DOI Page / Citation link:
https://doi.org/10.11588/diglit.73059#0061
Quantity of Bartolomei's Work.
the chapel of the Grotto Torrato, by Domenichino, and some of the portraits of painters
for the new edition of Vasari's "Lives of Painters,"* in which he closely imitated the
* This is the full title of Vasari's work :—" Vite de' piu eccellenti pittori, scultori, ed architetti, scritte da Giorgio
Vasari, pittore e Architetto Aretino. Edizione arricchita di note oltre quelle dell' Edizione Illustrata di Roma.
All'altezza Reale di Pietro Leopoldo Principe Reale d'Ungheria e di Boemia, Arciduca d' Austria e Granduca di
Toscana, etc., etc. Livorno, MDCCLXVII.
prints in the original edition. These facsimile prints do not bear his name, and are not
distinguishable from those by other engravers, which is however of little moment, as they
cannot be said to possess any merit beyond that of being faithful transcripts of inartistic
and crudely engraved wooden blocks.
A pair of large prints in line, containing numerous figures, " Groups of Bacchanalian
Boys,"* after Franceschini, went far to establish his reputation. In these prints are
* These appeared in the second volume of the Guercino Etchings, published by Boydell.
reflected a sparkling brilliancy and poetical fancy, and the purity of his drawing is fully
apparent. The following are amongst the more important works, examples of which will
usually be found in the folio of the collector :—A Series of Landscapes, after Pietro
Cortona; "Sleeping Child," after Sirani; "The Circumcision," after Guercino; "St. Paul
at Melita," after West; "Holy Family," after N. Poussin; "Madonna del Sacco"
(Madonna of the bag), after A. del Sarto; "Madonna del Pesce" (Madonna of the
Fish), after Raphael (Madrid) ; " Madonna," after Carlo Dolci (published by Boydell,
'769); "Madonna and Child," after Wandeigh(?); "The Adulteress before Christ," after
Caracci, F. Bartolozzi, Londini, Sculp.; "The Virgin and Child," after Carlo Dolci (pub-
lished by Boydell); "Lady and Child," after Sasso Ferrato (published by Boydell, 1767);
" Mother and Child," after Cipriani (published by Boydell, 1768) ; "Venus, Cupid, and
Satyr," after Luca Giordano ; " Flora carrying off Cupid to her Chariot"; "Agriculture,"
after Benjamin West; "St. Paul," after the same master, from the picture in Greenwich
Hospital; "Dido," after Cipriani; "The Arts and Sciences"; "The Elements," a set of
four very large allegorical prints, after Albano; and his set of etchings after Guercino.
His " La Vierge au Silence," after Ann. Caracci—usually called "The Silence"—is a
magnificent specimen of line engraving, and considered one of his masterpieces. The
print is of considerable dimensions, and represents our Saviour as a child sleeping
in the arms of His mother, who, encircling Him with the left arm, is holding the
other up with finger to lip, enforcing silence on the little St. John, who is represented
with left hand extended so as almost to touch the Child, and appears about to awake Him
out of His slumber, in which act he is suddenly arrested. This print was subsequently
re-engraved by Bartolozzi in stipple, and on a very much smaller scale, under the engraved
title of "Silence." The subject was also secularised; a merely human child is asleep,
and another is prevented from waking him by a winged cupid, whose attitude with finger
to lip, enjoining silence, is closely copied from the original action of the Madonna. His
" Clytie," after Annibal Caracci, is usually and deservedly looked upon as one of Barto-
lozzi's masterpieces in pure line engraving. The figure is classically draped and reclines
on a rock; in her left hand Clytie holds a thorned branch with which she is repulsing
39 Hymen
the chapel of the Grotto Torrato, by Domenichino, and some of the portraits of painters
for the new edition of Vasari's "Lives of Painters,"* in which he closely imitated the
* This is the full title of Vasari's work :—" Vite de' piu eccellenti pittori, scultori, ed architetti, scritte da Giorgio
Vasari, pittore e Architetto Aretino. Edizione arricchita di note oltre quelle dell' Edizione Illustrata di Roma.
All'altezza Reale di Pietro Leopoldo Principe Reale d'Ungheria e di Boemia, Arciduca d' Austria e Granduca di
Toscana, etc., etc. Livorno, MDCCLXVII.
prints in the original edition. These facsimile prints do not bear his name, and are not
distinguishable from those by other engravers, which is however of little moment, as they
cannot be said to possess any merit beyond that of being faithful transcripts of inartistic
and crudely engraved wooden blocks.
A pair of large prints in line, containing numerous figures, " Groups of Bacchanalian
Boys,"* after Franceschini, went far to establish his reputation. In these prints are
* These appeared in the second volume of the Guercino Etchings, published by Boydell.
reflected a sparkling brilliancy and poetical fancy, and the purity of his drawing is fully
apparent. The following are amongst the more important works, examples of which will
usually be found in the folio of the collector :—A Series of Landscapes, after Pietro
Cortona; "Sleeping Child," after Sirani; "The Circumcision," after Guercino; "St. Paul
at Melita," after West; "Holy Family," after N. Poussin; "Madonna del Sacco"
(Madonna of the bag), after A. del Sarto; "Madonna del Pesce" (Madonna of the
Fish), after Raphael (Madrid) ; " Madonna," after Carlo Dolci (published by Boydell,
'769); "Madonna and Child," after Wandeigh(?); "The Adulteress before Christ," after
Caracci, F. Bartolozzi, Londini, Sculp.; "The Virgin and Child," after Carlo Dolci (pub-
lished by Boydell); "Lady and Child," after Sasso Ferrato (published by Boydell, 1767);
" Mother and Child," after Cipriani (published by Boydell, 1768) ; "Venus, Cupid, and
Satyr," after Luca Giordano ; " Flora carrying off Cupid to her Chariot"; "Agriculture,"
after Benjamin West; "St. Paul," after the same master, from the picture in Greenwich
Hospital; "Dido," after Cipriani; "The Arts and Sciences"; "The Elements," a set of
four very large allegorical prints, after Albano; and his set of etchings after Guercino.
His " La Vierge au Silence," after Ann. Caracci—usually called "The Silence"—is a
magnificent specimen of line engraving, and considered one of his masterpieces. The
print is of considerable dimensions, and represents our Saviour as a child sleeping
in the arms of His mother, who, encircling Him with the left arm, is holding the
other up with finger to lip, enforcing silence on the little St. John, who is represented
with left hand extended so as almost to touch the Child, and appears about to awake Him
out of His slumber, in which act he is suddenly arrested. This print was subsequently
re-engraved by Bartolozzi in stipple, and on a very much smaller scale, under the engraved
title of "Silence." The subject was also secularised; a merely human child is asleep,
and another is prevented from waking him by a winged cupid, whose attitude with finger
to lip, enjoining silence, is closely copied from the original action of the Madonna. His
" Clytie," after Annibal Caracci, is usually and deservedly looked upon as one of Barto-
lozzi's masterpieces in pure line engraving. The figure is classically draped and reclines
on a rock; in her left hand Clytie holds a thorned branch with which she is repulsing
39 Hymen