gue popofcit ebur, &c. MANUTIUS calls them dimidia eminentia, and the ITALIANS do well interpret by Baffo and Mezzo Relievo. Hence the figure is faid ftare, or exftare: for fo MARTIAL, ftat caper; and JUVENAL, ftantem extra pocula caprum: as from the fimilitude and perfection of the work, vivere, fpirare, calere; it feemed "to breathe and "be living," as VIRGIL expreffes it;

Excudent alii fpirantia mollius æra.

And HORACE,

Et ungues Exprimet, & molles imitabitur ære capillos. Ludit Acidalio fed non manus afpera nodo Candida non tacita refpondet imagine Lygdos. MART. For in this manner they used to celebrate those rare pieces of art, diftinct from the diaglyphice and encolaptic, more properly according with our purpofe; and which may haply be as well expreffed by cælatura, and from the fignification made a derivative ἀπὸ τὸ σκάπλειν, to dig or make incifion. I think VARRO may have fcaptus for cælatus; as CICERO fcalptus, and PLINY fcalpturatus; yet we rather follow them who derive fcalpo, fculpo, from γλάφω and γλύφω ; becaufe the belt origination is to preferve the foundation in the ancienter languages, if the mutation of letters be warranted, as here in ypaqw fcribo. The word in the holy tongue, n, which imports an opening, (becaufe the plate, ftone, or whatever else material they ufed, aperitur aliqua fui parte, is fomewhere opened when any thing is engraven upon it) attests rather to the former etymon and fignification, than

* EPIST. ad Mocenium.

to

to any other material affinity: befides, that 'tis alfo transferable to those who carve with the chiffel, or work in boffe with the puntion, as our ftatuaries goldfmiths and repairers do. In the glofs we meet with cælum Topros, &c. which though fome admit not fo freely in this sense, yet MARTIAL, fpeaking of emboffed cups, more than once calls them to

reumata;

Miratus fueris cum prifca toreumata multum. Lib. 8. And why may not the tori, brawn, or collops of fat, be expreffed by these raised figures, and they torofæ plump, and (as the French has it) en bon point, as well as fufile and fictile ones? Some round chiffel or lathe perhaps it was; but we dare only conjecture. Others cælum a cado, which is to beat, ftrike, cut or dig; but by what parallel authority of fuch a derivative, we know not. VARRO * yet e cælo heaven itself, reaching its original from the very stars. λos is another, more confonant and harmonious with the antient p kalangh, which imports to excavate and make hollow, as it is frequently interpreted, particularly i Reg. vi. 32, 35. where, what the vulgar Latin renders fculpfit, VATABLUS makes cælavit, and JUNIUS incidit, beft of all correfponding with our purpose. And fo in the famous wrought shield which Ulyffes purchased by his eloquence, QUINTILIANT applies the word, in cælatura clypei Achillis, & lites funt & actiones: for fo it seems to have been much used on their harness; LIVY‡ reports of two famous armies fo reprefented or as more allufive yet to our plate, where 'tis faid, cælatura rumpit tenuem laminam ; *L. iv. de L. L. ↑ Lib. ii. c. 18.

Hift. 1. 9.

the

the queftion be not rather, whether thefe works, like the ancæfa vafa, were not raised and emboffed; thofe expreffions of PLINY fo much favouring their eminency, where he tells us, fpeaking of this very art, [ita exolevit, ut fola jam vetuftate cenfeatur, ufque adeo attritis cælaturis, ne figura difcerni poffit] "it has now been fo long out of ufe, that it is "esteemed only for its antiquity, the graving being "fo worn away, that the figures are no longer "difcernible;" time and age had so greatly defaced them.

But may this fuffice for the divifion and denomination of the ART in general; fince the title which we have made choice of, is univerfally applicable for fo [loquendi confuetudine]" in ordinary "difcourfe," fculptura and fcalptura import but one and the fame thing, as SALMASIUS has well noted on Solinus; and, therefore, thofe, who wrought any of thefe hollow cut-works, were by fome called cavatores, and graphatores, fays that learned perfon; whence, doubtlefs, our gravers may have derived their appellation.

By this then it will not be difficult for any to define what the ART itself is; whether confidered in the most general and comprehensive acceptation, or as it concerns that of CHALCOGRAPHY chiefly, and fuch as have moft affinity with it; fince (as well as the rest) it may be described to be, “Àn "art, which takes away all that is fuperfluous of "the subject matter, reducing it to that form or body which was defigned in the idea of the ar"tift:" and this, as fufficiently univerfal; unless in favour of the plastic, (which yet does not come

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under

under our cognizance) we will rather receive the diftinction which MICHAEL ANGELO was used to obferve between them, that this last was made by appofition, which is the quite contrary. But indeed, neither the paradigmatic, agogic, or any of the plaftic, can genuinely, and in propriety of speech, be called SCULPTURE, without a catachrefis and fome violence; fince [nullum fimile eft idem] "like"ness is not fameness," whether applied to the matter or the tools.

And now we fpeak of INSTRUMENTS, we shall find that there has been little lefs controverfy among the grammarians, touching them alfo, than concerning the very art itfelf: as whether the yuqov Stile or fcalprum, is to be called cælum, cales, OF altes, noted by the critics from that text Joв xix. [quis mihi det, ut exarentur in libro ftylo ferreo, aut plumbi lamina, vel cælte fculpantur in filice ?]

ર

that my words were-printed in a book, that "they were graven with an iron pen and lead in "the rock for ever! (where by the way, 'tis obferved, that this verfe comprehends, and alludes to, almost all the forts of antient writing and engraving; books, plates, stone and stile) and from an old infcription out of ALDUS, and GRUTER. MARTIAL, AUSONIUS, and the poet STATIUS *, cælum frequently;

Laboriferi vivant quæ marmora cælo,

ufe

But we will be fparing. Γλυφίς, γλυφειοι, γλύφανον, as JUNIUst: alfo έγκολαπὴρ, ὑπαγωγεὺς, λαξευτήριον as much as σιδήριον λιθαργὸν ; fo is γλαρὶς and λέον Epift. 55. Stat. 1.4. † Sylv. 1. 4. ‡ Theocr. Thucyd.

*

in

POLLUX. Scalprum, is xores Cuf; with the fame JUNIUS, graphium; laftly, ftylus pateor, úλos, opin, in SUIDAS; nevzpis the fame POLLUX. Call σμίλη, ἐγκεντρὶς them point, file, graver, puntion, polisher, or what elfe you please, we will contend no farther about it; for thefe inftruments (as defpicable as they appear) have fometimes proved fatal and dangerous wea pons; as the bleffed Caffianus found by fad experience, whofe cruel martyrdom with thefe ftiles is glorioufly celebrated by PRUDENTIUS, περὶ τεφάνων Hymn. ix. And thus was alfo Erixion flain, for his unnatural affection, by the enraged people; with other examples to be produced out of SENECA, PLUTARCH, SUETONIUS, and others: for, when apon feveral of thore diforders, σιδηροφορείν (or the carrying about them any weapons of iron) was made capital, they did mifchief with these inftruments, till like childrens' knives they were converted into bone, which did only ferve them to write withal, and arare campum cereum, to plough up their fuperinduced tables, and cerei pugillares not much unlike to our etching with points and needles on the vernish, in shape and ufe refembling them, fave where the obtufer end was made more deletive, apt to put out, and obliterate, when they would ftylum vertere, which our burnisher, (another tool used by CHALCOGRAPHERS) and polisher performs.

But to defcend to the modern names both of the ART and INSTRUMENT. The FRENCH call it in particular taille douce, fweet or tender cut; whether wrought with the burin, (for so they term the inftrument which we the graver) or with aqua fortis. The ITALIANS, intaglia, or ftamp, without adjunct;

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