*FRENCH SCHOOL 
then placed ‘under the tuition of La Fofle, = which he 
vifited Italy, and remained there feveral year 
On his ie to his native countr . Ge reputation 
of an excellent painter of battles, he was attached to the 
French cavalry, in order that he might enjoy the beft op- 
portunities of fludying fuch military fubjects as occurred ; 
and he was alfo — to paint the conquefts of Louis XV. 
e handle the graver and etching-needle with 
facility ; yet his works are on the whole saga to Saleh 
of his father. A feries of sess of cavalry an ntry, 
after his owndefigns, are executed with coniderable ee 
Etienne Parrocel was the nephew of Charles, and was 
born in Paris formewhere about the ycar 1720. He alfo 
painted, etched, and handled the graver. ‘The following 
fubjects from his hand are executed in a bold and free 
ftyle. 
wn. 
Elizabeth Sophie Cheron, (fubfequently Madame le 
3 
ady celebrated for the extenfivenefs of her ac- 
enamel painter of Paris, under whofe inftruétion fhe made 
‘rapid progrefs in the arts of defign. She was patronized 
by Le Brun, and received with flattering eae by the 
Royal Ac ake in the year 1676. he age of fixty 
‘fhe married M. le Hay of the royal engineer and died in 
her native city at the age of fixty-thre 
he prefent writer has not feen her cna ings, and from 
the vague manner in which they are {poken of by her 
French biographers, cannot be certain whether the three 
following {ubjects are copied from antique gems, or defigned 
by Mad 
ems, but moft 
ever, etched by herfelf, of the quarto fize. 
Ariadne ;? “ Mars 
her Poppies.” 
e aa eee a “ Defcent from ta Crofs,’’ in folio, 
from a model by the abbé Zumbo. e plate is etched, 
and afterw ard finifhed with the graver ina ftyle that dos 
credit to the powers of the arti wae 
Her remaining prints are a p of faints after Raphael, 
rand a drawing-book ee ‘thirty-fix plates from de- 
o ee her own. 
7 
<¢ Bacchus and 
and Venus ;’’ and « Night fhedding 
s Cheron, born at Paris in ave ei 1660, was bro- 
ther o "Elizabeth Sophia. He w o Italy, and remained 
there a ial ree partly cee - the bounty of his. 
. He compofed with facility, and drew rather correCtly 
than ae In his religious principles he was a Cal- 
vinift, and the perfecutions of that fe, which took place 
ter his return to ae native country, obliged a to 
feek refuge in Englan ere he was employe the 
duke of Montague, and where he died at the age of ae 
ie e 
The following prints from his hand difplay tafte and 
ability: they are of the folio fize, and from his own com- 
pofitions. 
a ot rer pon the lame oe at the nae = the ve 
le; * The Death of sae and §& 
Philip ictus she Eun ee 
« Hercules refting from his Labours.”’ 
omit twenty-three plates ldap he as aved for his fifter’s 
sate sia ce an al ate alms Davi 
orn a pe 
1650. He 
; graved almoft ane ie for ‘the book feller befides exe- 
OF ENGRAVING. 
cuting a great number of portraits of. French ses of letters 
and other celebrated characters of the lait century. Ha- 
bert was tolerably well inftructed in the eecrans of his 
art, which is all the praife which can in jultice be awarded 
him. Th he beft of hie engravings are the following portraits, 
ouis Maimbourg, a celebrated Jefuit and author, en- 
graven after life by N. ert, 1686. q ti an- 
oft 
Felix, Vialatt, bidhop ape ee Maria Louifa of Orleans, 
daughter of Monfieur, queen of Spain. John Milton, the 
celebrated Englifh aa Thomas Parr, a celebrated Engiifh 
centenarian, all in folio 
r Crepy, father and fon, were 
the ee about the middle of the feven- 
in the year 1680. Strutt {peaks 
ir abilities rather worfe than they deferve, though nei- 
ther “of them merit much praife, nor other notice from us 
than the tafk of mentioning their principal works, which are 
as follow, and which, excepting their portraits, are of the 
foi 10 clafs. 
y Magdalen,” Crepy inv. et = “The ge tae 
ice the “Tnfant Jefus is feen fleeping on ftraw, red 
by two angels, after Albano. Ths is a print of 
a. and probably the beft work of the elder Crepy. 
“The Defcent from the Crofs,”’ after Carlo Cignani. “A 
Family, or St. Benedicite,”’ after le Brun. “ The Pre- 
{entation of ike pe Jefus in the emple,’’ after the fame, 
{mall folio. «The Rehearfer a amatory Speeches,’’ 
ter W atten, engraven by Cre fon, in folio. 
The . ae wing portraits are alfo by thefe artizans, 
for arti they may fcarcely be called, and are 
neatly ee Y Marie-Ad elaide, ae o Piedmont, 
oval, in 4to. he a d’Agueffeau, in 4to 
aor oval, in 4to. The bifhop of rena Ato. a- 
homet Effendi, ambaffador to Fran nce, n 8vo. Antoine 
Houdart de la Motte, in ~~ — 
The duke of Marlborough, i 
m the infipidity of Habert and the res attention 
He 
ne Sener in 8vo. 
Li 
the Abigeois, in ae tt does not often 
rife to the tone of energy bate which he writes cf this man 
of genius, and we therefore hefitate not to adopt his words 
in ae hae to our own, or the tame prolixity of Huber 
a Fage ‘never apt any geass but following 
ne diGat of h pplied elf to mane 3 
and his wor oe ufcenly tellify ie frpriing 0A efs 
made in that Hi 
figures are {pirited, bold, i or elegant, as the fub- 
jet required. His groups nely sala per and fre- 
laws without a ia “of fhadow, he contrived 
to detach them from each other, in fuch a manner that the 
fubje & i o means re or the effect difa eeable. 
vention the ftyle and Seton of thofe he bor- 
cance, that the * apiacifin {eems rather to do him honour, 
than tend to his difcredit. He refided fome time in Italy, 
and when he fhewed 7 hast i at Rome, they aftonifhed | 
a one bas beheld t 
ne day to vifi Carlo Maratti . ean that artift 
at - eae 0M Aaratti, ene to fee him, r him very 
"ake ii 
