering his owne poverty and mean condition, and how that to get Bread, he must work for the Shops of ordinary Painters, it made him almost despair of ever growing considerable; but at length he surmounted all difficulties, and opened to himself a way to renown by an obstinate persisting in hard labour, and by an extraordina∣ry success that attended it, for he divided the week into two Parts, working one half of it for bread, and setting the other half apart for Improvements: Having by this extraordinary di∣ligence gained a mighty progress in the Art, he was readily entertained among the disciples of Raphael, who never let slip an opportunity of helping forward any ingenious Artist, and he so easily captivated the affections of that incomparable person, that he employed him in the Galleries of Leo the tenth where all the best Artists of Europe were at work in emulation of each other; He was not long amongst them, but in many things he outdid them and grew in a short time one of the boldest Designer of all Rome, understanding the Mucles and the difficultest part of the Art in naked figures: In this Galle∣ry he painted the Battle of ••osuah and the Amorites a work of, great difficulty in respect of the greatness of the subject, but it was so well performed by him, and so highly approved of that he was ordered to do several other of the Histories both of the Old and New Testament in the same place, in all which their appeared so much beauty and resplendency that made both the Painter and his work, exceedingly admired and esteemed. In the Great Hall called la Sala di Pontifici, the Ceiling was committed to him and John d' Ʋdine, which they divided into seven Ovalls in which they painted, the seven Planets each drawn by the Animal that is appropriated to them by the Poets, As Jupiter by his Eagle, Venus by her Doves, &c. To which they added the Signs of the Zodiack with several of the other Caelestial Constellations most of which figures are of Perin's hand. In the middle of the Roofe is a Round in which are four Figures like four VICTO∣RIES, which hold the Popes Crowne and Keys, which figures being shortned extreme masterly are besides adorned with a most beautiful light Drapery which discovers very gracefully so much of their naked Arms and Legs, as is decent. After this he made for the Arch-Bishop of Cyprus certain Faunes, and Bacchinals: for Seignior Baldafini, the Exploits of the Romans from the time of Romulus, to that of Numa Pom∣piltus: for Cardinal Bucci the Prophets Isaiah and Daniel: af∣ter this He worked with Julio Romano and Francisco Penri in Pope Clement the sevenths Palace, until the sacking of Rome by the Duke of Bourbon, in which time of publick Calamity, Perin was fain to run up and down with his wife and Child, carrying them from place to place to save them from the fury of the Souldiers, and at last he himself was taken prisoner and was forced to pay so great a ransome, with such ill usage that he was like to have run mad, but at length he got over his misfortunes a second time, for Prince Doria finding him out, sent for him to Genoa to direct in the building a new Palace which he designed, and to make the ornaments there∣of, Sylvio de Fiesole was employed in making the Statues, and Perin in the design of the Fabrick, and the paintings. He paint∣ed in the first place several Trophies, and pieces of Grotesk and in the next the Portraits of the most emment Captains of the House of Dorin, all armed, and over them is written in letters of Gold these words, Magni viri, maxin•• Duces, opti∣ma fecere pro Patria. in another the Shiprack of Aeneas and his Fleet, in which there are naked figures, both dead and alive, great number of Galleys and vessels broken and overset, the Sea most terribly raging in high billows, the Heavens ob∣secured and all the tokens of a terrible storm, the whole is surrounded with a curious ornament in Stucco Work, in the second Hall he represented Jupiter durting his Thurder-bolts at the Giants. And out of Ovids Fables he chose some of the most delightful of them to adorne four other Chambers; Some of the other lodgings were painted by his disciples from de, signs of his preparing for them, insomuch that he made that Palace to be one of the wonders of Italy, both as to the magnificence of its building and the beautiful Embelishments of his hand: It was Perins Misfortune to have dissipated in wine, and women the best part of what should have main∣tained him in his old age, to repair which Error he fell into another, which was to make himself cheap, by undertaking any little piece for a small sum of ready money; so that be∣ing forced to excessive labour, and yet but little coming of it, he began to grow melancholly, and having no other comfort, but as oft as he could, to get to the Tavern, with a good Companion, and there drown his sorrows in a Brisk Glass, which being a Custom he had long frequented, he at last drank to such excess that that together with some other hears of youth brought him to his end at the age of fourty seven years.

XIV. Albert Durer.

Born at Norimbergh, in the year 1470. was both an extra∣ordinary Painter and Graver: In the Emperor's Palace at Prague, is to be seen a Christ carrying his Cross, painted by him with much delicacy, which the Town of Norimbergh presented to the Emperor; also the Adoration of the Three Kings; Two Pieces of the Passion; in one of which is himself painted with a Roll in his hand, with this Inscription; Albertus Durerus Noricus faciebat Anno de Viriginis partu 1511. There is also a most ravishing piece of his, of Adam and Eve; upon which an Ingenious Poet made this Witty Descant;

Angelus hos cernens, miratus dix it; ab horto Non ita formosos, vos ego depuleram.

At Franckfort there is an Assumption of his in a Monastery, whose extraordinary beauty brings in a good Revenue to the Religious of that Convent by the great Liberalities of people that come to see it; altho he painted much, yet his chief Em∣ployment was in Graving or Cutting Figures in Wood. Nei∣ther was he less renowned for some Books which he has pub∣lished, then for his graving or painting. Posterity will alwaies be oblidged to him for his Book of the proportion of Bodies. His Rules of Artichecture and of military Discipline is esteemed worthy the curiosity of Princes and Generals of Armies, He was of that courteous and affable temper that gained him the love and esteeme of all that knew him: the Emperors Maximilian the first and Charles the fifth especially signalized their affecti∣on to him by many favors. Maximilian one time ordered him to draw some great design in his presence, upon a Wall, which being above his reach, and there appearing nothing ready at hand to stand upon, the Emperor commanded one of his Attendants, to lye down upon the ground that Albert might stand upon his back, till he had finished the outlines of his design, and left this person should think himself too much undervalued to serve as a footstool to a Painter, the Empe∣ror in token how much he valued both the Art and the Ar∣tist, conferred on him a large degree of honor, and imediate∣ly made him noble and gave him for a Coat of Arms. 3 silver Escutcheons in a field of azure. He died in the year 1628 and was buried at Norimbergh.

XIII. Hans Holbeiu.

Born at Basle in Switzerland. His manner of painting was extraordinary and unusual, differing both from the antient and modern way, so that it seems as if he had not been excited or instructed by any Example from others but followed the dictates of his own Genius; and though it be doubted (his way being so peculiar) whether he ever saw any of the rarities of Italy or had any Master to instruct him, yet nevertheless there is nothing to be seen of his doing, but is painted to the utmost perfection as is manifest in that piece of his, of Deaths Dance in the Town-Hall of Basle the design whereof he first neatly cut in Wood and afterwards painted, which appeared

so fine to the learned Erasmus, that he requested Holbein to draw his picture, desiring nothing so much as to be repre∣sented by so Judicious an Hand. And perceiving by his rare pieces that he deserved a more plentiful fortune and a more illustrious place, he perswaded him to travel to England, pro∣mising him considerable advantages from the bounty of Henry the eight a cherisher of Arts. Holbem at his request set for∣ward for England, carrying with him Erasmus his picture and Letters of recommendation to Sir Thomas Moore then Lord Chancellour of England. More received him with Joy, and kept him for three years in his House; During which time he drew Sir Thomas's own picture, his wives, childrens and several of his intimate friends and other near Relations which was hung round the Great Hall of his House, where the King being invited one day to a sumptuous dinner, and at his first entrance into the Hall beholding so many ravishing objects, the pictures seeming almost with as much life as the persons they represented, who were most of them then present; and admiring at the excellency of the Workman sent for him and entertained him in his service upon very advantagious Terms. The King manifested from time to time the singular favor and regard he had for him, and particularly upon this occa∣sion. Holbein being one day busy upon the picture of a Lady that belonged to the Court, a certain person of great Quality came to him to see him paint, Holbein not being willing to be disturbed, opposed his Entrance in a civil manner, but seeing he would take no denial but attempted to force his way, giv∣ing scope to the brisk humour that is natural to those of his Nation, he gave him so rude a repulse that the Earle tumbled from the top of the stairs to the bottom; at the noise of his fall his Attendants flocked about to revenge the affront that their master had received, and mischief would no doubt have ensued, had not Holbein jumpt out of the Window and made his escape to the King to implore his pro∣tection, which he did with so good a grace, that the King sent for the Lord and charged him upon his Allegiance to lay aside all resentment and that no violence should be offered upon the utmost perill. Some say he added words to this Effect, Have a care that no mischief befalls him, for though I can make a Lord when I please yet such a painted if lost can never be recovered. His master-piece is that of the, said King as big as the life, and represents his person so lively that this piece discovers the fierceness of his looks, and that severity in his Countenance which made him so dreaded by his subjects; He made also the pictures of Prince Edward and the Princesses Mary and Elizabeth who successively, one after the other swayed the English Scepter. He had one thing very remarkable in him which was, that he painted every thing he did with his left hand. The Plague raging in London, in the year 1554, Holbein was seized therewith, and died in the Six and fiftieth year of his age.

XV. Anthony de Montfort, Bloclant

Was descended of the Illustrious family of the Viscounts of Montfort, in the Province of Ʋtrecht; He learned to paint of Francis Floris whose good Instructions he had no sooner tasted, but he found so many charms in the Work of that great Master, and somuch reputation to follow his steps, that he never ceased imitating him, till he had attained to be a compleat Artist; He bent himself chiefly to work upon the like Noble subjects of History with his Master, after the Italian manner; endeavour∣ing above all to imitate the life, to observe all the Rules of Perspective and foreshortnings, and to place the figures well, and in good order; he had an exact Judgment in the composition and mingling his Colours, so that wanting nothing that might render an Artist accomplished, there is nothing in his Designs but what is great and lofty, with all the Embelishments of Art, the truth of which evidently appears in all his Works, parti∣cularly, A Bathsheba bathing her self: The History of Joseph and his Brethren are very fine: also A Venus which passeth for a Master∣piece, in which, and many others, he comes so near the ele∣gance and artifice of the Italians, that one would think he had been bred up in the School of Florence, when indeed he never was above six months in Italy, and had no other Master, but Floris. He died at Ʋtrecht, Anno Dom. 1583.

XVI. Henry Goltzius.

Was born in the year 1538 at Mulbracht, in the Countrey of Juliers; in his youth having the misfortune to fall into the Fire, his hand was so burnt and shrives'd that he could ne∣ver after open it as it should be; however after he had en∣deavoured a little to manage a Pen he accustomed this lame hand to draw so well, that his Father hoping he might prove good at Graving, sent him to learn the grounds of that Art, of Theodore Corenhert. This able teacher instructed him, not on∣ly in the manner of Graving, but together with that taught him all that was necessary for him to know, both in History and Poetry, to qualify him for his business; and in a little time, with his good management, he became capable to sall to work upon his own Invention; After this he travailed to Venice, Florence, and other parts of Italy, copying as he went all that he found in the publick Monuments to be rare; but at Rome he took most pains, where he searched after rarities even in places infected with the Plague, to the great hazard of his life; At Naples he designed, The antient Statue of Hercules in the Vice-voys-Palace, and the most eminent Curiosities of the, adjacent places; amongst the rest the famous Grotto's of Pozzuoli. He imitated with such success and skill, notwith∣standing the lameness of his hand, the most renowned Gravers of Europe, that he often made his Prints pass for Albert Durer's, or Lucas Van Leyden's, insomuch that the most experienced Judgments perceiving how they were deceived by his ingeni∣ous way of varying his manner of Graving, called him the Proteus of the Art; The Passion is done by him after the manner of Lucas. A Madona in imitation of Durer, which he dedicated to the Duke of Bavaria, and was rewarded for it with a Gold chain and a Medal. He drew a Bacchus, with Ceres, Venus and Cupid, with his pen, upon Vellum, which is now at Rome, and is much esteemed; A Faune in the Em∣perors Closet, The taking down our Saviour from the Cross, which was sent to the King of Spaine. He was no less happy in his Pencill then he was in working with the Crayon or his ••en of which sort, his Danae sleeping by Mercury, who watches to give Jupiter an opportunity of enjoying her, and several others, are highly valued; Besides his rare painting, for which this famous Master has not come short of the best Painters of Europe, he has Graven and Published the most noted Pieces of Hem∣skirk, Floris, Bloclant and Spranger; which are very usefull for those that would attain to any perfection in the Art of Paint∣ing. He brought up James Matham, Peter D' Jode, and other fine Gravers that have filled Europe with their delicate Prints.

XVII. Matthew and Paul Brill

Were brethren, both born at Antwerp, and excellent Paint∣ers; Matthew, the eldest, went to Rome, where he was pro∣moted to be Painter to the Pope, and made in some Halls of the Vatican several Landskips in Fresco, which were greatly es∣teemed. Paul envying his Brothers renown, follows him to Rome, and after his death, succeeded in his Employ. In the year 1682, he made in the Great Hall of the Popes Palace, a piece in Fresco of sixty eight foot long, representing the Mar∣tyrdom of St. Clement who is bound to an Anchor, and thrown into a River. In the Popes Chamber he painted six of the most curious Prospects about Rome. Cardinal Matthio had an Hall adorned round by him with Grotesk work and Landskips, and for his Brother Hasdruball, he made six great pieces contain∣ing the prospects of his Houses of pleasure; He has left be∣hind him many rare designs of Ruines and other fancies which have been communicated to the World in several Prints.

XVIII. Michael Mirevel

Born at Delft in the year 1568. His father in his youth put him to a Writing-Master to learn to write, where he pro∣fited so well, that at eight years of Age, he was able to write more sorts of Hands, and much neater and fairer then any Master in the Town. His father being unwilling he should lose the advantage which so happy a beginning seemed to promise, put him to learn of Wierx the Art to manage the Crayon and the Graver which this young Artist in a short time attained to do with as much perfection as he had before done his Pen, insomuch that he was not quite twelve years of age, when he graved of his own Invention The History of the Sama∣tan and not much older when he did that of Judith with the Head of Holofernes. The applause which these. Works generally received; animated him with fresh courage and inspired him with a desire to try if he could be as succesful with his Pencill: To this end he went into the service of Bloclant and learnt of him all that was necessary to be observed in Colouring, by means whereof he became so eminent in painting of Faces, that he was lookt upon to be the best in the Low-Countries in that way: Of this sort the most es∣teemed are, his Picture of Prince Maurice of Nassau, of the then Princess Dowager of Orange; and Prince Henry her Son, which are of an admirable roundness, and the Carnation very natural and lively. He sometimes took great delight to paint several sorts of Wild-fowle, and the Accommodations for a Kitchen; of this Sort there is one in much esteem in Delft. His painting was so curious and of such reputation, that the Arch-Duke Albert offered him confiderable advantages to draw him to Brussels; But in vain, for he being a Zealous Protes∣tant, was unwilling to live in the service of a Prince of the Roman Communion.

XIX. Barthelomew Spranger.

Was the Son of a rich Merchant at Antwerp, born in the year 1546. He discovered his first Inclination to painting by drawing several figures when young in the Book of his fathers Accounts, which though his father, was very angry at, when he first saw it, yet discovering thereby the bent of his Inclination, he sent him to a Painter to be instructed, by which means and his earnest considering the paintings of Flo∣ris and also by accustoming himself to reading Poetry he be∣came at length a very able Painter. After he had spent some time in France in thus employing his Talent, he passed the Alpes and continued for a while at Milan: There it was that he invented and drew in the ruines of an old Amphithea∣tre, A Dance of Witches which procured him so much reputa∣tion, that Don Clavio having bought it and shown it to Cardi∣nal Farnese; the Cardinal was so taken with it, that he offered a very honourable Allowance to Spranger, to draw him to Caprarole, that his stately Palace there, might be adorned with so curious a pencil. But Spranger having a mind to see Rome steered his course thither, and not long after his arrival there was made Painter to the Pope, and had a sumptuous lodging assigned him in the Belveder over the Laecoon: Being thus raised to honour, he raised his mind to attempt something worthy of his fortune, and in this noble heat of Spirit, he paint∣ed that rare Piece of the last Judgment, upon a large Copper∣plate of six foot in wideness, where there are five hundred figures perfectly diversified, and disposed after a most admira∣ble Order and design, The Pope dying a little after this Piece was finished, it was placed near his Sepulchre for a perpetual ornament thereto, and to preserve the memory both of the Pope and of the Painter together: After this he went into the service of the Emperor Maximilian the second, and after his death, he was entertained by his Successor Rodolphus, and allow∣ed an honourable Pension. While he was in this Empe∣rors service he painted for him a curious Piece of Mercury in∣troducing Psyche into the Councel of the Gods: And another upon Copper representing The City of Rome, under the figure of a Woman with the Tyber, and upon the borders of the River, a Wolfe giving suck to the two young twins Remus and Romulus. He had one extraordinary faculty, namely so retentive a Memory that it faithfully preserved the true Jdeas of au object though he had but once beheld it, by means whereof though he had omitted to draw or design the rarities of Rome when he was there, yet he made use of several of them in embelishing his most magnificent Pieces: A certain Gentleman who had a great affection for a beautiful Lady that belonged to the Coun∣tess of Arembergh, and being but seldom able to get a view of her, intreated him earnestly to draw her picture, which he did, after he had seen her but once, with such exactness that resembled every feature to the life, to the no small satisfaction of the admiring Lover The Emperor keeping his Court at Prague, Spranger setled there also, and married a wife the daughter of a rich Merchant, hoping to have Children that might inherit the great wealth he got by his painting, there∣upon he enlarged his House with a stately Front and de∣signing it to be a place for entertainment of the Arts, he em∣belished the out side thereof and the Porch with divers great Figures as big as the life. The Emperor being jealous of his working for others, commanded him to paint for none but himselfe, and thereupon sent for him to his own Palace, where he took such extraordinary delight in the inimitable strokes of his pencill that he would stand by him sometimes for hours together, to see him paint; and to show how greatly he admired the Excellency of his Art, at a solemn Feast, in presence of his Courtiers he with his own hand presented him a Gold Chaine and a Medall, and after∣wards in a publick Assembly of the States of the Empire; honoured him and his Posterity with the Title of Nobility: Though his pieces are scarce any where to be seen but in the Emperors Closet, yet the ingenious Goltzius has graven and published divers of them in Prints, among others that incomparable piece of the Banquet of the Gods at the mar∣riage of Psyche: And Cupid and Psyche out of Apuletus: After he had got permission in his old age to retire from Court he painted for a friend, of his an admirable piece of Ʋenus and Mercury teaching Cupid to read. Having at length survived his wife and all his children, struck with excessive sorrow for their loss, and overwhelmed with age, he soon after gave up the Ghost and followed them to their long home.

XX. Henry Cornelius Ʋroom

Was born at Harlem Anno Dem. 1••6•• trav••iling in his younger years to Italy, he was entertained 〈◊〉〈◊〉 R••me in the family of the Cardinal d' Medicis, where meeting with the ••amous Paul Brill, he made an extraordinary progress in painting, from Rome he went to Venice to paint the Gall••ys and maritime Coasts of that Courtrey. Having been ••••ee in Spaine and ••ound there a good Market for some of his 〈◊〉〈◊〉, he resolved to re∣turn there again with several of his 〈◊〉〈◊〉, and try his good fortune a second time; but in his Volage there arose a furious Tempest which drove the ship he was in, on the Coast of Portugall and split her on the rocks, called 〈◊〉〈◊〉 Barlengos, yet not∣withstanding he escaped with five and twenty more though with great 〈◊〉〈◊〉 culty. Part of the Wrecks and goods was throwne up by the waves into an adjoining River, where certain Religi∣ous had a Convent near the Banks of the River, who cou••ing to gather up the spoils and finding amongst the rest Ʋroom's Paintings, they were so much in admiration of the beauty of them, that they could not but bewail the misfortune of those that had lost so rich a Cargoe, the pieces after they had open∣ed them in their Hall, and dryed, they hung them up there, to feast their eyes with the view of such delightful Objects. In the meane time these unfortunate persons that had lost their ship, had scrambled up to the Top of a dreadful Reck, where they were not only exposed to all the rigours and in∣juries of the weather, but in apparent danger to••dy by fa∣mine; after they had been three days languishing for want of food, it was proposed by some amongst them to cast Lots, for one of the Company, to be made a Sacrifice to satisfie, the hunger of the rest. Ʋroom abhoring such a piece of Barbarity and being more ingenious then the rest, advised them to have patience a little longer, and caused a Cloth to be hung up at the head of an Oar which they had saved, to implore the assist∣ance of any that might happen to pass that way: These Fa∣thers who had saved the Pictures discerning the Signal afar of, set out a Skiffe to their reliefe: When they came to them and understood which of them 'twas, that had made, and was the Owner of those delicate Pictures they caressed him with all the Civilities and Courtesy imaginable, and after they had car∣ried them to their Cloister and entertained them with such refreshments as were necessary, they conducted them to Lisbon, from: thence Ʋroom went to St. Ʋbes, where being ready to embarke for his own Countrey, he changed of a sudden his resolution, saying to the Seamen. That that ship would also be cast away, which accordingly hap'ned, just as it was entring into the Texell. During his abode at St. Ʋbes he painted amongst other things, the manner of his own Ship∣wrack, and the Coast where he was so near to have perished. After his Return into Holland, being taken notice of for his peculiar Fancy in making the Horrors of a Storm, and of Sea∣fights, delightful and pleasant, as they were the Subjects of his Pencil, he was employ'd to draw those great Designs of the Engagement between the English-Fleet and-the-Spanish Armado in the Year 1588; and the Victory which the former obtain'd over the latter, which was not only formidable for number, greatness, and variety of Ships, commanded by Captains of known Experience and Conduct, manned with great numbers of stout Soldiers, provided of all Necessaries for a long Expedition, and prepared with such cost and char∣ges, that it might well seem invincible. The Grandeur of such a Subject excited the Ambition of this fine Artist to do something answerable, and indeed he has done the whole to admiration, in ten Pieces design'd for Tapistries, each con∣taining what happen'd in the ten days which this bloody Con∣flict lasted. The fury of the Assailants, and those that are assailed; the lightning of the artificial Fires, and the thun∣dring of the Cannon, Masts flying in Splinters, Ships on fire, sinking half burnt, the Terror of the Soldiers, some pe∣rishing in the Sea, others amidst the Flames, the strugling•• of others to save themselves on Planks, or any thing they could come at, with a thousand different Objects, that both delight and terrifie together in the beholding, manifests that he was ignorant of nothing that was necessary to represent this dreadful Fight with all its becoming Circumstances. Besides what he was paid for this Piece of Work by others, he re∣ceiv'd 1000 Florins of the Lord Thomas Howard, our English Admiral. For the States of Holland, he painted the 7th day of this Engagement, which was the bloodiest; which Prince Maurice of Nassau, and Justin de Nassau, Admirals of Hol∣land were so pleased with, that they set him to paint the States Fleet assisting at the Battle of Newport: Vroem repre∣sented it first of all moving with full Sails, in order of Battle towards the Coasts of Flanders; afterwards he shows it at Anchor in Newport-Road, firing with their Cannon suriously upon the Troops of the Arch. Duke. For this Piece he recei∣ved

an ample Recompence. After a long Life spent in these pleasant Employments, he died laden with Honour and Wealth.

XXI. Adrian Brauwer.

Excelled all that ever was before him, in expressing several Comical and Extravagant Humors: Was a person of a Jo∣vial Disposition, much addicted to Sensuality and Debauche∣ry. He seldom work'd but in a Tavern, where in the heat of Wine he invented things that gave a true Character of the wildness and frolicksomness of his Temper; yet with such curiousness and art, that caused admiration to the gravest and most judicious Painters. Having been robbed by certain Pirates on the Coast of Holland, and stripped of his Cloths, he got him a Suit at his Landing made of strong Canvas, upon which he painted several Flowers and Fi∣gures most ingeniously, after the manner of Indian Silks; which some Ladies seeing, and taking it to be a rich fort of Silk, enquired up and down amongst the Mercets for some of the same sort, but to no purpose. Some few days after, Brauw•••• got upon the Stage in the Play-house at Amsterdam as soon as the Play was ended; and there taking a wet Cloth in his hand, he wiped out before them all, the whole Pain∣ting, and by showing it was nothing but Canvas, undeceived them of their former pleasant mistake. Another time per∣ceiving that his Friends slighted him for the meanness of his Habit, he ordered a rich Velvet Suit to be made him, such as the wealthy Merchants at Antwerp used to wear. A Co••sin of his, that happen'd at that time to be upon his Marriage, ••••••∣ing him in so good an Equipage, invited him to grace the Wed∣ding with his Company: Brauwer failed not to be there; and when all the Company much commended the Bravery and Richness of his Apparel, he snatch'd up a Dish of Meat that stood upon the Table, and threw all the Sawce and Grease that was in it upon his Cloaths, saying in a great rage; That it was more fit to bestow the Good Cheer on his Cloaths, since it was for their sake, and not his own that he was invited: Giving them to un∣derstand by this action, though it was ridiculous and extrava∣gant, that he despised them no less for their Ignorance and Folly, in making more account of the Shell than the Kernel; and in measuring the inward Deserts of men by the goodness of their Out∣side and Apparel. His Cloaths being thus smeared over with Grease, he threw them into the Fire, and hasted away to the usual place of his resort, to smoak his Pipe, and drink Brandy, which he was much addicted to. When he had by his continual Excess drained his Purse, and reduced himself to Extremity, he would draw a Design of some Drunken Person or other upon Paper, and send it to the Lovers of Art; and if they did not send him the full Price he de∣manded, which was sometimrs 100 Crow••••, he would throw it into the Fire, and after that was burnt, set himself to make some other odd Fancy, until by this new Frolick he had got his Demand. His Faintings were usually some Drunken Clown beaten by his Wife; or a Sottish Fellow with Pot in Hand, smoaking Tobacco: Sometimes a Knot of Sharpers playing at Cards or Dice: Some Young Prodigal endeavouring to decoy a simple Wench: Or a Drunken Quarrel: So that as Rubens and Vandyke were in his time esteemed the best for Grave and Magnificent Designs, so was he for such like Facetious Humors, which though they are not so powerful to excite Laughter, as the Picture of the Old Woman which Zeuxis painted was to him, who as Plutarch relates, beholding his Workmanship, and the Comical Figure it made, fell into such an excessive fit of Laughing, that it suffocated his Spirits, and killed him, yet the very fight of them may serve for a good Antidote against Meiancholy. He died at Antwerp in the 30th year of his Age, overwhelm'd with his Intempe∣rance, and so poor, that his Friends were fain to beg for wherewithal to pay the Charges of his Funeral; although had he been a sober and discreet person, he might have at∣tained to great Wealth by his Pencil, his Works were so much esteemed.