DOI Page / Citation link:
https://doi.org/10.11588/diglit.75271#0289
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in imitations, in which he hath etched several valuable prints, par-
ticularly two oval landscapes, after Salvator; a monkey in red chalk,
after Carrachi; two or three views, after Panini, and some others
equally excellent; but this practice has been so successfully pradiied
by Count Caylus, an ingenious French Nobleman, that he has given
excellent prints from all the makers of note. Le Clerc was an ex-
cellent engraver, in the little style. Peter Bartolli etched with free-
dom, his capital work is Lanfrank's Gallery, ^ohn Freii was an ex-
cellent engraver, and unites softness with strength. R. B. Auden
^erd copied many things from Carlo Maratti. S. Gribelin was a,
careful, laborious engraver, of no extensive genius, but painfully
exa&. Le Bas etches in a clear, distinsl, free manner, and has done
great honour to the works of Teniers, Woverman, and Berghem,
from whom he chiefly copied: the best are after Berghem. Bifehtfs
etching has something pleasing in it, it is loose and free, and yet
possesses strength and richness, many of his statues are good figures;
the drawing is not always corred, but the execution beautiful;
many of the plates of his drawing book are very well, his greatest
single work is Joseph in Egypt, which is not without faults. Francis
Perrier, his statues are very spiritedly etched, with great marks of
genius. Marot etched some statues in a capital manner. Roettier's
etchings are in a spirited bold manner, but not without an harshness
in his outline, but his drawings are generally good ; few artists manage
a crowd better, or give it more effed, by a judicious disiribution of
light: his most capital works are the crucifixion, and assumption of
the cross. N. Dorigny, his most capital work is the transfiguration,
which Addifon calls the noblest print in the world; but Dorigny so
exhausted his genius on it, that he did nothing after worth preserv-
ing; his cartons are very poor, he engraved them with assistance
in his old age.
L1 2
MASTERS
in imitations, in which he hath etched several valuable prints, par-
ticularly two oval landscapes, after Salvator; a monkey in red chalk,
after Carrachi; two or three views, after Panini, and some others
equally excellent; but this practice has been so successfully pradiied
by Count Caylus, an ingenious French Nobleman, that he has given
excellent prints from all the makers of note. Le Clerc was an ex-
cellent engraver, in the little style. Peter Bartolli etched with free-
dom, his capital work is Lanfrank's Gallery, ^ohn Freii was an ex-
cellent engraver, and unites softness with strength. R. B. Auden
^erd copied many things from Carlo Maratti. S. Gribelin was a,
careful, laborious engraver, of no extensive genius, but painfully
exa&. Le Bas etches in a clear, distinsl, free manner, and has done
great honour to the works of Teniers, Woverman, and Berghem,
from whom he chiefly copied: the best are after Berghem. Bifehtfs
etching has something pleasing in it, it is loose and free, and yet
possesses strength and richness, many of his statues are good figures;
the drawing is not always corred, but the execution beautiful;
many of the plates of his drawing book are very well, his greatest
single work is Joseph in Egypt, which is not without faults. Francis
Perrier, his statues are very spiritedly etched, with great marks of
genius. Marot etched some statues in a capital manner. Roettier's
etchings are in a spirited bold manner, but not without an harshness
in his outline, but his drawings are generally good ; few artists manage
a crowd better, or give it more effed, by a judicious disiribution of
light: his most capital works are the crucifixion, and assumption of
the cross. N. Dorigny, his most capital work is the transfiguration,
which Addifon calls the noblest print in the world; but Dorigny so
exhausted his genius on it, that he did nothing after worth preserv-
ing; his cartons are very poor, he engraved them with assistance
in his old age.
L1 2
MASTERS