nWLIAN SCHOOL OF ENGRAVING. 



print of " The Refurreftiou of Lazarus;" " Chrift giving the 

 Keys to Peter," a niiddhiig-fr/.cd upright ; " Chriil taken into 

 Cullody in tlie Garden of OUve;," in" folio ; " The Appari- 

 tion of the Angels,, wiio flicw to Mary Magdalen the In- 

 flruiirtents of the PafTion,". in large folio ; " The Pilgrims on 

 their way to Emaus," in t|\iarto ; " The Incredulity of St. 

 Thomas," in folio ; a fmall folio print of " Orpheus playing 

 on the Violin ;" two Holy Families, both in quarto ; " St. 

 Charles Borromeus ;" a middling-fr/.ed upriijht, entitled 

 " St. FeUce Cappucino miracuiofamente redufcita unfan- 

 ciuUo morto ;'■ and " Tancre4 and Erminea," dated 1620. 



Of Anduka C.VMASSEI ; the two Cuurii, Fu.iNCESco 

 Berdiki i C.VMiLLE Cosciio, and Giui-io Cari-io.ve, 

 who all lived at I his period, we have already treated: as, 

 fee thefe articles refpeftively. 



Giulio, or Julius Ca;far Venenti, was born at Bologna in 

 the year 1 609. He learned drawing under Philip Brizio, 

 who' was of the fchool of Guido, and o:ie of the bell of his 

 difciplcs. Veneiiti was a gentleman of fortune, and not 

 profeffionally an art ill, yet the meritorious plates which he 

 etched con ainori, have been thought worthy of a place in 

 the Italian fchool. His etchings are performed in a flight 

 ftyle, are marked with one of the two monograms which we 

 have copied in rlrJe 111., and their fubjeds are — " The 

 Guardian Angel," in quarti ; " Mithridates prefented with 

 a Cup of Poifon ;" " Tancred and Clorinda," all after D. 

 M. Canuti ; " Tlie Virgin of the Rofe," after Parmegiano, 

 all in fmal! folio ; and " The Holy Family repofing," after 

 Annibal Caracci, in larger folio. 



For the biography of Franccfco Grinialdi, furnamed 

 BOLOGNESE, fee that 'article. His etchings are performed 

 with painter-like freedom and fpirit, and in thofe of land- 

 fcape in particular, he difcovcrs a founder knowledge of 

 perfpeftive, than perhaps had yet appeared in Europe, and 

 his trees are ably characlerized. 



Of liis numerous plates, which are almoft entirely from 

 his own compofitions, we fliall mention as worthy of pre- 

 ference — a rich landfcape, with builduigs, and finiermen on 

 the fore-ground ; another, in which the baptifm of our 

 Saviour is introduced, both in folio ; two ditto, in larger 

 foho, of mountainous fcenes, with figures and ruined build- 

 ings ; two ditto, of the upright form, after Annibal Ca- 

 racci, in one of which is a river winding through foreft 

 fcenery ; four ditto, from the fame mailer. His view of 

 Cartel Gandolfo is a well-knc-.vn and juftly admired produc- 

 tion, which will long continue to be a favourite iludy with 

 landfcape painters, and of which there has been a finely 

 engraved copy produced in our own country by Vivarcs 

 and Chatelain. 



Agoltini Mete'ili (the elder), was a native of Bologna, 

 born A.D. 1609. He ftudied fucceffively under Gabriel 

 Ferrantini and Dentone, and, befides his merit as an en- 

 graver, excelkd in painting architeftural ornaments botli in 

 frefco and in oil. He was invited to Spain by Phihp IV., 

 and died at Madrid in the year 1660. 



His etchings arc performed with no inconfiderable por- 

 tion of talle, and we believe are entirely of an ornamental 

 character. His fet of forty-eight friezes are after his own 

 defigns. Twenty-four plates of ornaments, are pr.rtly taken 

 from the defigns of F. Curti, and are partly engraven by the 

 younger Metelli, of whom we are about to treat. 



GiofeiTo Marie Metelli was the fon and fcholar of Agof- 

 tino, and was bom at Bologna in the year 1654. After 

 acquiring the rudiments of art from the inllruitions of his 

 father, he fucceflivcly frequented, for his improvement, the 

 fchools of Albano, Guercino, Del Torre, and Can;arini. 



TliC plates of Giofeffo confiit chiefly of etching, which 



he e:cocuted in a flight manner. His chiai-ofcuro is 

 feeble, his drawing incorreft, from halle or negligence, and 

 he gave no attention wiiatever to the art of exprcfllng the 

 textures of various fubltances ; yet what he did, could only 

 have been done by the praftifetl hand of an artill, and this 

 circumllnnce combined with the iutrirific merits of many of 

 the pidlures after which he engraved, have made his prints 

 (wliich ate fo:r.ewhat numerous) fought after by the cog- 

 ncfceiiti. 



The various mono, ramswith which he occafionally marked 

 them, will be found ill Plate 111. of thofe ufed hy the //,;- 

 Han Majiers, and among his bell works may he ranked the 

 following : — A fet of twelve large upright folio prints, 

 from the moll efl;eemi'd piftures in the churches of Bologna ; 

 a fet of twenty, from the hiftory of Enca^, painted by the 

 three Caracci, in the Favian palace at Bilogna, in large 

 folio; a fet of forty, in fmall folio, and of the upriglit 

 form, of "The Cries of Bologna," from Annibal Caracci ; 

 " The Adoration of the Sheplierds," a large upright fo- 

 lio, from Corrcj^gio ; "The M irtyrdom of St Erafmus," 

 from Pouflin ; " David and Guliah," from Titian ; " The 

 Invention of tli^ Crofs,'' from Tintorct, all in large fJio ; 

 " Lazarus at the Gate of Dives,'" after Paul Veronefe. 



He alfo produced feveral plates from his own compofition':, 

 particularly " Tiie four-and-twcr.ty Hours of human Fe- 

 licity," which were publiflicd at Bologna in 167J, and to 

 which he afterwards added two plates, fo that the complete 

 let confills of twenty-fix ; and a fet, of which v.-e knew 

 not the precife number, called " Metelli's Collection of Pro- 

 verbs,'' publifhed in the year 1678, both of which feries are 

 now become exceedingly rare. 



Pietro del Po was Ijorn at Palermo A.D 1610, and died 

 at Naples in 1692. He travelled to Rome, and was muctj 

 employed there in the adornment of churches, both as painter 

 and architect, and alfo by the Spanifli ambailador. 



Del Po engraved a tonfiderable number of platea which 

 confitl of etching mingled with the work of tiic "raver. . 

 The general ftyle of his art appears to be lludied from that 

 of Doniinichino ; and the moil diilmguiflied of his prints 

 are " St. John Bapti.1 in the Wildernefs;" " Tlie Woman 

 of Canaan ;" and' " A dead Chriil on the Lap of the Holy 

 Virgin," all in folio, and after Annibal Caracci ; " The 

 Madonna and Child attending to the divine Harmony of 

 Angels;" "St. Jerome on his Knees, confolcd bx.aii 

 Angel;" andafet of the cardinal virtues, "Prudence," "Juf- 

 tice," " Temperance," and " Fortitude," all in large folio, 

 after Doroinichino; "The Annunciation;" " The Nativity ;' 

 and " The Flight into Egypt," in folio, afier Pouffin j 

 " Achilles and Ulyflcs," after the fame mailer; "Venus 

 and Cupid vifiting the Forge of Vidcan," after Sirto Ba- 

 dalochio ; and " Neptune in his Chariot," after Julio Ro- 

 mano, of the o£lagon furm ; all of folio dimenfions. 



Giacomo del Po, andhislillerThercfa, the fon and daughter 

 of Pietro, alfo etched feveral plates, in a ftyle rercmbhng that 

 of their father, among which is " Sufanna furprifed by the 

 Elders," after Caracci, a folio plate, engraved by Therefa, 



Simon Cantarini, furnamedll Pefarefe, was born at Pefaro, 

 a city of Urbino, in the year 1610. He learned the rudi- 

 ments of art under Ridolfi, but afterwards became one of 

 the moil diilinguidied of tlie pupils of Guido, whofe ftyle, 

 both of painting and etching, he imitated with fo much iuc- 

 cefs, that the work.- of the difciple are not untrequer.tly 

 miftaken for thofe of the mafter. 



Cantarini died at Verona, at the early age of thirty.eight. 



He produced a great number of prints, which are for the 



moft part of religious fubjedls, and of which Adam Bartfch 



lias formed a catalogue wlijch we bdi^ve is complete. . 



'j Among 



