Sculpture where and when in its afcendent Statues to what head reducible. Sculptores marmoris, metal. in gypfum, &c. Page 33, 37 33 ib 34 Signa at Rhodes, Athens, and other places, in what prodigious numbers Statues almoft as many as men ib The contest betwixt art and nature in point of fertility ib Statues improveable to a politic as well as expenceful magnificency αποφραγίσματα ib ib ib Pyrgoteles only permitted to engrave the effigies of Alexander the great The pictures of queen Elizabeth and other princes, how profaned and abused 34, 35 Auguftus would have his figure cut only by Diofcorides, and why Sculpture in what materials most eminent 35 ib Dipoenus, Prometheus, Ideocus, Eucirapus, Lyfiftratus, De. mophilus, Dædalus, Leochares, Policarmus, Myrmecides, all famous culptors Figulina vafa cælata, why broken by Cotys Gold feldom engraven, and why Hydriæ engraven, and bread Mentor his curious works Acragus his works Boethus's mafter pieces ib 36 ib ib ib ib ib The works of Calamis, Antipater, Stratonicus, Taurifeus, Arifteus, Eunicus, Hecates, Praxiteles, Pofidonius, Ledus, Zopirus, Pytheus 37 Medalifts, who moft excellent, and in what emperor's times the best were cut. When they degenerated 37, 62 Sculpture, when it degenerated in Greece and Rome 37 And whence its decay proceeded ib ib Sculpture and writing, when firft among the Danes and Nor Sculpture, when it arrived at Rome vegians Runic characters Græf-fæx, what 38 ib ib Vice and avarice, the occafion why sculpture degenerated, and is not fince arrived to the perfection of the ancients By what means it may recover 39 40 Alexander 4I Alexander Magnus, Auguftus, Francis I. Cofmo di Medicis, and Charles V celebrated for their affection to arts Page 40 Time and leisure required to bring a work to perfection Sculpture and chalcography ancient in China, on what materials, and how wrought Letters in Europe first cut in wood ib ib The ink-maker for the prefs dignified amongst the Chinese with a liberal falary and privileges, and not accounted a mechanic 42 ib Sculpture found in Mexico, and other parts of America Typography not found out by the Greeks and Romans, to be much wondered at, and why CHA P. IV. ib Of the invention and progress of chalcography in particular; together with an ample enumeration of the most renowned masters and their works Engraving on plates of brafs for prints when first appearing ib Typography when first produced in Europe 43 Prints in the infancy of this art The devil a monochrom M. 3. M. C. what they import What sculptors added the year of our Lord to their works Who were the first gravers of prints The Italian gravers and their works Mafo Finiguerra the first print-graver in Italy Enameling gave the firft hint for the engraving of prints ib ib ib ib ib 44 ib ib ib The graving of prints, from how mean a commencement it arrived to this perfection Baccio Baldini, his works and counterfign ib ib Albert Durer, when he flourished, his incomparable works, contest with Lucas and Mark Antonio, and how precious his works 45, 46. 47, 64, 81 Lucas Van Leyden, his works, emulation of Durer 46, 47, 64 Mark Antonio, when he flourished, his works, conteftation with Albert, &c. 46, 47, 48, 49, 50 51 For what vile prints reproved 47, 48 Martine of Antwerp his works, how efteemed by Michael An gelo R. S. what it fignifies L 2 44 48 Marco Etching in aqua fortis when first produced 51, 52 52 ib Ugo da Carpi, his new manner of cutting for divers colours, and his works The works of Baldaffare Peruzzi, Francifco Parmegiano, Beccafumi, Baptifta Vincentino, Del Moro, Girolomo Cocu ib 52, 53 Giacomo del Cavaglio, his works both in copper and stones 53 Enea Vico de Parma, his medals and other gravings The works of Lamberto Suave, Gio Battista de Cavaglieri 54 The works of Antonio Lanferri, Tomaso Barlacchi, Antonio Labbaco, Titian, Giulio Buonafoni, Baptifta Franco, Renato, Luca Penni, Francesco Marcolini 54, 55 The works of Gabriel Giolito, Chriftophoro Coriolano, Antonio Salamanca, Andrea Mantegna, Propertia de Roffi 55, 56 Martin Ruota, Jacomo Palma, Auguftino and Annibal Carra55, 56, 57 che 58 The works of Francifco Villamena 58, 59 Cutting and engraving in wood how difficult and different from chalcography 59 The works of Antonio Tempefta, Cherubino Alberti, Horatio Borgiani, Raphael Guido, Giovanni Baptifta della Marca, Camillo Graffico, Cavalier Salimbene, Anna Vaiana 59, 60 Stephano della Bella 61 Medal gravers and gravers in metal and precious ftones, &c. 62, 63 63 ib The Diamond by whom firft engraven Medals, the knowlege of them how noble and profitable, and by what means to attain it effectually, gentlemen of note fkilful medalifts The German and Flemish chalcographers, and their works; viz. Aldegrave and his cypher, Hans Sibald Beme and his mark, Jerome Cock, Frans Floris, Cornelius Cort, The Sadelers, Herman Muller, Sim. Frifius, Matthew Miriam, Hans Hans Holbein, Juftus Ammannus, Holtzhufen, Hans Broffehaemer, Virgilius Solis whofe eyes were put out for his lewd gravings, Henry Goltzius, George Nouvolftell, Matthew and Frederic Greuter, Saenredamus, Cornelius Galle, Count Goudt, Swanevelt, Pandern, Bronchorft, Matham, Paul Brill, Nieulant, Boetius, Londerfelius, Van Velde, Nicholas de Bruyn, Ægidius Coninxlogenfis, Stradanus, Mallery, Bolfwert, Paulus Pontius, Suannebourg, Neffe, Vofterman, Vorft, Chriftopher Jegher, Van Vorft, Sir Anthony Van Dyke, Sir Peter Paul Rubens, Peter de Jode, Colaert in fteel, Suyderhoef, Jo. Baur, Vander Thulden, Abraham and Cornelius Blomaert, Natalis, Ferdinand, Verden, Urieffe, Winegard, William Hondius, Van Keffel, Clovet, Caukern, Lucas Kilianus, Cornelius Vischer, Vovillemont, Nolp, Lombart, Hertoc, Rembrandt, WencefLaus Hollar, Hevelius, Anna Maria a Schurman, Breughel, Oftade, Corn Clock, Queborn, Cuftos, Le Delfe, Dors, Falck, Gerard, Bens, Moeftuer, Grebber, Geldorp, Hopfer, Gerard, Bens, Chein, Ach. d' Egmont, De Vinghe, Heins, Ditmer, Cronis, Lindoven, Mirevel, Kager, Coccien, Maubeafe, Venius, Firens, Pierets, Quelinus, Stachade, Schut, Soutman, Vanulch, Broon, Valdet, Bifcop, Druefken, Pieter Van Aelft, Swart Jan Van Groenighen, Lucas Cranach, Joos Ammannus, Hubert Goltzius, &c. Page 63 ad 82 The French chalcograpers and their works; Petit Bernard, Nicholas Beatricius, Philippus Thomafinus, Crifpinus Magdalen and Simon de Pas, Claudius Melan, Mauperch, La Pautre, Morin, N. Chaperon, Francis Perrier, Audran, Couvay, Perelle, Chauveau, Poilly, Heince, Begnon, Huret, Bernard, Rogneffon, Rouffelet, Bellange, Richet, L'Alman, Quefnel, Soulet, Bunel, Boucher, Briot, Boulange, Bois, Champagne, Charpignon, Corneille, Caron, Claude de Lorain, Audran, Moutier, Rabel, Denisot, L'Aune, De la Rame, Hayes, Herbin, David de Bie, Villemont, Marot, Toutin, Grand homme, Cereau, Trochel, Langot du Loir, L'Enfant, Gaultier, D'Origni, Prevoft, De Son, Perei, Nacret, Perret, Daret, Scalberge, Vibert, Ragot, Boiffart, Terelin, De Leu, Mauperche, L'Afne, Huret, La Hyre, Goyrand, Golignon, Cochin, Ifrael Sylvefter, Robert Nanteuil, Jaques Callot, and Boffe 82 ad 90 Chart-gravers, Cordier, Riviers, Peroni and Gomboust, 90,91 The ecil, The French calligraphers Calligraphers, Coker, Gery, Gething, Billingly, &c. 91, 92 92 ib An invitation to the English Chalcographers to publish his Ma- Painters encouraged to fet their hands to the graver CHAP. V. 93 94 ib Of drawing and defign, previous to the art of chalcography; and of the ufe of pictures in order to the education of children Measure and proportion have influence on all our actions 95 ib ib ib Defign the basis of fculpture, and of many other free and noble fciences Original Drawings efteemed, and for what Antiquity of what effect ib 96 ib 97, 98 Defign and Drawing defined and diftinguished, its antiquity and invention Accident and chance fruitful mothers 98 ib Drawing with crayon, pen, &c. the method, and how to be performed with fuccefs Hatching, what and how attained by imitating good masters, and by what method Overmuch exactnefs and finifhing, a fault in drawing, and why. Polycletus's canon 99, 100 ib Accurate designs with the pen not efteemed, and why. Who excelled in them to admiration 100, 101 Vander Doufe, Francis and John Cleyne, Francis Carter, &c. celebrated 101, 102 Colours, the production of a middle colour wrought on two extreams 102 Rubens's |