92 The French calligraphers Page 86 The English chalcographers and their works; Payne, ecil, Wright, Faithorne, Barlow, Gaywood, Lightfoot, Glover, J. Fellian, and Switzer 91, 92 Medal-gravers, and for intaglias, Symonds, Rawlins, Reftrick, Johnfon Calligraphers, Coker, Gery, Gething, Billingly, &c. ib An invitation to the English Chalcographers to publish his Majefty's collection, the benefit and honour of it 92, 93 The landfchapes, views, palaces, of England, Levantine parts, Indies, &c. together with the cities, ifles, trees, plants, flowers and animals, to be cut in copper and reformed, were a most acceptable and useful work Painters encouraged to fet their hands to the The use of this collection CHA P. V. graver 93 94 ib Of drawing and defign, previous to the art of chalcography; and of the use of pictures in order to the education of children 95 ib ib ib Measure and proportion have influence on all our actions Original Drawings efteemed, and for what Antiquity of what effect ib 96 ib Defign and Drawing defined and distinguished, its antiquity and invention Accident and chance fruitful mothers 97, 98 98 ib Drawing with crayon, pen, &c. the method, and how to be performed with fuccefs Hatching, what and how attained by imitating good mafters, and by what method Overmuch exactness and finishing, a fault in drawing, and why. Polycletus's canon 99, 100 ib Accurate defigns with the pen not esteemed, and why. Who excelled in them to admiration. 100, 101 Vander Douse, Francis and John Cleyne, Francis Carter, &c. celebrated 101, 102 Colours, the production of a middle colour wrought on two extreams 102 Rubens's Rubens's and Van Dyke's first studies in Italy Page 102 103 ib 105, 106 Drawing, how neceflary Academies erected for the virtuofi, by whom Greeks and Komans, how they cherished and enobled inen of art 103 Sculptors and painters chief of the court and retinue to the Courts of great princes how formerly composed 103, 104 How the ancient and most renowned fculptors were fome Painters fhould sometimes draw with the pen What painters made use of prints And caused their works to be published 105 106 ib ib How to express the fenfation of the relievo or exftancy of objects by the hatches in graving 107 the reft of the colours Lights and fhades, their ftupendous effect Coloreè what it means 112 ib ib ib ib ib What other painters were monochromifts, and who introduced The invention of Chevalier Woolfon to blazon bearing in III ib coat-armour by hatches without letters 113 Tonus, what it imports in graving ib Of copying after defigns and painting ib What prints are to be called excellent ib How to detect the copy of a print from an original print 114 ib His highness prince Rupert celebrated, and the gravings by him The French king an engraver A flave might not be taught to grave or paint, and why Graving accounted one of the liberal arts by Pliny and ib Children inftructed in the graphical arts ib Great scholars of late skillful in the art of graving, &c. 117 How far the art of drawing conduces to the Iciences mathe- ib Of what great ufe and benefit the art of graving may be to the Prints more eftimable than painting, and why What gentlemen of quality are the greateft collectors of prints in France ib At how high rates the prints of the most famous mafters are ib Collections of prints recommended to princes and great perfons, ib By whom draughts and prints are celebrated for the inftitution. ib The univerfal language how to be moft probably accomplished ib Of the new way of engraving, or mezzotinto, invented and communicated by his highnefs prince Rupert, &c. 127 An advantageous commutation for omitting the defcription of ib A paradoxical graving without burin, point, or aqua fortis ib F I NI S. |