Her Guace the Ditches s of Bevo^s-shike
 
 BARTOLOZZI 
 
 AND HIS PUPILS IN 
 ENGLAND 
 
 fFITH AN ABRIDGED LIST OF HIS MORE 
 
 IMPORTANT PRINTS IN LINE AND 
 
 STIPPLE 
 
 SELWYN BRINTON, M.A. 
 
 Author of 
 
 THE RENAISSANCE IN ITALIAN ART," " CORREGGIO, 
 
 "the XVIIITH CENTURY IN ENGLISH 
 
 CARICATURF," ETC. 
 
 New York : 
 FREDERICK A. STOKES COMPANY
 
 Printed in Great Britain. 
 
 All rights reserved.
 
 This study of the great engraver is dedicated to 
 ^Algernon Qraves, F.S.J. 
 
 whose assistance and sympathy I have proved 
 in my past researches, and who, both in his 
 writings upon English art, and his conduct oj 
 the business of Henry Graves and Co., Ltd., 
 has shown himself a worthy inheritor of the 
 gr$at tradition bequeathed to his firm by 
 their famous predecessors 
 
 John and Josiah Boydelt 
 
 (of go Cheapside and the Shakespeare 
 
 Gallery, Pall Mall), the first and most 
 
 faithful patrons of Francesco Bartolozzi. 
 
 2039281
 
 INTRODUCTION 
 
 In undertaking the work of editing a new series of 
 
 Art Monographs, when so many similar works, both 
 in volume and series form, are already before the 
 public, the obvious and discouraging criticism as to 
 " the making of books," which dates as far back as 
 the author of Ecclesiastes, came forcibly before 
 my mind. 
 
 If I decided on the task, in spite of that criticism, 
 it was because several considerations came to support 
 my courage, and strengthen my resolve. The first 
 and most immediate was that I had already at my 
 disposal an excellent series, edited by Richard 
 Muther, which, under the title of " Die Kunst," has 
 attained a deserved success in Germany. For 
 Richard Muther's indefatigable energy of culture, 
 his wide art knowledge (to which his " Modern 
 Painting," and his recent " History of English 
 Painting" bear witness), and, above all, his virile
 
 viii INTRODUCTION 
 
 energy of style, I have the deepest and most sincere 
 admiration ; and it is a pleasure to look forward to 
 including such works as his " Lucas Cranach " and 
 " Leonardo " within the present series. 
 
 But, if here my subjects are already suggested, 
 it is not my purpose to rest content with these. 
 For art is not a closed field, but a vast territory ; 
 and from her broad high roads we may turn into 
 the most delicious and unexpected bypaths and 
 green-shaded lanes. It is just these bypaths, where 
 a vast folio could scarce find space to enter, that 
 such little volumes as these are most fitted to 
 explore ; it is here that they may be of real service 
 to the English-speaking public, where to present 
 a Michelangelo in miniature might seem a task 
 little short of sacrilege. 
 
 In the charming little work, which I can promise 
 from Mr. Emanuel, upon that vanguard of the 
 armies of Bohemia, the artists of Montmartre — in 
 the study on the Japanese artists of colour-printing 
 which Mr. Strange, a known master of the subject, 
 is preparing — even in my own study of that fasci- 
 nating and still popular engraver, Francesco Barto- 
 lozzi, I have sought to get a little away from the 
 high road into these restful artistic byways ; and
 
 INTRODUCTION ix 
 
 here, to clinch my resolve, to give me courage in 
 my new venture, there comes the memory of a 
 strong living word spoken to me years ago, when, 
 as a young student, I visited, full of reverent enthu- 
 siasm, that master in many forms of art, the late 
 William Morris. " Art," said the great English 
 poet and craftsman of lovely decorative forms, " Art 
 breeds art ! " The supply, by stimulating the 
 interest, itself increases the demand ; and there can 
 be no fear, from this point of view, for any sincere 
 worker in any form of art production that his effort 
 will be entirely useless or unappreciated. 
 
 And now I turn to the special subject of this 
 volume, and gladly seize this chance for a few 
 moments' informal chat with my reader about Barto- 
 iozzi, A friend of mine, whose name stands high 
 both as an artist and teacher, found fault with me 
 recently, in looking over my own collection, for 
 using in connection with my Guercino prints the 
 word " engravings," The point raised is an inter- 
 esting one, and, as I have used the expression " line 
 engravings" in this book, I should like to go into it 
 briefly. As a matter of fact, Bartolozzi, in these 
 prints, used the etching point quite as much as the 
 graver ; and Mr. Hamerton — Editor of the " Port-
 
 X INTRODUCTION 
 
 folio " and an authority on this point — in a letter to 
 Mr. Tuer once said : " Bartolozzi's plates from 
 Guercino were quite strictly what we are accustomed 
 to call etchings — most of the lines in them drawn 
 with great freedom and rapidity on a plate covered 
 with etching ground, and afterwards bitten with 
 aqua fortis. 
 
 "Some of these lines have been subsequently cleared 
 and deepened with the burin " (or graver), " but not 
 to such extent as to make a burin engraving of the 
 work. I mean," he added, " that the character 
 given by the etching-point is still quite predominant, 
 whereas in what we call a line-engraving the etched 
 work is merely preparatory." And he then pointed 
 out that, since etchers often use the burin at the 
 end of their work, and engravers always use the 
 etching-point at the beginning, the real test is that, 
 in an etching, the freedom of the bitten line is 
 preserved to the end. but in a line-engraving the 
 formal and severe character of the graved line pre- 
 dominates, and the burin work overcomes the bitten 
 woik. Under Bartolozzi's magic touch both tools 
 were used to full effect, but the freedom of line 
 generally (not always) preserved ; and in these cases 
 it would be as correct to call them etchings as
 
 INTRODUCTION xi 
 
 engravings, though I have preferred to keep to 
 the accepted terminology for the sake of con- 
 venience. 
 
 Yet one last word (a word of caution) to the 
 collector into whose hands these pages come ; and 
 here I must step out of this editorial chair, and meet 
 him (or her) upon the common ground of a common 
 enthusiasm. 
 
 The attraction is great, the prizes to be found 
 a lasting joy, but the perils manifold : especially is 
 this the case with colour-prints, for which the high 
 prices now to be obtained (ranging for good speci- 
 mens from £^0 to ;^200, and over) form an incen- 
 tive to an unscrupulous dealer. 
 
 Of course the quality of the paper is a point to 
 be noted ; and the wise collector will buy no print 
 without seeing it outside its frame. Bartolozzi 
 engravings were mostly printed upon a soft, ribbed, 
 Dutch hand-made paper, which, when held to the 
 light, shows generally specks of dirt in tht texture ; 
 and, when one has been through a hundred prints 
 or more, one gets to know exactly the texture and 
 feel of this paper, which is quite different from 
 modern machine-made. 
 
 Yet again let the collector drive into his mind
 
 xi! INTRODUCTION 
 
 that point insisted on by Mr. Andrew Tuer, a 
 master of this subject, that in the coloured prints of 
 Bartolozzi and his school it is the dots that are 
 coloured, and not the background j whereas in the 
 hand-coloured stipple-prints, with which the curls 
 shops are flooded, the paper is coloured all over, and 
 the dots show through. 
 
 Even so the forgeries are so numerous and so 
 clever (even the exact imprint with its occasional 
 faults in spelling being copied) that it is sometimes 
 difficult to escape deception. There are London 
 shops at this moment where these modern reprints 
 m.ake a regular weekly change in the window, with 
 or without " Bartolozzi " frames ; and, having been 
 once thus caught, I found but yesterday a replica of 
 my lovely fraud (a famous beauty of Reynolds' time) 
 smiling at me in the window within a remote Sussex 
 village. 
 
 Perhaps the best lesson really is to be thus " bit- 
 ten," and, having owned it, and paid for your 
 experience, to place the forgery beside its authentic 
 original from one of the Museums or great private 
 collections, and go through every point of the 
 modelling — the curve of lips and nostrils, the light 
 of the eye, the shadow of neck and chin — between
 
 INTRODUCTION xiii 
 
 the finished proof by Burke or Bartolozzi or Ryland 
 and its coarser copy. 
 
 Even an hour thus spent will not have been 
 wasted ; for the lesson, once learnt, will never be 
 forgotten. 
 
 I must add a word of thanks, in conclusion, to 
 Messrs. Colnaghi of Pall Mall East, who kindly 
 placed at my disposal for illustration their beautiful 
 colour-prints of Georgiana^ Duchess of Devonshire^ and 
 of the Countess of Derby ; to the oincials of the 
 British Museum Print Room and the Victoria and 
 Albert Museum, and to Baron de Worms, whose 
 superb collection of Bartolozzi prints at his Brighton 
 residence has been of the greatest value to my 
 research.
 
 ILLUSTRATIONS 
 
 I. Duchess of Dxvonshirb .... Frontit^iec* 
 
 {Engraved by Bartoloui from Mr. Downman't dravring) 
 
 Facing 
 
 ^agt 
 
 a. Mother and Child ....... io 
 
 (Engraved by Ba^tolozzifrom Gutrcino) 
 
 3. An Italian Music Lesson . . . . . .16 
 
 {Engraved by R. D alt on from Gutrcino) 
 
 4. Francesco Bartolozzi, R.A. . . . . .18 
 
 {Engra7'ed by R, S. Marcuard from Sir /. Reyn»ld$, 
 P. R.A.) 
 
 5. Infant St. John ....... ao 
 
 {Engraved by Bartolozzi from Guercino) 
 
 6. Angelica Kauffman beside Poetry . , , -23 
 
 {Engraved by Thos. Burke from her ovjn self Portrait) 
 
 7. Holy Family with Angel a6 
 
 {Engraved by Bartolozzi from Guercino) 
 
 8. Beauty ......... 33 
 
 {Engraved by Bartolozzi from Ciprianis drawing) 
 
 9. Thais H 
 
 {Engraved by Bartolozzi from Sir J. Reynolds, P. R.A.) 
 
 10. An Italian Music Lesson 40 
 
 {Engraved by Bartolozzi from Guercino) 
 
 11. HoRACK ;i 
 
 {Engraved by Barttlotzi from Angelica Kauffmmn) 
 
 12. Cufid's Manufactory 56 
 
 {Engraved by Bartolozzi from Francesco Albano) 
 
 13. The Rt. Hon. the Countess of Derby . • ^3 
 
 {Engraved by Bartolozzi from Sir Thomas Lawrencg) 
 
 14. Head of an Old Man ...... 64 
 
 {Engraved by G. Vitalba from Guercino) 
 
 15. A Nest of Loves ..... • ^ 
 
 {Engraved by L, Schiavonetti from S. Aspinall) 
 
 16. Syrinx escaping Pan ....... 77 
 
 {Adapted from Bartolozzi s Frontispiece to /. C. BaeKs 
 Sonatas)
 
 CONTENTS 
 
 CHAPTER I 
 
 UDENT LIFE AN 
 
 English engraving before Bartolozzi — Training in Flor- 
 ence under Hugford — The message of the antique — 
 Apprenticeship to Wagner at Venice — Dalton's offer 
 
 Pp. 1-17 
 
 CHAPTER II 
 
 ENGRAVING IN LINE AND STIPPLE 
 
 Bartolozzi in London — The Guercino prints — Angelica 
 Kauffman — Methods of engraving in stipple and line 
 —•Work for the Boyd ells . . . Pp. 18-36 
 
 CHAPTER III 
 
 THE ENGLAND OF PITT AND HER ILLUSTRATORS 
 
 Political conditions on Bartolozzi's arrival — Ticket for 
 Wilkes' Ball, and The Death 0/ Earl Chatham— Th^
 
 xviii CONTENTS 
 
 Caricaturists, Gillray and Rowlandson — Classicism 
 still in fashion — Prints from Reynolds, Cipriani, and 
 Angelica KaufFman . . , , Pp. 37-51 
 
 CHAPTER IV 
 
 BARTOLOZZI IN LONDON AND LISBON 
 
 Bartolozzi*s lavish conduct entails incessant production — 
 Hostility of Sir Robert Strange — Bartolozzi's family — 
 He leaves England for Lisbon in 1802 — His death 
 there in 1 8 1 5 Pp. 5 2-60 
 
 CHAPTER V 
 
 bartolozzi's pupils in ENGLAND 
 
 Henry Bunbury and Bartolozzi — The latter*s contem- 
 poraries — Vitalba and Vivares, and his predecessor 
 Zocchi — His pupils Cheesman, Delattre, Tomkins, 
 Minasi, and others — Conclusion . . Pp. 61-75 
 
 List of Prints by Francesco Bartolozzi 
 
 Line-engravings or etchings — Portraits — Subjects from 
 Mythology and Romance — Book Illustrations and 
 Benefit Tickets Pp. 76-96
 
 CHAPTER I 
 
 BARTOLOZZrS STUDENT LIFE AND 
 'PRENTICESHIP 
 
 THE subject of tins study, the famous en- 
 graver Francesco Bartolozzi, may serve as 
 an example of the vagaries of artistic 
 fashion. The interest in his beautiful prints — which 
 was widely felt and expressed in England at the 
 time of their production — has since waned, revived, 
 and may not improbably decrease again ; but that 
 this interest will never entirely cease, that it will, 
 should it ever decay, as certainly again revive, is a 
 prophecy which is surely justified by the superb and 
 finished drawing, by the exquisite feeling for form 
 which appears throughout his work from the first 
 moment when his individuality is able to assert itself. 
 At the same time, to the private collector — such 
 as, in a small way, I may count myself — these 
 
 A
 
 2 BARTOLOZZI 
 
 prints form an untiring source of fresh delight ; 
 whether it is a translation into superb line work ot 
 Guercino da Cento's drawings, or some delicately- 
 modelled stipple engraving, it is not merely the 
 thrill of first possession, but the deeper pleasure of 
 daily companionship, which does not diminish with 
 time, and even — I speak here of my personal ex- 
 perience — is a persistent and invaluable training to 
 the eye in qualities of careful draughtmanship. 
 
 Years ago (1887), when writing for the Portfolio 
 under the delightful and gifted editorship of the 
 late Mr. P. G. Hamerton, I pointed out how the 
 rage for Francois Boucher's drawings — then at the 
 height of his success, the Peintre du Roi, and 
 director of the Gobelins tapestries — had led to their 
 rapid reproduction by De Marteau, and proved a 
 source of great profit both to artist and engraver. 
 The Education of Cupid and the Fenus and Cupid^ 
 both taken from Boucher, might here be cited as 
 examples. 
 
 Francois Boucher himself was born at Paris in 
 1707, Giles de Marteau, the brilliant engraver of 
 his work, at Liege in 1722, and Francesco Barto- 
 lozzi in 1727 ; so that the latter entered on his 
 career just at a time when the fashion for prints was
 
 BARTOLOZZrS STUDENT LIFE 3 
 
 at its height, both in Paris and London — a fact 
 which we shall have to dwell on later in our study 
 of his work in stipple. 
 
 But the English school of engraving could boast 
 a definite and individual development, which is of 
 sufficient interest to detain us ere we come to the 
 personal career of the engraver Bartolozzi. 
 
 It is true that the art of engraving upon plates of 
 metal appears earlier in use upon the Continent than 
 in England, where its artistic development is slower 
 and later. As early, however, as the reign of 
 Henry VIII., in a.d. 1540, the entry in a list of 
 goods of " 2 figures graven in copper the one the 
 man the other woman, with their Intrayles thereto 
 belonging," may belong to the first edition of the 
 Birth of Mankind, now in the British Museum. 
 In fact, the progress of the Reformation at this 
 period was probably a hindrance to the engraver's 
 art in England ; because this art had upon the 
 Continent, from its very inception, become closely 
 connected with the figures and legends of saints, 
 and symbolism of the Catholic worship. Thus 
 when it came into English use it became mostly 
 employed upon maps, title-pages, portraits, or 
 anatomical prints, upon subjects which, in general,
 
 4 BARTOLOZZI 
 
 possess a secondary artistic interest. Possibly the 
 '-^ Delineatio tot'ius Anatomise'''' of Gemini (1545), 
 certainly the map engravings of Cole and Ryther 
 belong to this class ; while William Rogers 
 ( 1 589-1 604) was doing excellent work upon title- 
 pages and engraved portraits, among which last his 
 fine full length of ^ueen Elizabeth remains a con- 
 spicuous example. 
 
 Already within the line work a certain use of 
 dot is to be observed in these old prints, which 
 might seem to foreshadow the later magnificent 
 creations of the stipple engravers, among whom we 
 shall come to find Bartolozzi such a master. No 
 doubt, too, the settlement in England (a.d. 1616) 
 of the Dutch engraver, Simon van de Passe, with 
 his brother Willem, whose father, Crispin, was 
 already known as an engraver in this country, is of 
 importance in the development of the English 
 School, because a whole school of pupils — including 
 Hole, Delaram, Payne, Marshall, Glover, and 
 Vaughan — was formed under their influence, whose 
 work shows an advance upon that of their Eliza- 
 bethan predecessors. 
 
 William Faith orne, a pupil of John Payne, had 
 studied in Paris durini^ the troubled period of the
 
 BARTOLOZZrS STUDENT LIFE 5 
 
 Civil Wars ; and to that very period of unrest and 
 political strife belongs one of the most remarkable 
 developments in a new and fascinating branch of the 
 graver's art. The excellent Loan Exhibition held 
 this year (1903) at the Victoria and Albert 
 Museum, which represents very fairly the work of 
 the men I have just mentioned — Gemini, Rogers, 
 Crispin, Simon, and Willem van de Passe, Hole, 
 Delaram, Marshall, Vaughan, and Payne — and 
 whose valuable notes on these men I have found of 
 great service, has, in the section which includes 
 their work with that of the quaint Wenceslaus 
 Hollar and Sherwin, one study which seems to 
 carry us away from them into a new epoch of art. 
 It is that magnificent mezzotint engraving called 
 The Great Executioner^ by Prince Rupert. A heads- 
 man or soldier holds in his hand outstretched the 
 severed head ; and the subject, in which the Prince 
 had followed Spagnoletto, has a melancholy interest 
 when we think that the King, whom he served so 
 faithfully, met in this very way his life's conclusion. 
 Van Siegen had invented this new art, and had 
 given his secret to the Prince at Brussels in 1654 ; 
 but mezzotint rather lies outside my province here, 
 and therefore I will say no more of this grand
 
 6 BARTOLOZZI 
 
 creation, which stands alone among the work of 
 this epoch, and surpasses much that follows. 
 
 In the same epoch William Sherwin (i 690-1 711), 
 whose name I have just mentioned, develops and 
 carries forward the tradition of the now fairly- 
 established English School, whose best eftbrts are 
 still devoted to portraiture ; and in the unique 
 satires of William Hogarth, and the line engravings 
 from the Old Masters of Sir Robert Strange 
 (i 721-1792) we have reached already the names of 
 artists who are closely connected with the English 
 career of Francesco Bartolozzi. What I have said 
 here will suffice to show that, when this last artist 
 arrived in England, he found an art which had been 
 already established and practised with success for 
 nearly two centuries, although the art of line 
 engraving — of which he shows such a mastery in 
 his work from Guercino, and which had been 
 specially favoured by his rival. Sir Robert Strange — 
 became in this very period overshadowed to some 
 extent by the fascinating softness and rotundity of 
 stipple, and the magnificent possibilities in tone of 
 the new art of mezzotint. 
 
 It is now time to devote ourselves for the remainder 
 of this chapter to the outlines of Francesco Barto-
 
 BARTOLOZZrS STUDENT LIFE 7 
 
 lozzi's early life and artistic training. Gaetano 
 Bartolozzi, the father of our Francesco, had been a 
 Florentine, occupied with the goldsmith's art, so 
 that the son, as a young student, must have drawn 
 in both the memories of that great school of painting 
 — that maravigUosa scuola Fiorentina^ which had once 
 been the glory of Italy — and the precise training of 
 orfevriay the goldsmith's craft, which had in greater 
 days given to Florence such artists as the Pollajuoli, 
 Verrocchio, Botticelli, and the later Cellini. From 
 his very earliest years the bent towards his future 
 career seems to assert itself in young Francesco. 
 At nine years of age the graver is already in his 
 hand, at ten a couple of heads — some prints of which 
 are said to still exist — showed such precocious power 
 that his father wisely allowed his talent its natural 
 outlet, and placed him in the Academy of Florence 
 under the guidance of Ignazio Hugford, a character 
 of some interest in the art of that period. 
 
 Bryan * states that Hugford was born in England 
 in 1703, but it is certain that from very early years 
 he was connected with Florence; and Tuer even 
 
 * Bryan's " Dictionary of Artists," of which Messrs. 
 Bell have now produced a new and most valuable revised 
 edition.
 
 8 BARTOLOZZI 
 
 mentions him as born there, and as a better critic 
 than artist in fresco. When Francesco came to 
 him he was nearing his thirtieth year, and his 
 guidance is of main importance to the young en- 
 graver's career. Such a teacher could at least lead 
 the student to those masters whose works were 
 near him in church and Convent and Palace, and in 
 the famous Grand Ducal Collection ; and even if 
 those " Primitives," who now so fascinate us, were 
 at that time consigned to whitewash or treated with 
 scanty interest, yet from the masterpieces of the 
 later men, — from Perugino and his greater pupil 
 Raffaelle, from del Sarto, the "faultless artist," 
 from Correggio, and even that Pietro da Cortona, 
 whose work he was later to engrave, — there were 
 priceless lessons to be learnt of style and composition. 
 Then, as with other great artists, the world of 
 Greece came into his young life as a new vision ! 
 His passion for the antique is known, and his whole 
 life work shows him to have been interpenetrated 
 with its beauty. But the examples of the great 
 Florentine masters and the inspiration of the antique 
 formed only a part of the mental equipment of his 
 art ; its real and practical issue lay in his constant 
 unremitting study from the life. It was at this
 
 BARTOLOZZrS STUDENT LIFE 9 
 
 time, under Ignazio Hugford's tuition, that Barto- 
 lozzi laid the foundation of that mastery of draughts- 
 manship which led the printsellers to say, in his 
 later London days, of any defective design which 
 was handed over to him : " Bartolozzi will put it 
 to rights." His faultless drawing of the hands — 
 that test of thorough draughtsmanship — was once 
 commented on by Sir Joshua himself; and at this 
 period of his life he was combining with the study 
 of the living model and of the great masters in the 
 Florentine private collections the most careful 
 research into the anatomical structure of the bones 
 and muscles, of which he made countless detailed 
 studies. 
 
 These are, after all, the foundations upon which 
 any sound mastery of figure drawing must be laid. 
 Beneath the skin and flesh the network of muscle 
 and bone is constantly varying the outer surface 
 forms, just as in the same way the living body 
 beneath it affects every fold and ripple of the 
 drapery ; and when some divinely gifted artist — 
 such, for instance, as the late Dante Gabriel 
 Rossetti — either from prejudice or prudery neglects 
 this solid ground-work, the result is constantly 
 making some unexpected and uninvited appeiirance
 
 10 BARTOLOZZI 
 
 in his painting. And to this period of fruitful progress 
 belongs a friendship which was to last all his life, 
 and prove of inestimable value to his engravings. 
 
 Giovanni Battista Cipriani was Bartolozzi*s 
 fellow pupil in that Academy of Florence of the 
 value of whose training, even in the present day, 
 I can testify from personal experience : the two 
 lads became friends, and, when Bartolozzi in later 
 years came to London, he found that Cipriani had 
 preceded and was ready to receive him. It is 
 interesting to note that not only was Cipriani a 
 fellow pupil and fellow townsman of Bartolozzi, 
 but of practically the same age, having been born, 
 like him, at Florence in 1727, although his family 
 came from Pistoja. Cipriani, after completing 
 his studies under Hugford, went (1750) to Rome 
 for improvement ; in fact, for what is, I believe, 
 sometimes called in young ladies' education "finish- 
 ing off." Later on he came to England, after his 
 work in Florence had already gained him some 
 reputation ; and his talents in London as a designer, 
 combined with those of Bartolozzi as engraver,* 
 produced the happiest results — results which perhaps 
 
 * See my List of Prints for an early work by both 
 artists (in Baron de Worms' collection) before 1764.
 
 From Gtiercino 
 
 Engniieii by F. Bijytolo:zi 
 MOTHER AND CHILD
 
 BARTOLOZZrS STUDENT LIFE ii 
 
 neither would have attained, in the same measure, 
 working alone. 
 
 But I am here anticipating events, and must 
 return to the point of departure in my narrative of 
 Bartolozzi's career. In his great work on Correggio 
 the present Director of the Brera has alluded to 
 that " pilgrimage to Rome," which, in the fifteenth 
 and sixteenth centuries, was deemed essential to the 
 development of the completed artist. " Artists 
 were actually possessed by a desire, amounting 
 almost to a passion, to visit the Eternal City, and 
 see the wonders ancient and modern culture had 
 combined to accumulate. To use a phrase of our 
 own day, Rome was looked upon as a school of 
 perfection, which many entered by dint of priva- 
 tions and hardships innumerable." 
 
 We have already seen the young Cipriani to 
 have taken this journey ; and the same widening 
 and stimulating influence was fortunately not 
 wanting in Bartolozzi's training. The close of 
 his three years of study under Hugford was marked 
 by a visit to Rome and her treasures of art ; and 
 thence we turn to a new period in his development, 
 which placed him in the first rank of the engravers 
 of his time, in his apprenticeship, at eighteen, for
 
 12 BARTOLOZZI 
 
 a period of six years to Wagner, a printseller of 
 Venice. 
 
 This Joseph Wagner was a man of some note 
 in his time and profession. Born beside Lake 
 Constance he had studied in Venice under Ami- 
 goni, who persuaded him to turn his thoughts 
 from painting to engraving. He was twice in 
 England, and on his second visit engraved the 
 portraits of the Royal Princesses, the daughters 
 of George II. ; later in life, returning to the city 
 of the Lagoons, he opened up what became a very 
 profitable business as printseller, as well as a school 
 of engraving. The works of Amigoni, Luca 
 Giordano, Benedetto Luti, Solimene, and Piazzetta 
 form the favourite subjects of his engravings ; in 
 one instance (a Holy Family), even Veronese 
 appears, and in these works, as well as his landscapes 
 and pastorals, he was assisted by his pupils, among 
 whom Francesco Bartolozzi is now to be included. 
 
 There is no doubt that his apprenticeship with 
 Wagner is an all important factor in the technical 
 progress of our artist. In some respects, perhaps, he 
 lost when his free and already brilliant drawing was 
 now cramped and confined, when his oil painting 
 was practically abandoned, and his art turned into
 
 BARTOLOZZrs STUDENT LIFE 13 
 
 a drudgery over the gigantic plates of Guarana. 
 But on other sides of his art he gained immensely. 
 Wagner insisted, above all, on precision, neatness, 
 finish of detail; and this insistence forced the young 
 artist, who might have remained a brilliant amateur, 
 to become a scientific and masterly engraver. 
 
 If he ceased to paint, he continued to design; and 
 WQ come to notice in this period that gradually, as 
 his mastery over the graver increased, the sense of 
 confinement, the lack of freedom and initiative 
 which mark his earlier efforts with Wagner, seem 
 to leave him, till, at the conclusion of his term of 
 apprenticeship, he was on a level with the best 
 engravers of his time in all Europe. Mr. Andrew 
 Tuer, in his invaluable work on Bartolozzi* men- 
 tions some large ecclesiastical subjects in his posses- 
 sion signed Gior. Batta Piazzetta pin.y F. Bartolozzi 
 sculp. ^ y. Wagner recognovit et vend, (/'.f., Piazzetta 
 painted, Bartolozzi engraved, J. Wagner revised and 
 sold), which are examples of the cramped mechani- 
 cal style into which he fell within the earlier years 
 of his apprenticeship. 
 
 It becomes of value to note at this moment, a print 
 * " Bartolozzi and his Works," by Andrew W. Tuer. 
 Leadenhall Press, chap. i. p. 3.
 
 14 BARTOLOZZI 
 
 with the title Maggio^ evidently one of a series of 
 the months,* in which five ladies and their attendant 
 cavalier I serventi wander through some Italian 
 garden adorned with statues, fountains, and trim- 
 cut hedges, while young girls pick the spring-flowers; 
 in the background an old peasant woman is milking 
 goats, and a sense of sunlight seems to fill the whole 
 pleasant scene. This print is signed G. Zocchi inv, 
 F. Bartolozzi incid. appo Wagner Ven.^ thus show- 
 ing it to have been produced by our artist during his 
 apprenticeship at Venice under Wagner from Zocchi's 
 design ; and I shall show later how other evidence 
 seems to point to the great influence exerted upon 
 young Bartolozzi at this critical period of his develop- 
 ment by that magnificent and Httle appreciated 
 eighteenth-century engraver, Giuseppe Zocchi. 
 
 Venice had in this latter half of the eighteenth 
 century become the pleasure-ground of Europe. 
 Beckford in his contemporary notes, Molmenti in 
 his marvellous analysis of the decadence of the 
 Great Republic, have painted for us the vast 
 Piazza,with its moving crowds — red-robed Senators 
 fresh from the Council, shrill-voiced Carnival masks, 
 
 * Twelve Prints in all. The British Museum has a 
 complete set, and Baron de Worms another.
 
 BARTOLOZZrS STUDENT LIFE 15 
 
 travellers from the northern capitals, powdered 
 abb^s, penniless poets, ''^ fernmes capricieuses, 7naris sans 
 cervelles^ cavaliers servants " (as Pantaleone describes 
 them in the old Venetian Comedy), all joining in 
 the one universal scramble for pleasure. But though 
 young Bartolozzi no doubt shared in the life and 
 amusement of the wonderful city, we have the best 
 evidence that these six years were given not to 
 pleasure, but to constant work and careful progress. 
 The end of his apprenticeship is marked by his 
 betrothal and marriage (which shortly followed) with 
 a young Venetian girl of good family, Lucia Ferro ; 
 and now for a time he returned to Rome, where he 
 enjoyed the protection of Cardinal Bottari, worked 
 upon the material supplied by Domenichino* — that 
 gifted artist who, in an epoch of Academic classicism, 
 dared to bring into his canvas the fresh breath of 
 nature — and where his son Gaetano was born. 
 
 When he returned to Venice it was no longer as 
 a 'prentice but a master, whose fame was spreading 
 over Europe, among whose patrons were the Medici 
 Duke of Tuscany, the Emperor of Austria, and 
 the King of Naples ; and at this very time an event 
 
 * The naked children (v. List) bearing books and 
 censers I take as early work from this artist.
 
 i6 BARTOLOZZI 
 
 occaned which formed a turning-point in our 
 engraver's career. 
 
 George III. had recently succeeded to the English 
 throne, and had sent a Mr. Dalton, who had been 
 his Hbrarian when Prince of Wales, to Italy to 
 purchase works of art. 
 
 Dalton was, it is said, originally a coach-painter 
 (though it must be remembered that the coaches 
 of those days were very elaborately decorated),* and 
 was an engraver of somewhat modest merits. It is 
 interesting to compare two prints in my possession, 
 which I am able to include in my illustrations, 
 both treating a similar subject — one of those 
 Italian music lessons or concerts which Guercino 
 designed so delightfully — and to note how the free- 
 dom and beauty of Bartolozzi's print contrasts with 
 the hard mannered treatment in Dalton's engraving. 
 
 But Dalton was, at least, a judge of good work- 
 manship when he saw it. He had already com- 
 missioned a series of engravings from Bartolozzi of 
 Guercino's drawings ; and he now followed this up 
 on behalf of his royal patron with the offer of the 
 appointment of engraver to H.M. King George of 
 England, and a salary of three hundred pounds 
 
 * Cipriani himself painted panels for the Royal coach.
 
 5l«s- ;:>.3««i; -. 
 
 i/:
 
 BARTOLOZZrS STUDENT LIFE 17 
 
 yearly for a period of three years, for the work 
 done for himself. 
 
 The offer was a tempting one and perfectly 
 genuine ; for the appointment promised was im- 
 mediately ratified. Italy was decaying and penniless, 
 England, under her Hanoverian monarchs, pro- 
 gressive and prosperous ; and Francesco Bartolozzi — 
 leaving for the moment his wife, who was in bad 
 healthjbehind with his young sonGaetano, and taking 
 with him one only of his pupils, Vitalba, whose 
 brilliant work we shall notice later — arrived in 
 London in 1764, in the thirty-seventh year of 
 his life, and took lodgings with his old friend and 
 fellow student, Cipriani, at the house of a Mr. 
 Burgess, in Warwick Street, Golden Square, in the 
 very centre of busy London.
 
 CHAPTER II 
 
 ENGRAVING IN LINE AND STIPPLE 
 
 BARTOLOZZrS portrait was painted by 
 Sir Joshua Reynolds in 177 1-3, when he 
 had been already five years established in 
 England, and engraved in 1 784 by Robert Marcuard. 
 The original painting was in the possession of the 
 Earl of Morley, and the engraving (of which a 
 fine example is in the British Musuem) is an oval, 
 and shows us the artist in a fur-trimmed coat, his 
 left arm resting on a table, and with what seems to 
 be a crayon or graver in his right hand. 
 
 Though slightly older this fine portrait might well 
 answer for the description of him as he first arrived 
 in London — as a tall, heavily-built man, with slightly 
 curved nose, long face, broad forehead, well-shaped 
 lips, and a somewhat grave expression, which here 
 certainly is kindly and genial, if slightly serious.
 
 From Sir J. Reynolds, P.K.A . Kngmved by R. S. Marcuard 
 
 FRANXESCO BARTOLOZZI, R.A.
 
 ENGRAVING IN LINE AND STIPPLE 19 
 
 The great engraver's portrait was often painted 
 and engraved, and Mr. Tuer mentions no less than 
 twenty portraits, among which J. R. Smith's* fine 
 mezzotint of Bartolozzi, Carlini, and Cipriani 
 deserves a special mention, as well as two stipple 
 prints — one from a sketch by Bartolozzi's pupil 
 Minasi, engraved by Wagstaflfe, and another from 
 Dance's painting, engraved by Daniell ; and yet 
 again the frontispiece by P. W.Tomkins of Thomson^ 
 Seasons, adorned with medallion portraits of Tomkins, 
 Hamilton, and Bartolozzi. 
 
 This last we had left at the end of our first 
 chapter, but just arrived in London, a fellow lodger 
 with his Old student friend, Cipriani, and under the 
 patronage of Dalton, the King's librarian. His 
 first important commission for Dalton was that 
 magnificent series of his engravings, from Guercino's 
 original drawings within the Royal Collection at 
 Windsor. 
 
 I am so fortunate as to have within my own 
 hands a number of these prints, and to my mind 
 
 * John Raphael Smith (175 2-1 8 12) is an engrave! 
 not to be passed over at this epoch. Especially to be 
 noted is his vigorous work in coloured stipple.
 
 20 BARTOLOZZI 
 
 nothing that the master produced later — not even 
 
 the C lytic or the famous Silence — can equal these 
 in freedom and mastery of line. 
 
 Among those at present before me — some of 
 which I am fortunately able to include among my 
 illustrations — is one of those delightful Scenes of music, 
 of which there are several examples, and which I 
 have compared already with Dalton's harder treat- 
 ment of the same subject ; the nude baby St. John^ 
 one of the most faultless of Bartolozzi's delicious 
 children ; the same saint as an older boy of some 
 fourteen years ; the Psyche and Cupid, a subject of 
 which the engraver sent a crayon sketch to the first 
 Royal Academy ; a vigorously handled scene of an 
 Italian gambling quarrel, ending with the upraised 
 stiletto ; three charming prints of young girls, one 
 seated alone, two others (Guercino's daughters ?) 
 with a bird, and others who surround a baby boy 
 taking his first steps ; the fine group of ^een 
 Esther and her maids before Ahasuerus, and the Al- 
 mighty with Cherubs, of which I possess a second 
 example slightly tinted. 
 
 Without wishing to weary the reader by a cata- 
 logue I must briefly mention three other prints, 
 also from Guercino, in my own collection, whose
 
 Frovi Giiercino Engraved by F. Bartolozzi 
 
 INFANT ST. JOHN
 
 ENGRAVING IN LINE AND STIPPLE 21 
 
 firm masterly drawing is to me an unending delight ; 
 the Cupid bending over a fire^ whereon his bow is 
 thrown ; the curious scene of an old priest and woman 
 with knit brows, before whom a youth upholds the 
 slightly sketched plan of some building ; and the 
 nude figure of a woman reclining, and giving her 
 breast to a babe, — this last a masterpiece, as giving 
 with the fewest possible lines of the graver a perfect 
 presentment of space and movement. Indeed, the 
 freedom and simplicity of treatment in these three 
 engravings could scarcely be equalled ; and again, 
 the exquisite sense of line in the naked youth, in the 
 second mentioned, who stands in service on the 
 priest, shows that the engraver had found a medium 
 with which he was thoroughly in sympathy, that the 
 severity of line was no hindrance, but a help to the 
 graver when within his hand. Though to many 
 his exquisite stipple productions may be more at- 
 tractive, I cannot myself help feeling that, when 
 Bartolozzi — obeying the dictates of fashion and 
 the needs of his purse — turned aside from line en- 
 graving to the newer methods, he abanaoned the 
 natural bent and the best direction of his genius. 
 
 While still, however, under his three years' con- 
 tract with Dalton the beautiful engraving, after
 
 22 BARTOLOZZI 
 
 Annibale Caracci, of the Virgin and Child with the 
 little S. John (known as The Silence from the Virgin's 
 gesture), as well as the Sleeping Baby Boy, after 
 Elizabetta Sirani, were produced, two prints which 
 must always rank among the finest of Bartolozzi's 
 productions in line. But meanwhile the fashion 
 for Demarteau's red chalk engravings, after Boucher 
 and Vanloo, to which I have already alluded in my 
 first chapter, had passed from Paris to London, 
 introduced there by Ryland and Picot, who had 
 learnt the method in Paris which they developed in 
 England into a new art. 
 
 Angelica KaufFman was then at the height of 
 her success. Born in 1741, she was in Venice 
 (1764) at the time of Bartolozzi's migration to 
 London, having already, at the age of twenty-three, 
 gained a reputation by her portraits ; and in the 
 year following (1765) she came herself to London, 
 where, under the cegis of Lady Wentworth's 
 introduction, her success was immediate and 
 brilliant. Indeed, this fascinating artist and beauti- 
 ful woman is one of the most interesting characters 
 in the art-story of the eighteenth century ; and her 
 unhappy marriage, into which she was entrapped by 
 a valet who passed himself oflF as his master, lends a
 
 .liif^elica Kaiiffman, pinxt 
 
 Thomas Burke, sculp, (publ. 1787) 
 
 ANGELICA KAUFFMAX IN THE CHARACTER OF "DESIGN 
 LISTENING TO THE INSPIRATION OF POETRY
 
 ENGRAVING IN LINE AND STIPPLE 23 
 
 melancholy note of romance to her otherwise 
 brilliant career. 
 
 A sense of refined beauty, and especially of grace, 
 lives in her delicate slender figures, and finds per- 
 haps its highest expression in the Vestal Virgin 
 {Die Vestalin) of the Dresden Gallery, where she 
 had as model the beautiful Princess ofCourland^ and 
 in that delightful portrait of herself beside Poetry, 
 of which I give an illustration. But though portrai- 
 ture, in which she gained her first success at Rome, 
 remained the mainstay of her art, she willingly treated 
 subjects of romance (even Sterne's Sentimental 
 Journey occupies her brush within the Hermitage col- 
 lection), and herself handled the graver, — as witness 
 her portrait of the great classicist Wilkelmann, and 
 her reproduction of Correggio's Marriage of S, 
 Catherine. 
 
 To her own taste, retrieved from weak sentimen- 
 tality by its abiding sense of grace, this new art of 
 stipple would naturally appeal. Seeing, with a 
 woman's quickness, its obvious advantages, she 
 wisely sought for the best engravers; and we shall 
 very soon find Bartolozzi occupied in reproducing 
 the charming creations of her pencil, no less than 
 sixty plates from her work — not all necessarily by
 
 24 BARTOLOZZI 
 
 his hand — hdving been published by his intelligent 
 patron, Alderman Boydell. 
 
 Stipple engraving is really based upon the dot, 
 and the term stipple is applied artistically not alone 
 to engraving but also to water-colour, of which the 
 late Mr. Hamerton * pointed out very justly that 
 in true stipple the ground is left to play between 
 the specks of added colour. We saw already in the 
 early English engravers the use of the dot creeping 
 in to enrich the line work ; and even such a master 
 of line as was Albert DUrer had felt the possibilities 
 of stipple in this direction. 
 
 But stipple engraving, as practised in the latter 
 half of the eighteenth century, was the actual off- 
 spring of the French chalk engravings of Demarteau, 
 originally intended to reproduce in effect the chalk 
 drawings of popular artists such as Boucher and 
 others, but developed and perfected into a new and 
 beautiful art by Ryland and his contemporaries, 
 among whom Bartolozzi claims in this art a leading 
 place. The whole process has been described in 
 admirable detail by Mr. Tuer,t who may be usefully 
 consulted by the technical student : but it may be 
 
 * Hamerton's "Graphic Arts," chap. xxvi. p. 343. 
 t Op, cit. chap. XX. p. 82.
 
 ENGRAVING IN LINE AND STIPPLE 25 
 
 sufficient here to say that the outline having been 
 traced, and then dotted in upon the copper plate (for 
 which later steel came to be substituted) which had 
 been already prepared with an etching ground, the 
 shadows are then put in with dots with the etch- 
 ing point, or (in the case of steel more generally) 
 with the graver or burin ; and the plate thus prepared 
 is " bitten " with a preparation of nitrous or (with 
 steel) of nitric acid and water, until the acid has done 
 the work intended, the finer portions, as, for in- 
 stance, the modelling of the flesh, being stopped out 
 earlier with black varnish. 
 
 Of course this brief account does not include the 
 whole of a complicated and detailed process : suc- 
 cessive bitings were often needed until the larger 
 dots could be induced to burst over into each other, 
 thus producing an intentional effect of velvety rich- 
 ness. The whole plate had then to be worked over 
 again with the graver to receive an even finish, and 
 should any portion then be found to be either 
 scratched or too dull in tone the steel burnisher 
 might be used for removing these marks, or lighten- 
 ing up ; and there is yet to come into our notice 
 such technical aids as hand- and machine-rouletting, 
 in which a toothed wheel passed over the plate gives
 
 26 BARTOLOZZI 
 
 mechanically and rapidly the dotted or stippled sur- 
 face. In fact, the rapidity of treatment, — which 
 Boydell, the well-known publisher of prints at that 
 period, said was as three to one compared to line 
 treatment, — was, considered commercially, a great 
 and obvious recommendation for the new method. 
 
 The term line engraving might with perfect truth 
 be applied to etching, which is really line work with a 
 fine etching needle, bitten into the copper with acid ; 
 but the term line engraving is actually applied to en- 
 graving upon copper or steel plates with the burin. 
 Practically there is an immense difference between 
 the two processes, for while the etching needle is 
 very free, the burin or graver requires considerable 
 force, and will turn only in curves.* Thus the very 
 nature of this last process is restricted, but this re- 
 striction, this absence of liberty, is not without its 
 advantages ; it is a kind of mental discipline, as 
 Mr. Hamerton has pointed out, to the engraver, and 
 gives to his whole art a quality of noble severity. 
 
 Form, expressed in line, is thus of the very 
 essence of this art ; and, in fact, the work of the 
 early Italian engravers is merely shaded outline; 
 
 * Yet Bartolozzi used both tools freely, as explained 
 in my Preface.
 
 ^^-I^-"^ I'
 
 ENGRAVING IN LINE AND STIPPLE 27 
 
 while in Mantegna's plates the organic line, which 
 that master of draughtsmanship so intensely felt, is 
 aided by diagonal shading. The same treatment 
 appears in some of Leonardo's wonderful drawings 
 but the method itself is really a poor one, never 
 being able to give either complete modelling or 
 chiaroscuro ; and one is astonished to find Professor 
 Legros attempting, in later years, to enforce it as a 
 method of training for young students. Professor 
 Colvin, speaking on this subject, very justly says : 
 " This is a method unable to express the full relief 
 or roundness of objects in nature, and that the 
 Italians themselves by-and-by felt the poverty of the 
 system is proved by the fact that, at the beginning 
 of the sixteenth century, they turned eagerly to the 
 works of Albert Diirer." 
 
 Durer himself aimed, not directly at chiaroscuro, 
 but at rendering with entire accuracy the actual 
 shapes, and even the texture, of visible objects. His 
 marvellous graver renders in pure line work the 
 gleam of polished metal, the graining of wood, the 
 sinuous growth of each hair in a beard ; and every 
 smallest object is studied and reproduced with such 
 loving truth — a hand-saw in the Melancholia^ a sawn 
 tree-trunk in the Knight and Deaih^ are instances
 
 28 BARTOLOZZI 
 
 among many — that furniture could be, and has been, 
 made from the objects which accompany his figures. 
 Yet even with Durer texture is only successfully 
 attained when the subject {e.g.y metal or wood) 
 adapts itself naturally to this treatment, and chiaros- 
 curo is not carried through either in his work or that 
 of Van Leyden ,• while in the engravings of that 
 master of line work and contemporary of Rafaelle, 
 Marcantonio Raimondi, tone, texture, and chiaroscuro 
 (in the sense of shadows produced by light falling at 
 certain angles) are calmly and contentedly ne- 
 glected, and all the artist's powers of observation 
 seem centred on the beauty and vigour of the nude 
 forms, and the superb drawing of the grand folds of 
 drapery. And yet we scarcely resent this — so com- 
 pletely does his work satisfy our sense of plastic 
 beauty in the Dido^ the Lucret'ia^ the splendid vitality 
 of the Eve in his Temptation^ the movement and 
 vigour of the naked soldier who runs, with drawn 
 sword, across his Massacre of the Innocents-, and I 
 believe why we do not resent it (since I trust no 
 refractory reader will here question my premiss) is 
 that this art, which is, in its very nature and 
 essence, an art of form and shaded outline, is here 
 entirely concerned with form in one of its highest
 
 ENGRAVING IN LINE AND STIPPLE 29 
 
 manifestations of beauty — that of the human body ; 
 while the work of the modern, who attempts all 
 these things that the Italian master had neglected, 
 leaves us often cold and indifferent. For the 
 modern engraver follows an art which, developed 
 through the later Dutch, has no such liberty of 
 treatment, but is expected to reproduce the painting 
 or design before him in all its qualities of texture and 
 values — working, like the stipple engraver, upon the 
 etching ground or the prepared steel plate, and 
 biting or re-biting the plate to get the required 
 quality of tone : whereas Bartolozzi, in that magnifi- 
 cent series of plates from Guercino's drawings in 
 the Royal collection which we have just noticed, is 
 reproducing in pure line work the pencil or crayon 
 of the painter of Aurora^ and his prints give us the 
 same splendid sense of line as we have found with 
 those of the earlier Raimondi. 
 
 It was after the close of his contract with Dalton 
 that Bartolozzi engraved for Alderman Boydell one 
 of his masterpieces, the Clyt'ic^ of which it is said that 
 he remarked when finished — alluding to Sir Robert 
 Strange's unjust criticism that he could produce 
 nothing but Benefit Tickets — "Let Strange beat 
 that if he can ! " The subject is treated in an o\ ai.
 
 30 BARTOLOZZI 
 
 and the nymph beloved of Phoebus is seen in a 
 reclining attitude, with a delicious winged Cupid 
 standing near her, whom she wards off with an 
 outstretched thorn. To Bartolozzi collectors this 
 print is to be commended as a fine example of his 
 work, to be included in their collection if it is to be 
 complete. 
 
 At this time he was busy for his new patron, 
 Boydell, on several works from the Italian masters. 
 Luca Giordano's Venus^ Cupid^ and Satyr, Dolci's 
 Mater Dolorosa, Sassoferrato's work, and Zucchero's 
 Mary §ueen of Scots, an example of which I have 
 now before me, a very finished and beautiful 
 specimen of his engraving, but with a good deal of 
 cross-hatching here introduced. John Boydell was 
 himself an engraver, and a man of very remarkable 
 taste and energy of character. Born in 1 719 he 
 became apprenticed to Toms, the engraver, one of 
 whose plates (a Hawarden Castle) had by chance 
 come into the boy's hands, and excited his early 
 admiration. His Bridge Book — a series of views 
 near London — brought him into notice, and laid 
 the foundation of a fortune which he applied most 
 wisely and laudably in the encouragement of English 
 art, and the development of English native talent,
 
 ENGRAVING IN LINE AND STIPPLE 31 
 
 which was at that time too much ignored in favour 
 of prints supplied from abroad. 
 
 It is to the credit of his country, which is not 
 always very ready to acknowledge merit unless pushed 
 in high quarters, that Boy dell's rare qualities of taste 
 and patriotism were appreciated. He achieved a 
 fortune, became Alderman and Lord Mayor of 
 London, and published in his life, which was a long 
 one (he died in 18 14), close upon 4500 plates : he 
 was an early patron of Bartolozzi's genius, and my 
 good friend, Mr. Algernon Graves, whose firm 
 succeeded to his great business in Pall Mall East, 
 tells me that he has still in his possession the plates 
 which Bartolozzi produced for the Alderman's 
 commission. 
 
 In the year following his arrival in London 
 Bartolozzi had joined the Incorporated Society of 
 Artists, and exhibited in their rooms ; and three 
 years later (1768) saw the formation of the Royal 
 Academy, of which he was an original member, and 
 for which he engraved the Diplorna^ after a 
 drawing by Cipriani, which remains one of his 
 finest efforts in line work. This print is a beautiful 
 allegorical design, in which Art appears crowned and 
 enthroned, and Britannia is present, assisted by her
 
 32 BARTOLOZZI 
 
 lion. In the Royal Academy's Second Exhibition, 
 his print of the head-piece to the Diploma was 
 included, together with the original drawing for it 
 by Cipriani, which last is now among the 
 treasures of Burlington House, preserved in the 
 very best condition. 
 
 To the First Exhibition (of 1769) Bartolozzi had 
 sent his Clytle^ drawn from Annibale Caracci, and a 
 Cupid and Psyche in crayon, which may be that 
 engraved later showing Psyche with a dart. Upon 
 the walls of his living-rooms in London at the period 
 were hung — with the landscapes of Vivares — his 
 Clytie^ the Silence^ and some of his engravings after 
 Guercino, showing what work of his own most 
 attracted his interest and affection, — work, that is, in 
 pure line, as I have already suggested. 
 
 At the same time he was becoming already 
 interested in his stipple engravings which Ryland 
 and his contemporaries had brought into fashion in 
 London, and very soon in this new branch of his 
 art Bartolozzi became an acknowledged master. Just 
 as in his line engravings, the quality that attracts us 
 is the brilliancy of touch, the fire and energy within 
 each stroke of the graver, — as witness both the 
 Guercino prints and that 5upe»l> Vi^-^ln and ChilJ
 
 r^ 
 
 G. B. Cipriani del. 
 
 BEAUTY 
 
 F. Bartolozzi, sculp.
 
 ENGRAVING IN LINE AND STIPPLE 
 
 33 
 
 with S, Elizabeth^ of which I lately acquired a copy- 
 when rummaging in my old friend Corbini's curio 
 shop at Siena ; so in his stipple prints it is the soft- 
 ness, the richness, and depth which gives the pre- 
 dominant note. 
 
 In his line work the swift touch of the etching- 
 point upon the copper plate has been compared to 
 the contact of flint and steel. But in the stipple 
 work, wherein this softness, this rounded modelling, 
 and subtlety of tone was of the essence of the pro- 
 cess, his fancy finds full play in a languid dream of 
 loveliness, where the classic figures of Amiconi's or 
 Cipriani's design [Euphrosyne^ Psyche bathing or robing 
 herselfy Omphale^ Procrisy Amphitrite^ and Venus^ and 
 the Nymphs of Woodland Streams^ or 'Beauty seated 
 enthroned) find expression. Elsewhere the romantic 
 subjects which he took from Angelica KaufFman 
 — Shakespeare's Birth and Fancy scattering flowers over 
 his tomby Tancred and Clorinda^ Griselda, Hebe^ the 
 charmingly drawn forms in Selim^ or the Shepherd's 
 Moraly and Telemachus and Mentor^ or the Nymph in 
 the still more delightful plate of Horace, occupy his 
 graver, 
 
 A certain air of sentimentalism appears in all 
 this work, reproduced from the fair Angelica's 
 
 c
 
 34 BARTOLOZZI 
 
 designs, and seems to affect even the morbid-looking 
 eagle, who is taking his liquid refreshment at Hebe's 
 hands ; it was not far from the age when Richard- 
 son's novels had come into fashion, when " Pamela" 
 and " Clarissa " became of interest to the public, 
 when Sterne wrote his *' Sentimental Journey," 
 and across the Channel Jean Jacques Rousseau was 
 creating a fresh emotional current. 
 
 But in his portraits and subject pictures, en- 
 graved from Sir Joshua Reynolds, our Italian 
 master was coming into contact with all that was 
 best and most virile in the English art of his day ; 
 Lavinia, Countess Spencer (whose drawing of 
 Cupid and Psyche Bartolozzi engraved), the Hon 
 Anne Bingham^ the Countess of Harrington and 
 her children^ the beautiful Angelica Kauffman 
 herself, whose portrait I reproduce elsewhere from 
 her own painting, and among figure subjects the 
 lovely Thaisy inspired by Dryden's Ode, and no less 
 ;;iharming scene of Fenus chiding Cupid — these are 
 examples among many ; while Wheatley and his 
 somewhat idealised scenes of country life {The 
 Deserted Village^ The Country Girl * goes reaping) and 
 
 * His lovely wife was here perhaps his model, as she was 
 certainly in the delightful print of Winter (v. List).
 
 SirJ.K^vnCi..;. 
 
 F. Bartolozzi, sculp. 
 
 THAIS
 
 ENGRAVING IN LINE AND STIPPLE 35 
 
 Hamilton give another side of English contemporary 
 art. 
 
 The traditions of his early Florentine training, 
 the study of the later Italian masters, Domenichino, 
 Guercino, Pietro da Cortona, and the voluptuous 
 grace of Albano's Nymphs and Cupids, have become 
 blended under the magic of his graver with the 
 vigorous living up-grov7th — based on portraiture, on 
 personality, and the fresh impression of Nature — of 
 the English School of his day. He becomes affiliated 
 with that school at the moment when, in the crea- 
 tion of its Academy, it first feels and asserts its 
 individuality, without losing the passion for classic 
 beauty of form which he had brought with him 
 from the land of his birth. The result is an art 
 which is hybrid in a sense, but curiously and in- 
 tensely attractive ; and this double sense of inspira- 
 tion seems to me to be what places Dartolozzi alone, 
 and gives to his work a special interest among that 
 of the many talented engravers of his time. I ha^'e 
 heard that work described by a severe lecturer — 
 whose interests seemed to end with the trecento — as 
 a bastard Italian art. But as in the Renaissance 
 itself— which entirely escaped this latter's sympathy 
 — the blending of Christian asceticism with the
 
 36 BARTOLOZZI 
 
 memories of antique beauty resulted in the inspired 
 creations of Leonardo and Correggio and Michel- 
 angelo, so here, too, strength is blended with sweet- 
 ness without being overpowered by it. It is a far 
 cry from the masterly and virile portraiture of Sir 
 Joshua to the baby-girl Loves of Lady Diana 
 Beauclerc ; but what unites them both is the great 
 engraver's passion for beauty in every side of life, 
 and his unerring truth of drawing in the human 
 form.
 
 CHAPTER III 
 
 THE ENGLAND OF PITT AND HER 
 ILLUSTRATORS 
 
 WHAT, we may ask at this point of our 
 survey, was this England where Fran- 
 cesco Bartolozzi had come in 1764 
 to settle, and whose art we have just seen to modify 
 and profoundly influence his own conception ? If it 
 was the epoch of Sir Joshua Reynolds, of Hopp- 
 ner, Gainsborough, and George Romney in English 
 portraiture, it was also the period of Gillray, Bun- 
 bury, and Thomas Rowlandson in English political 
 caricature. George III. had but lately (in 1760) 
 ascended the throne, with the scarcely concealed 
 intention of enforcing a stronger and more personal 
 government. We are told that in his boyhood and 
 youth the Princess of Wales, his mother, often 
 exclaimed to him : " George, be King ! " — and
 
 38 BARTOLOZZI 
 
 that when the Peace of Paris was approved (1763) 
 by the " King's Party " within the Commons, in 
 the teeth of Pitt's denunciation, she was able to 
 cry : " At last my son is King ! " 
 
 But, in spite of a House of Commons which 
 had become subservient to Court influence, a new 
 power was then making its appearance in English 
 public life — the power of the Press. 
 
 Dissatisfied with the conduct of the Govern- 
 ment, and unable to find expression in a House of 
 Commons where the majority were place-men, the 
 masses were inclined to give vent to their feelings 
 in riot and violence ; but a yet more effective outlet 
 for this deep-felt discontent was found when the 
 journals of the period indulged in most bitter and 
 personal attacks on the Ministry, with the King's 
 favourite. Lord Bute, at its head. 
 
 In No. 45 of the North "Briton Wilkes had 
 ventured to criticise and condemn the Speech from 
 the Throne at the opening of the Session ; and in 
 1764 — the very year of Bartolozzi's arrival — had 
 been compelled to fly to France, and been expelled 
 from the House of Commons. The corrupt Houses 
 of Legislature commenced a campaign against the 
 Press, which was bitterly resented throughout the
 
 THE ENGLAND OF PITT 39 
 
 country ; a strong feeling became aroused, and the 
 cry of "Wilkes and Liberty!" was heard in 
 London streets. 
 
 Subsequent events led to the complete failure of 
 the prosecution instituted against the assumed author 
 of the famous political " Letters of Junius," and 
 the triumphant return of the ejected member, who 
 became Lord Mayor of London, and employed 
 the talents of Cipriani and Bartolozzi upon the 
 ticket of the ball which he gave (April 17, 1775) 
 at the Mansion House. 
 
 This is a charming oval composition, quite in 
 Cipriani's best manner, representing a draped 
 female figure of great beauty, with the horn of plenty 
 and Mercury's Caduceus^ watching the dance of 
 three delicious little Loves ; while two others descend 
 from heaven with gifts, and the whole is encircled 
 in a garland of English oak. This plate was a 
 most successful one, and has been more than once 
 re-engraved (it appeared in red in 1796); and John 
 Wilkes himself, in writing to a friend at the time 
 of its issue, said: " Li my opinion it does honour 
 to the two great artists, Cipriani and Bartolozzi, 
 and to a country which distinguishes their merit, 
 and I hope in time will emulate it,"
 
 40 BARTOLOZZI 
 
 This is, in fact, the period when the Press really 
 became a power in England, and whence the great 
 journals of political opinion, The Times, The 
 Morning Chronicle^ The Morning Post, date their 
 origin ; and though the ill-advised Stamp Act, 
 which cost England her splendid American 
 Colonies, belongs to this very time, yet even 
 under the weak and bad Government — for which 
 she paid dearly — England possessed statesmen, 
 such as Edmund Burke or the elder Pitt, 
 who supported the claim of America to self- 
 taxation, and saw, too, the growth of public opinion 
 outside the House of Commons, which found 
 expression in the great journals I have mentioned. 
 One of the finest works — though not perhaps 
 the most popular — which ever employed Barto- 
 lozzi's graver was his Death of the Earl oj 
 Chatham, from the well-known painting by John 
 Singleton Copley, R.A., which depicted this 
 Tnemorable scene in English history. The old 
 statesman had made a supreme effort to reach 
 the House of Lords in order to denounce the 
 war, and entered supported by Mr. WiUiam Pitt 
 and Viscount Mahon, his son and son-in-law ; 
 '^ut the physical fatigue involved proved fatal to
 
 i^*v■^^--^>^::^
 
 THE ENGLAND OF PITT 41 
 
 him, and, after an impassioned speech,* as he was 
 about to reply to the Duke of Richmond, he fell 
 back in convulsions. 
 
 Copley's painting, and Bartolozzi's famous print, 
 depict this most dramatic scene in English 
 political history at that moment, — though, as a 
 matter of fact, the Earl did not actually die till 
 some weeks later. The House is crowded with 
 figures, who are grouped around the dying states- 
 man — no less than sixty contemporary portraits 
 being introduced — and the print, though not one 
 of the most popular, is one of the most finished of 
 Bartolozzi's engravings. 
 
 Bartolozzi received by his agreement with Copley 
 jf 2000 for this engraving, but complained that even 
 this sum did not really pay him, as the plate took 
 some years to finish, and he had heavy out-of-pocket 
 expenses for the work of assistants — that of one of 
 them, named Testolini, having to be erased and 
 done over again to a large extent, though Delattre, 
 another of Bartolozzi's pupils, gave valuable help in 
 
 * "Was England," he cried, "to stoop so low as to 
 tell her ancient enemy — * Take all we have ! Give us 
 only peace ! ' " He referred to France ; with the States 
 he sought conciliation.
 
 42 BARTOLOZZI 
 
 its completion.* The plate was published by sub- 
 scription in April of 1780 ; it had considerable 
 success, and the remainder of the issue was bought 
 in later years by Messrs. Graves of Pall Mall. 
 
 If we now turn to the social life of England 
 at this time, we shall find it marked by a certain 
 coarseness of fibre, amounting sometimes to absolute 
 brutality and indecency. We may not really now 
 possess a very much higher standard, but we are cer- 
 tainly upon the surface more refined, more decorous. 
 The age of Fox, of Burke, and Chatham in politics, 
 of Smollett and Fielding in romance, set scarcely a 
 limit to its language or a veil to its emotions. 
 
 The caricaturists of this period are a study in 
 themselves, but their work all points to the same 
 conclusion. 
 
 Hogarth might here serve as an instance, but that 
 his definite aim as a moralist, his purpose of enforc- 
 ing some lesson of conduct, makes his evidence less 
 direct than that of the men who simply copied without 
 arriere pensee of any kind, but coarsely or comically, 
 the*llfe around them — such draughtsmen as were 
 Bunbury, Gillray, or Rowlandson. 
 
 * In Bartolozzi's studio, now filled with pupils, De- 
 lattre had become a sort of chief assistant. {See chap, v.)
 
 THE ENGLAND OF PITT 43 
 
 James Gillray * deals to a large extent — though by 
 no means exclusively — with political subjects, and 
 his sketches, dating from 1779 onwards, are as 
 clever as they are coarse. The younger Pitt and 
 Fox — the latter often with that familiar oratoric 
 gesture of clenched and upraised fist, — Edmund 
 Burke, spectacled and professor-like, and Lord 
 North are frequent figures ; and towards the cen- 
 tury's close Buonaparte himself begins to appear, in 
 his uniform as First Consul, with cocked hat and 
 tricolour sash, beside an enormously stout Josephine 
 in flowing classic drapery, while behind them at 
 the banquet stand a sinister and gigantic line of 
 ferocious-looking Guards. 
 
 A whole series deals with the Napoleonic Empire, 
 and the unflinching resistance of England to its claims 
 is reflected in these cartoons, two very clever plates 
 being the ^^ Reception of Citizen * Folpone^ (Charles 
 James Fox ?) at Paris " and the " Handwriting on 
 the Wally^ where Napoleon sees his fall fore- 
 shadowed ; v/hile among the non-political subjects 
 yohn Bull and his family landing at Boulogne is full 
 of clever characterisation. Gillray's sketches form, 
 
 * Gillray studied at one time under Bartolozzi : he 
 had previously been a strolling player.
 
 44 BARTOLOZZI 
 
 indeed, a most valuable commentary — taken from the 
 popular British stand-point — on the troubled politi- 
 cal history of this period ; indescribably coarse 
 though they often are, they are redeemed by their 
 humorous insight, vigour of drawing, and enthusi- 
 astic patriotism. 
 
 We come to feel, in studying them, that this 
 race — vi^ho sided vi^ith Wilkes in his demand for the 
 free expression of public opinion, who supported 
 Pitt in his great struggle against an overshadowing 
 European despotism — had, above all, the quality of 
 virility. They were a stiff-necked and sturdy 
 generation, — these island forefathers of ours, — proud 
 of their ancestral inheritance of liberty ; and a certain 
 " robustiousness" (if I may coin such a term) of 
 temperament shows itself even in their pleasures, 
 which are generally of an open-air and somewhat 
 violent nature. The writer of a clever little article 
 on Thomas Rowlandson. in one of the earlier 
 numbers of The Conno'isseuVy has worked out 
 this view with what seems to me entire truth. 
 " The England of Rowlandson was, it must be 
 remembered, a very different England from that in 
 which we now live. Rough, jovial, and robust, 
 both in mind and body, men were anything but
 
 THE ENGLAND OF PITT 45 
 
 averse to pleasantries and witticisms, which would 
 to-day be characterised as coarse and outrageous. Few 
 people showed themselves anxious to reform their 
 neighbours, and if occasionally they did so public 
 opinion extended small support to such efforts. The 
 race was strong, and had small sympathy for weak- 
 ness in any form or shape, and no mercy if it 
 scented hypocrisy or cant. All this may seem a 
 digression, but to make a just estimate of Rowland- 
 son's work it is necessary to bear these things in 
 mind." 
 
 For Thomas Rowlandson, born {in 1766) just 
 into this period, is as coarse in his way as Gillray, 
 but has — what Gillray had not — a natural feeling 
 for beauty. These creatures of his scenes of 
 Comedy — drawn boldly in outline with the reed pen 
 dipped in Indian ink and vermilion, with the 
 shadows then washed in, and the whole slightly 
 tinted in colour — seem full-blooded, vigorous, over- 
 flowing with animal life and energy. His women 
 above all are delicious. Rather voluptuous, perhaps, 
 5ind full in form, but yet indescribably charming in 
 their mob caps or those big " picture " hats that 
 George Morland loved, in their tight sleeves and 
 high-waisted gowns falling in long folds abuut their
 
 46 BARTOLOZZI 
 
 limbs, — their eyes sparkling with roguery, and their 
 whole being breathing the charm of sex. I bought 
 myself some years ago an engraving by Rowland- 
 son of three young girls, which might have been a 
 portrait group by Gainsborough or Hoppner, so 
 refined and beautiful was the treatment ; but 
 perhaps the type I have described above finds closer 
 illustration in the women of his humorous sketches — 
 in LwA-wry (typified, for this artist, by breakfast in bed), 
 Housebreakers^ The Inn Yard on Fire (where the 
 ladies are making a very impromptu exit), in the 
 lovely model of the Artist disturbed^ and (for women 
 of fashion) in the series of the Comforts of Bath, 
 
 Lady Hamilton at Home is too delightful to be 
 omitted without mention, too broadly humorous to 
 be typical of Rowlandson as a "feminist." Sir 
 William appears here enormously stout, and suffer- 
 ing from an acute attack of gout j while his swollen 
 foot reposes on a stool, the lovely Emma, in very 
 classic garb, is watering a flower-pot, and Miss 
 Cornelius Knight, a contemporary authoress, also 
 dressed after the antique, touches the strings of a 
 lyre, and warbles poems of her own composition. 
 \x. is almost the very scene described by Mrs. St. 
 George, during a visit to Dresden in 1800. when
 
 THE ENGLAND OF PITT 47 
 
 Lord Nelson was of the company. "Sir William 
 is old, infirm, all admiration of his wife. After 
 dinner we had several songs in honour of Lord 
 Nelson, written by Miss Knight, and sung by Lady 
 Hamilton. She pufFs the incense full in his face, 
 but he receives it with pleasure and sniflfs it up 
 very cordially." 
 
 Probably it was this facility in humorous sketching, 
 combined with his extreme carelessness of life, 
 which alone prevented Rowlandson from becoming 
 one of the greatest artists of his period. Less 
 hostile to France than Gillray, perhaps on account 
 of his training in a Parisian studio, the legacy left 
 him by a French aunt, who had been most kind to 
 him when in Paris, was all lost at the gambling 
 tables ; and on another occasion, after losing in the 
 same way all he possessed, he sat down coolly to his 
 work with the remark, — " I've played the fool, but 
 here" (raising that facile pencil of his) "is my 
 resource ! " And the qualities which hindered him 
 horn taking place beside Reynolds or Romney at 
 least gave us these inimitable sketches, in which we 
 recover the Hfe of that epoch in England. 
 
 And this, too, was the life into which Bartolozzi 
 entered on his arrival in London in 1764. A
 
 48 BARTOLOZZI 
 
 vio-orous and virile race, coarse sometimes to the 
 very verge of brutality, but full of sap and fresh 
 energy ; proud of their traditional liberty, and 
 prompt to rise when it was threatened by a corrupt 
 legislature at home, or by the threat of foreign 
 invasion, — this was the full tide of life into which 
 Bartolozzi found himself now thrown. Under 
 Dalton's patronage, and with the position and 
 prestige of engraver to the king, his success was 
 immediate ; but we should be unfair to the England 
 of his time if we judged her possibilities of culture 
 only from the standpoint of a Rowlandson or 
 Gillray. 
 
 That tradition or classic life and learning, whose 
 up-growth I have traced in my Italian series,* had 
 come from Padua, Florence, Ferrara, and Rome to 
 find a new home among the scholars of the country 
 which had welcomed Erasmus. For two centuries 
 the classics had been the standard of culture at the 
 Universities ; the style of those writers who aimed 
 at polish and lucidity was modelled on Cicero, 
 Virgil, Lucan ; and the antique was accepted both 
 by artist and collectors as a subject of unequalled 
 
 * "The Renaissance in Italian Art," 3 vols., 1889- 
 1 90 1. Messrs. Simpkin Marshall. London.
 
 THE ENGLAND OF PITT 49 
 
 interest. Even into a later age the same passion 
 for classicism remained predominant. John Flax- 
 man's drawings * took their inspiration from Homer 
 or Hesiod, and seem like transcripts from Grecian 
 bas-reliefs ; and where modern British statesmen 
 cultivate golf or orchids, in Disraeli's " Henrietta 
 Temple " — that beautiful delineation of human 
 passion — Mr. Temple solaces his leisure hours at 
 Pisa with the contemplation of antique gems. Even 
 apart from our leading politicians, who thinks now 
 of settling in sleepy old Pisa to study and collect 
 antiques ? The hurried modern tourist generally 
 finds one day enough to scramble through her Campo 
 Santo, Baptistery, Cathedral, and Campanile, and if 
 time presses he is disposed to " do " these between 
 two trains. This fashion for classicism yielded 
 before the impulse towards mediaevalism, heralded 
 by Scott in romance and John Ruskin in art ; and 
 though it still claims its votaries (among whom I 
 very humbly count myself) it no longer stands alone 
 upon the pedestal of culture. 
 
 * See, for instance, " Compositions from the I/:a^ 
 and Odyssey of Homer," by John Flaxman, R.A.; out- 
 line drawings, beautifully reproduced by Messrs. Bell 
 and Daldy in 1870. 
 
 D
 
 50 BARTOLOZZI 
 
 But then it included in its attraction all those who 
 could rise above the rowdyism of Rowlandson's * 
 politicians, sailors, foxhunters, and peasants. Some 
 of Sir Joshua's finest paintings show classic influence 
 both in treatment and subject ; and Romney prefers 
 to introduce as Ariadne^ Euphrosyne^ or a roving 
 Bacchante^ that fairest Emma, whose classic taste 
 as Lady Hamilton we have just seen Rowlandson to 
 satirise. Sir William's' Collection of antiques was 
 known to be very fine, and was, says Mr. Grego, 
 a valuable addition later to those of the British 
 Museum ; while a letter from Mrs. St. George 
 describes his lovely wife's impersonation of the best 
 statues and paintings extant, "in which, her hair 
 short, dressed like an antique, her gown a simple 
 calico chemise, very easy in the sleeves, she assumes 
 the attitude, expression, and drapery with great 
 fidelity, swiftness, and accuracy." The prints of 
 these! classic dances of Nelson's enchantress are 
 
 * See, for instance, his Repeal of the Test Act, Grog on 
 ^oardf Foxhunters Relaxing, and The Ale House Door, 
 
 t One of these, in Mrs. Hansard's collection, shows 
 her reposing ; in another, with a tambourine, she whirls 
 like a Bacchante. See also J. Grego's " Rowlandson the 
 Caricaturibt," vol. ii. p. 312.
 
 
 
 H|BHH|| 
 
 1 
 
 ?i 
 
 ^^B 
 
 4 
 
 
 a 
 
 1 
 
 1^ 
 
 
 ■i 
 
 H 
 
 ^^^^^^^B
 
 THE ENGLAND OF PITT 51 
 
 very beautiful, and of value now ; but I only men- 
 tion them here as showing how the classic fashion 
 was then accepted in cultured circles in England. 
 
 It is just here that Bartolozzi finds his place. 
 His lovely Thais (see my illustration), and his 
 Venus chiding Cupid are taken from Sir Joshua's 
 designs. Cipriani supplied him with countless suo- 
 jects from the antique [Hercules and Omphale^ 
 Hebe^ the two plates of Psyche going to Bathe 
 and dressing after the Bathy the Marriage of 
 Cupid and Psyche^ and many others) ; and in their 
 series of the Marlborough Gems,* drawn by Cipriani 
 and engraved by Bartolozzi, the two friends had 
 before them one of the finest English collections. 
 Finally, Angelica KaufFman herself mingles with 
 her scenes of romance — such as Griselda or Tancred 
 and Clorinda — others of a purely classic inspiration, 
 Telemachus and Mentor^ Horace^ and The Nursing of 
 Bacchus. Her Nymphs Sporting are the twin sisters 
 of Cipriani's Comedy ,• and in her lovely self-portrait 
 she has robed herself in classic dress to receive the 
 message of inspiration. 
 
 * The Marlborough Gems themselves were sold later 
 (1875) at Messrs. Christie's for ^£3 5,000.
 
 CHAPTER IV 
 BARTOLOZZI IN LONDON AND LISBON 
 
 BARTOLOZZI, In spite of the fact that from 
 the first years of his residence in London 
 he was overwhelmed with commissions, 
 found time to share in that social life of the time 
 which we have seen reflected, and perhaps accen- 
 tuated, in the work of the caricaturists. 
 
 He was a visitor at Holland House, which was 
 then a social centre for men and women of culture ; 
 and when in 1780 he moved into his house at North 
 End, Fulham, the studio where he worked with his 
 pupils was already a favourite resort of amateurs and 
 art patrons. 
 
 Whether the presence of these fashionable idlers 
 aided his work, and whether the excessive production 
 improved its quality, may be open to doubt ; but 
 the latter became a necessity from his habits of life,
 
 IN LONDON AND LISBON 53 
 
 in which a certain carelessness of money rather than 
 extravagance was combined with the most open- 
 handed generosity. 
 
 Mr.Tuer relates* that a day's outing with Cipriani 
 cost the engraver thirty guineas, and that his habit 
 was to carry his gold loose in one waistcoat pocket ; 
 while his generous help to the poor around him in 
 Fulham, and to needy artists, while it illustrates the 
 fine side of his character, seems to have been in some 
 cases imposed upon. 
 
 His character seems that of a thorough artist, 
 open, generous, devoted to his work, and capable — 
 without one thought of jealousy — of warmly appre- 
 ciating what he felt to be good in the work of 
 others ; and, therefore, I shall touch very slightly 
 here upon the story of his quarrel with Strange, 
 because the bad feeling seems to have been all on 
 one side, and Bartolozzi's own share in it to have 
 been a very small one. That Dalton himself was 
 a very sharp man of business seems certain, and that 
 he may have used his oi^cial position as the King's 
 Librarian, to prevent Strange having access to pic- 
 tures in Italy which the latter wanted to engrave, 
 seems more than probable. 
 
 * Op. cif.f chap. i. p. 11.
 
 54 BARTOLOZZI 
 
 But all the evidence seems to show that Bartolozzi 
 was a stranger to the whole transaction, and had 
 himself fomid that in dealing with Dalton he had 
 suffered from a lack of business experience. What 
 fanned Strange's resentment with the Italian engraver 
 into actual hostility was the fact ^that, when the 
 Royal Academy was formed, he found Bartolozzi 
 made a member, and himself left out ; and in 
 his "Inquiry into the Rise and Establishment of 
 the Royal Academy " he went so far as to charge 
 Bartolozzi with having obtained his friend Cipriani's 
 assistance in the production of his Academy paint- 
 ing. We have seen, however, that Bartolozzi had 
 included painting in his Florentine training, and that 
 his whole work bears evidence to his superb drawing 
 of the figure ; whereas Strange, though a brilliant 
 engraver, appears from all accounts as a weak 
 draughtsman. 
 
 Bartolozzi, when pressed by his friends to reply 
 to this personal attack, steadily declined to take any 
 notice of it whatever ; and in later years Sir Robert 
 Strange, though still harbouring his resentment 
 against Dalton, seems to have at length done full 
 justice to Bartolozzi, both as artist and man. 
 
 The latter's studio was now filled with pupils —
 
 IN LONDON AND LISBON 55 
 
 some of whose work I shall take in detail in my 
 next chapter. For thirty years (1769 to 1 799) he 
 was a frequent exhibitor at the Royal Academy. 
 An untiring worker, he is related to have been fre- 
 quently employed on his engravings in hand till late 
 at night, and back at his work again by six in the 
 morning ; and he must, during this period, have 
 been making large sums of money, though without 
 doubt the publishers who employed his talent made 
 much larger. 
 
 He had his family now with him j he must at this 
 time have become a freemason, and had started his 
 son Gaetano as a print publisher in Great Titchfield 
 Street, under the name of F. Bartolozzi and Co.* 
 
 Gaetano Bartolozzi, whose birth in Rome we 
 have noted (chap, i.), had married in 1795, and one 
 of his daughters by this marriage became famous in 
 the next century as the great dancer, Madame 
 Vestris ; but his passion for musical society and his 
 indifference to business had landed Gaetano in money 
 
 • The Triumph of Venus is inscribed — " Published as 
 the Act directs March i, 1787, by F. Bartolozzi." 
 Here he is his own publisher. The print of Masonic 
 Charity (Baron de Worms' Coll.) is engraved by 
 *< Brother Bartolozzi."
 
 56 BARTOLOZZI 
 
 difficulties, and in 1797 the entire stock of his plates 
 and prints had to be sold by auction at Christie's.* 
 
 Perhaps it was this disappointment, combined with 
 the financial pressure which it brought upon him ; 
 perhaps the claims of the importunate hangers-on, 
 whom his generosity had (as I have hinted) settled 
 upon him ; or, perhaps, a craving to see again, before 
 his life closed in, the myrtles and vines and olive- 
 yards and deep blue skies of the South — the craving 
 which those who have known the South intimately 
 find sometimes to become insistent, almost intoler- 
 able, and which the poet Tennyson expressed with 
 such intimate feeling in those lines whose thought 
 may have been already in our artist's mind : 
 
 " Though Power should make from land to land 
 The name of Britain doubly great — 
 Tho^ every channel of the State 
 Should almost ckoke with with golden sand-^ 
 
 Yet waft me from the harbour'* s mouth 
 Wild wind! I seek a warmer sk^j 
 And 1 will see before I die 
 The palms and temples of the South.** 
 
 * Bartolozzi's delightful print of a sleeping child is 
 from his tiny granddaughter, later Mme. de Vestris.
 
 IN LONDON AND LISBON 57 
 
 In any case, not even the brilliant position which 
 he had achieved in London could now satisfy him. 
 He accepted the offer which had been twice made 
 by the Prince Regent of Portugal, with the promise 
 €1 a pension and knighthood, and in November of 
 1802 quitted England for ever. 
 
 He seems, in fact, to have felt himself that, though 
 his gains in London were considerable his expenses 
 also were heavy, and he had many claims upon him ; 
 while in Lisbon, though his pension was compara- 
 tively small, his outgoings were equally so.* "In 
 England," he said to a visitor from that country 
 after his arrival in Lisbon, " I was always in debt 
 for the honours showered on my talents, and was 
 quite tired of work. Here I go to Court, see the 
 King, have many friends, and on my salary can 
 keep my horse and drink my wine. In England it 
 would not allow me a jackass and a pot of porter." 
 
 But evil days were coming quickly upon the new 
 country of his adoption. In October of 1807 
 France, under Napoleon's guidance, agreed with 
 Spain to divide Portugal between them ; and the 
 reigning House of Braganza fled from Lisbon to 
 
 * See Tucr, op. cit.y chap, i., for details of his life at 
 Lisbon.
 
 58 BARTOLOZZI 
 
 Brazil. But this move on the part of France was 
 only the prelude to the annexation of Spain herself. 
 England supported by her armies the splendid 
 courage of the Spanish revolt against this usurpa- 
 tion ; and the campaign which ensued ended in the 
 French being eventually driven from the Peninsula. 
 Gillray, as usual, hits off the public sentiment in 
 England exactly in one of his clever sketches. The 
 Spanish patriots, including even women and priests, 
 are attacking the French, and at their side a sturdy 
 British soldier runs forward to help the former with 
 his bayonet. 
 
 It may be doubted whether our veteran engraver 
 would not have secured a better provision of peace 
 for his old age by remaining in England — the one 
 European country at that time whose soil had not 
 been overrun by Napoleon's armies ; and Bartolozzi 
 seems up to his life's close to have had the hope of 
 revisiting the country of his earlier adoption. In a 
 letter, written in 1814, at the age of eighty-six, to 
 his old pupil, James Minasi, he says: "I was in 
 hopes last summer of seeing London once more ; " 
 and his devoted pupil — whom I shall notice more 
 in detail in the next chapter — in sending this letter 
 to the New Monthly^ adds : " Though he makes
 
 IN LONDON AND LISBON 59 
 
 no complaints of his situation, yet it must be evident, 
 from the whole tenour of his epistle, that he is fast 
 sinking into the grave without those comforts to 
 which his age and eminence justly entitle him." 
 
 Yet gloomy though the letter here referred to 
 may seem — in one passage especially in which he 
 speaks of himself as "a poor old man already for- 
 gotten in the world, though you know I have done 
 a great deal, and that my humble performances have 
 been borne with ; now they are despised " — and 
 in contrast to the enthusiasm and gaiety of spirit 
 which characterises all we know of his earlier life, 
 he was at least still able to work, and says himself — 
 " Yet God gives me the grace to be able to continue 
 to do something." It seems certain, too, that his 
 allowance was continued by the Portuguese Govern- 
 ment, which would have kept him from absolute 
 penury. A tireless worker dwring his life, it was 
 almost with the graver still in his hand that he died 
 at Lisbon, after a short and painless illness, on 
 March 7, 1 81 5. 
 
 On March i of that same year Napoleon had 
 quitted Elba and marched on Paris. All Europe 
 was absorbed in that brief and terrible struggle, 
 which terminated on June 18 upon the field of
 
 6o BARTOLOZZI 
 
 Waterloo, and few — even among those to whom 
 fortune had come through his industry — can have 
 given much thought to the aged artist, whose life 
 had just flickered out. A new generation had 
 sprung up, during the great war which was now 
 nearing its conclusion, with new tastes, new aspira- 
 tions, new sympathies. But the great engraver 
 who thus passed away had possessed artistic qualities 
 which must redeem him even from a temporary 
 oblivion. Not the assumed nobility of ancestry 
 which Portuguese punctiliousness discovered to 
 justify his knighthood, nor the continuance of his 
 name among descendants, which had lapsed now 
 in the second generation, were needed to keep that 
 name immortal ; for this he had himself achieved 
 by the abiding value and interest of his life-long 
 work.
 
 CHAPTER V 
 
 BARTOLOZZrS PUPILS IN ENGLAND 
 
 THE name of Henry Bunbury has already 
 come before us in the preceding chapters. 
 More refined is his art than either Row- 
 landson or Gillray, and of better social position and 
 culture — for he had been educated at Westminster 
 and Cambridge, had travelled in France and Italy, 
 and was the second son of the Rev. Sir William 
 Bunbury, who had inherited a Suffolk baronetcy 
 as well as some fortune— he never attained the 
 fertility of design or mastery of drawing of the 
 two caricaturists just mentioned. 
 
 Something of the amateur remains through all 
 the work of Bunbury, who left politics practically 
 out of his field of subjects, and whose social qualities 
 were one of his greatest charms. He married 
 Catherine Horneck, whose sister Alary had been
 
 62 BARTOLOZZI 
 
 painted — and, it is said, proposed to — by Sir 
 Joshua Reynolds, who had elsewhere painted these 
 two pretty women together ; and when he settled 
 in the country with his young wife, his circle of 
 friends came to include Oliver Goldsmith, the 
 actor Garrick, Hoppner, and Sir Joshua — the latter 
 being godfather to his second son Henry, and 
 painting his eldest as Master Bunbury in 1781 — 
 and last, but not least, Dr. Samuel Johnson. 
 Bunbury was equerry to the Duke of York, and 
 an officer of the Suffolk Militia, and as such was in 
 camp at Coxheath in 1 778 during the period of 
 the American troubles. Some of his most amusing 
 caricatures depict the military life of the period 
 [Recruits and A Visit to the Camp) ; but among his 
 better known prints are Coffee- House Patriots and a 
 Chop-House (both 1781, the latter with Dr. Johnson 
 introduced), and (in 1787) the Long Minuet as 
 danced at 'Bath and The Propagation of a Lie, 
 
 Bunbury did not engrave himself, but drew in 
 pencil, or black and red chalk, and left his work to 
 be reproduced by Bretherton and Dickinson — the 
 latter's engraving of The County Club being much 
 sought after even now ; while Rowlandson and 
 Gillray respectively were engaged upon his Patience
 
 T. Laurence, pinxt F. Bartolozzi, sculpt, R.A. 
 
 THE RT. HON. THE COUNTESS OF DERBY 
 
 Formerly Miss Eliza Favren, a beautiful actress)
 
 BARTOLOZZrS PUPILS 63 
 
 in a Punt and A Barber's Shop in Assize Time, 
 A Family Piece recalls the scene in his friend 
 Goldsmith's famous story ; while another rough 
 sketch seems to show Lord Derby, probably in the 
 early stage of his attachment, following the coach 
 of that beautiful actress, Miss Farren — whose 
 portrait engraved by Bartolozzi I reproduce in this 
 volume, and who subsequently became the Countess 
 of Derby. 
 
 It is more particularly in his connection with 
 Bartolozzi that I wish to speak of Bunbury here . 
 for he supplied the engraver with some charming 
 drawings, mostly of English girls in simple country 
 dress — such as the Sophia and Olivia^ drawn for 
 Goldsmith's " Vicar of Wakefield," where one of 
 the girls touches a guitar and the other holds a roll 
 of music ; or again, that very lovely print, a copy of 
 which is in the Victoria and Albert collection, 
 where three young girls dance hand in hand to the 
 strain which a country lad seated near them is 
 piping. The grace and easy movement of these 
 figures is very remarkable, and raises our opinion 
 of the artist's powers.* 
 
 I touch the subject of this chapter more closely 
 • ** The Song" a pendant to this, is no less charming.
 
 64 BARTOLOZZI 
 
 when I come to the name of Vitalba, whom we 
 have ah'cady observed (chap, i.) to have accompanied 
 Bartolozzi as his pupil to England. Vitalba, if he 
 did not travel with Bartolozzi, followed him very 
 closely, being in London in 1765 ; he was then 
 twenty-five, having been born in 1740, and had 
 been a pupil of Joseph Wagner, at Venice, before 
 he associated himself with Bartolozzi. 
 
 Giovanni Vitalba is, to my judgment, a mag- 
 nificent engraver in line ; and I am adding to my 
 illustrations an old man's head from my own 
 collection, which fully equals in delicacy and power 
 anything that Bartolozzi achieved in pure line 
 work. The Cupid and Satyrs (after Caracci) ; 
 Spring and Summer (from Lauri) ; and Herodias 
 with the head of John Baptist are often quoted as 
 his more important prints ; but I could supplement 
 these by others in my own hands, and those of 
 friends, notably three superb line engravings, in 
 my father's (Mr. John Brinton's) collection — The 
 Guardian Angel pointing upzvards, a Bishop attending 
 a Sick-bed (from Guercino, inscribed Giov, Vitalba^ 
 sculp.y Londra\ and A Seated Woman^ resting her chin 
 upon her hand — while in my own hands is the 
 S. Joseph ivith the Infant Christ, These are all
 
 BARTOLOZZrS PUPILS 65 
 
 line engravings, and fully justify what I have just 
 said as to Vitalba's talent. 
 
 Pupils, it mav be remarked here, formed a valuable 
 assistance to the engraver's income, and Bartolozzi 
 had pupils with him during the whole of his resi- 
 dence in England ; but it was really the fashion 
 which set in for stipple engravings which drew the 
 largest number of artistic aspirants to his studio. 
 Some of these achieved success, which placed them 
 very nearly, if not quite, upon their master's level ; 
 others fell back into the ultimate oblivion, from which 
 no teaching or example could rescue mediocrity. 
 In any case, their number is so great that some, who 
 were even better than these last, must be omitted 
 here ; while the prints of others, whom I shall 
 mention, command at this moment as high prices as 
 those of Bartolozzi himself. But there are two 
 contemporaries to be first considered, who seem to 
 me to have exercised a definite influence on Barto- 
 lozzi's art. 
 
 Thomas Vivares was born in London about 1735, 
 as one of a family of thirty-one ! He had already 
 gained recognition by his talents when Bartolozzi 
 reached England, and between 1764 and 1788 was 
 an exhibitor at the Royal Academy and Society
 
 66 BARTOLOZZI 
 
 of Artists. Bartolozzi himself exclaimed of him : 
 " Vivares ! He is the finest landscape engraver in 
 the world ; his needle paints upon the copper — so 
 light, so full of taste, and so airy ! His skies are in 
 motion. I esteemed it an honour to engrave the 
 figures in his landscapes." He referred most probably 
 here to the Italian peasant's vi^edding, a print of 
 which now lies before me.* Numerous figures of 
 peasants, men and girls, are seated at a table spread 
 in an open glade. The bride seems, by her gesture, 
 to be proposing the bridegroom's health, and the 
 distant landscape, with a large Italian villa on the 
 right and a classic temple in the middle distance, is 
 very finely handled. 
 
 But Bartolozzi did not treat landscape by prefer- 
 ence ; and I incline to trace a deeper influence on his 
 style in the engravings of Zocchi, that master of 
 characterisation in portraiture, whose merits seem 
 to me, even now, very insufficiently recognised. 
 Born in Tuscany, in 171 1, Zocchi was at his prime 
 just when young Bartolozzi was first gaining his 
 knowledge of the graver's art ; and the plate I 
 have already mentioned (chap, i.) defines the period 
 
 * Victoria and Albert collection. Inscribed Barto- 
 /ozzi and Fivares fecit. See also Tuer, op. cit. chap. i.
 
 BARTOLOZZrS PUPILS 67 
 
 of his Venetian apprenticeship as coming within 
 Zocchi's influence. Some landscapes by the latter in 
 my own collection — apparently of the country lying 
 between Viterbo and Rome — are very remarkable, 
 and far above Basire's sketchy treatment of similar 
 subjects ; but his greatest strength lay, perhaps, in 
 his portrait studies, and in two prints lying before 
 me now — the one by Zocchi, the other by Barto- 
 lozzi — it can be traced how the younger artist 
 deliberately imitated the strong drawing and bold 
 diagonal shading in line, which characterise those 
 heads of monks and Italian bourgeois in which Zocchi 
 delighted. 
 
 I turn now from line engraving, in which Vitalba 
 too not improbably learned something from the last- 
 named master, to work in stipple ; and here the 
 name of Thomas Cheesman comes before us, as one 
 of the best known of Bartolozzi's pupils. His 
 portrait of the beautiful Marchioness of Townshend, 
 with her little son as a naked winged Cupid, holding 
 a dove, of which I possess a print in red stipple, 
 signed Thomas Cheesman^ late pupil to F. Bartolozzi 
 Sculp., Angelica Kauffman pinx., is a masterpiece of 
 delicate and dainty graver's work. Born in 1760, 
 and working both in stipple and mezzotint, he
 
 68 BARTOL02ZI 
 
 treated subjects from Romney and Hogarth, and 
 was exhibiting as late as the year 1820— the print 
 just mentioned being published in 1792. But 
 Cheesman belongs to the later period of Bartolozzi's 
 English life, while Delattre, whose name has come 
 before us (chap, iii.), in speaking of The Death of 
 Chatham^ was Bartolozzi's principal assistant from 
 the year 1770 onwards. 
 
 Jean Marie Delattre, a native of Abbeville, in 
 France (born 1745), coming to London in 1770, 
 gained from Bartolozzi instruction in the art of 
 stipple engraving; and his prints in this method 
 from Angelica KaufFman, Cipriani, Wheatley, 
 Stothard, and Hamilton achieved great success. 
 
 It is obvious that at this time (from 1770 onwards) 
 a great deal of fine stipple engraving was being 
 turned out from Bartolozzi's studio by his pupils, 
 working under the famous engraver's direction ; and 
 it was Delattre who was employed to touch up and 
 correct the work of younger pupils, whom the 
 master was unable to attend to himself. In the 
 case of the famous Death of Chatham^ John 
 Copley, R. A., the artist of the picture, commissioned 
 Delattre to make a smaller engraving of the same 
 subject for 600 guineas ; and on the painter's sub-
 
 BARTOLOZZrS PUPILS 69 
 
 sequent repudiation of this contract, on the ground 
 that the engraving was inferior in style, Delattre 
 brought an action for the amount, and won his suit 
 in 1 80 1, Bartolozzi being one of his witnesses. 
 
 One of the most fascinating of the stipple prints 
 which appeared under Bartolozzi's name is The Nest 
 of Loves ^ of which I am happily able to give a good 
 reproduction from a print in my own possession. 
 This plate was, as Mr.Tuer pointsout,* really engraved 
 by one of Bartolozzi's pupils, Louis Schiavonetti, from 
 a drawing by Aspinall, and published in March of 
 1803 by Gaetano Bartolozzi. The name on the 
 plate was changed later by some dishonest dealer — 
 into whose hands it had then come — to that of 
 Bartolozzi, thinking thereby to enhance its value ; 
 the same having been done elsewhere with John 
 Ogborne's stipple portraits of two beautiful English 
 actresses — Mrs. Jordan and the more famous Eleanor 
 Gwynne. But both Ogborne and Schiavonetti, 
 though pupils of Bartolozzi, can claim a high place 
 on their own merits. Ogborne, born in London, 
 1725, worked for the Boydells and engraved from 
 the designs of Angelica Kauffman and others ; while 
 Schiavonetti, a younger man (born 1765), came from 
 * See Tuer, op. cit. chap. xi.
 
 70 BARTOLOZZI 
 
 Bassano (the birthplace, too, of Jacopo da Ponte) in 
 the Venetian territory, to London under the patron- 
 age of that Testolini who gave Bartolozzi such 
 trouble over the print of the Death of Chatham^ and 
 w^ho seems actually to have palmed off as his own 
 some of Schiavonetti's stipple prints. That Schiavonetti 
 possessed real talent in his art this beautiful print of 
 the nymph feeding the baby Loves amply proves : 
 he was largely employed in book illustration, and 
 died at Brompton in 1810. 
 
 Far more closely connected with Bartolozzi*s life 
 was James Anthony Minasi (born 1776), a native of 
 Calabria. His uncle Antonio had interest enough to 
 place him under the patronage of the Court at Naples, 
 and in 1793 he came to London as an artist, and 
 lodged with his cousin, Mariano Bovi,* at 207 
 Piccadilly. His uncle had used his influence with 
 the King of Naples and Sir William Hamilton, 
 ambassador at that Court, to get young Minasi into 
 Bartolozzi's studio, and eventually he was received as 
 an " apprentice to Francis Bartolozzi^ of North Endy in 
 the parish of Fulham. . . , Engraver^ to learn his art 
 for the term of seven years. ^^ Though the full period was 
 
 * Bovi's name frequently appears as publisher beneath 
 Bartolozzi prints ; he was also an engraver.
 
 BARTOLOZZrS PUPILS 71 
 
 not enforced the relations between master and pupil 
 remained those of mutual respect and attachment ; 
 and we have seen (chap, iv.) that their correspondence 
 was continued until the very close of Bartolozzi's 
 life. By his engraving of the Duke of Wellington^ at 
 the time of the Peninsular War, Minasi achieved 
 a financial and artistic success. He was devoted 
 to music, being the intimate friend of Paganini 
 while that great violinist was in England, and 
 died in London in 1865, at the great age of 
 eighty-nine. 
 
 Peltro William Tomkins (born 1760 in London) 
 must by no means be forgotten by us here. As a 
 stipple engraver he is unequalled in tenderness and 
 finish ; and Bartolozzi himself had the highest opinion 
 of this pupil's talents, and loved him almost as a father 
 — " he is my son in the art," he had once said. A 
 typical example of his genius is a print I have now 
 before me in stipple, printed in red, its title being The 
 First Lesson in Love* with beneath it, P. H. Tomkins^ 
 sculp, ^ pupil to F. Bartolozzi, Two young girls, 
 in eighteenth-century dress, one of them holding a 
 
 * From my father's collection. Love and Hope^ and 
 Marion (from Bunbury), are prints much sought for. 
 Tomkins lived till 1840.
 
 72 BARTOLOZZI 
 
 spindle, are watching two doves " billing and cooing." 
 Vine leaves cover a wall, behind which a youth 
 watches them unobserved. In the background a 
 brook steals beneath shady trees, which half conceal 
 a cottage ; and the dainty finish of the drawing, the 
 tender sentiment of the whole conception, finds 
 another illustration in the verses beneath : 
 
 " Ccelia, behold yon pretty dovesy 
 How sweet they bill and coo : 
 Were I and Lub'in wedded loves 
 Should we not do so too ? 
 
 The youth unseen overheard the matd^ 
 Strange raptures fired his breast ; 
 Tavow his fianie no more afraid 
 Nannette he soon addressed. ^^ 
 
 Just this air of prettiness and sentimental charm 
 are the distinguishing notes of Tomkins' engravings, 
 which are often very exquisite in their finish. He 
 had a high reputation in his life-time, was engraver 
 (1793) to Queen Charlotte, and in the present day 
 his prints fetch good prices. 
 
 Like Tomkins J. K. Sherwin excelled in subjects 
 from Kauffman and Cipriani ; and there are others.
 
 BARTOLOZZrS PUPILS 73 
 
 one of whom I have mentioned here, Minasi's 
 cousin — whom, in a fit of temper, he once calls 
 "// porco ^ovi^^ — Mariano Bovi, who carried on 
 business as print-seller and engraver at 207 Picca- 
 dilly, and who was proud to count himself among 
 Bartolozzi's pupils ; and Pietro Bettelini, the pupil 
 who felt insulted on being asked by the master 
 to go out and buy some cold meat, and of whom 
 Bartolozzi had cause to remark : " He is full of 
 self-esteem, and thinks he knows far more than he 
 does." 
 
 William Nelson Gardiner, who seems to have tried 
 most careers in life — as artist, engraver, musician, 
 actor, then student for the Church at Cambridge, 
 and finally a bookseller in Pall Mall, where he 
 committed suicide in 18 14 — must be added to our 
 list. James Gillray himself had been an actor with 
 a strolling company, before he became a student of 
 the Royal Academy, and a pupil of Bartolozzi ; 
 and we must not forget the elder (R. H.) Cromek 
 (born 1 771), engraver and publisher, who worked 
 largely upon Stothard's designs, and R. H. Marcuard 
 (1751-92), whose masterly portrait of Bartolozzi, 
 engraved from Sir Joshua's painting, I have included 
 among my illustrations j nor yet again Middiman —
 
 74 BARTOLOZZI 
 
 vsrho handles with freedom and power the landscape 
 in The Shepherdess of the Alps and The Tempest^ where 
 Bartolozzi engraved the figures, nor Meyer, Pastorini, 
 Pariset, Ramberg, the two Smiths (Anker and 
 Benjamin), and the two Taylors (Charles and Isaac). 
 Volpato — who scarcely comes under the heading of 
 this chapter, since he studied with Bartolozzi 
 while he was still in Venice — and Vendramini, who, 
 like Schiavonetti, was born at Bassano (1769), and 
 who, on Bartolozzi's departure from England in 
 1802, succeeded to his master's house at North 
 End, Fulham, must conclude our list here. 
 
 Even this list, though sufficiently large for this 
 work, cannot pretend to completeness. Sintzenich 
 and Summerfield are still to be mentioned — the 
 former well thought of on the Continent, the latter 
 so neglected in his own country, in spite of talent, 
 that he practically perished of want ; and it is only 
 the exigencies of the space permitted me in this 
 series which force me reluctantly away from a 
 subject in which there is so much to say — so 
 much that is of interest to the collector, the artist, 
 and even to the general public. For the collector 
 or lover of Bartolozzi's work will, I venture 
 to believe, pardon the faults of this little work,
 
 BARTOLOZZrS PUPILS 75 
 
 because he will trace through its every page the 
 influence of a common interest and enthusiasm ; 
 and if I shall have stimulated that interest, if I 
 should have added to that knov^^ledge or enthusiasm, 
 then this study of the great master of line and 
 stipple will not have been in vain.
 
 AN ABRIDGED LIST OF PRINTS 
 
 |:-^-^:,;''>'v;'^7^!i'^i!Hif^^,pi^ 
 
 -^^^1 
 
 .5.^^ * 
 
 ' ' Syrinx escaping Pan ' ' 
 
 (Adapted from Bartolozzi's Frontispiece) 
 
 See List of Prints, No. 285
 
 AN ABRIDGED LIST OF PRINTS EN- 
 GRAVED BY FRANCESCO BARTO- 
 LOZZI, R.A., BEFORE AND DURING 
 HIS RESIDENCE IN ENGLAND 
 
 N.B. — This list represents a careful selection from a 
 total of over two thousand prints, and even so my space 
 has compelled me, to my regret, to confine myself to 
 the Master's own engravings. Every print, save six, 
 contained in this list has been examined by me personally, 
 and those which I consider of exceptional beauty or 
 interest I have marked with one or two asterisks. 
 
 LINE ENGRAVINGS OR ETCHINGS 
 
 I Dido's Prayer. After Zocchi {F. Bartolozzi Florentinus 
 sculp. Venetiis]. 
 
 2-j ^*The Months. After Zocchi. Engraved by Barto- 
 lozzi at Venice, and pubHshed there by Wagner. (A 
 complete set in Print Room of British Museum.) 
 See chap, i., and note especially December {-pig-kiWing), 
 January (skating), April (sheep-shearing), and 
 ♦May [described in chap, i., p. 14).
 
 78 LIST OF PRINTS 
 
 14 Nude Child-angels with Censers and Church-hooks* 
 
 Early work with the graver. After Domenico 
 Zampieri. 
 
 15 Children Riding a Goat. After Franceschini. 
 15a Group of Baby Bacchanals. After Franceschini. 
 i6*Sleeping Baby Boy. After Elizabetta Sirani. 
 i7**La Vierge au Silence. After Annibale Caracci. 
 i^**Clytie. After Annibale Caracci, Published by J. 
 
 Boydell, Nov. 26, 1772. 
 ig*Cupid and Psyche with a Dart. After Guercino. 
 20 Prometheus and the Vulture. After Michelangelo. 
 2i*Virgin and Child with S. Elizabeth. After Guercino. 
 
 There are about 150 prints from the original drawings 
 of Guercino, mostly from the collection of H.M. 
 George III, All are of interest, but among the 
 best of these are : 
 
 22 Flora with Attendant Boys. 
 
 23 Infant S. John with a Cross. {See illustration.) 
 
 24 The Same (older lad) in the Wildernes^y. 
 
 2 5**OW Man, Woman, and Boy with the Model of Building 
 
 (chap, ii., p. 21). 
 26** An Italian Family Concert. {See illustration.) 
 2y*Quee}i Esther and her Maids before Ahasuerus. 
 
 28 Virgin and Child watching a Bird. 
 
 29 The Circumcision. 
 
 lo"** Almighty in Clouds, with two cherubs (chap. ii.. p. 20). 
 ^j**Naked Woman Lying down with her Babe (chap, ii., 
 
 p. 21). 
 32 S. John Writing. 
 
 ^l*Cupid seeing his Bow in the Flames (chap, ii., p. 21 J. 
 34 Salvator Mundi (Youthful Christj with Globe.
 
 LIST OF PRINTS 79 
 
 35 Two Italian Girls (? Guercino's daughtersjj 
 36*55. Peter and Paul. 
 
 27*Holy Family with Angel Playing a Violin. {See illus- 
 tration.) 
 l^* Gamblers or Italian " Bravi " Quarrelling. 
 ig^Four Women, with Naked Child learning to Walk, 
 40 Girl Seated in Thoughtful Attitude. 
 4i**Sibyl (Sibilla Libia) with a Book. 
 42 Naked Boys Pressing Grapes. 
 4^*Three Boys with a Wreath (pendant to No, 42]. 
 44 Four Boys with a Vase and Captive Bird. 
 4$*Five Boys Playing — One has a Fife, Another a 
 Drum. 
 
 46 Baby Boy Drinking from Wine-flaski 
 
 Note here also : 
 
 47 By R. Dalton. An Italian Music Lesson. After 
 
 Guercino. [See illustration.) 
 
 48 ByVitalba. *Headof Old Man. After Guercino. {See 
 
 illustration.) 
 
 Line Work from Other Italian Artists 
 
 4g*Atalanta and Hippomanes. After Benvenuto Luti. 
 Published 1791. 
 
 50 Boys Playing with Lamb. After Simone da Pesaro, 
 
 who died 1648. 
 
 51 Mother and Sleeping Child. After Sassoferrato. 
 
 Published by Boydell 1767. 
 S2*Tobias and the Angel. After Carlo Maratta. 
 
 53 Laocoon and his Sons. After Pietro da Cortona. 
 
 54 Laban Seeking for his Idols. After the same.
 
 8o LIST OF PRINTS 
 
 SS* Allegory of Night. (One of Bartolozzi's earliest works 
 in England. Imprint runs : F. Bariolozzi sculpt., 
 Londra, 1764.) After Annibale Caracci. 
 
 56 Allegorical Subject. After Michelangelo. 
 
 57 Figure from Last Judgment. After the same. 
 i,^**Cupid's Manufactory (from a series of The Four 
 
 Elements, by Francesco Albano, in the Royal 
 Gallery of Turin ; this one representing Fire). 
 Published by J. Boydell, 1800. {See illustration.) 
 $g*Sleeping Venus. After Annibale Caracci. A beautiful 
 reclining nude. (F. Bart^ sculpt., J. Boydell 
 excudit, 1783.) 
 
 60 A Series of Drawings after Hans Holbein ; the originals 
 
 in his Majesty's collection being portraits of the 
 Court of Henry VIII. Published in 1792. 
 
 61 The Marlborough Gems. Drawn by G. B. CiprianL 
 
 Engraved by F. Bartolozzi {see chap. iii.J. 
 
 PORTRAITS BOTH IN LINE AND STIPPLE 
 
 Many of these last also in colour 
 Male Portraits 
 
 62 Thomas Lord Graves. After Northcote. 
 
 63 Thomas Guy (Founder of Guy's Hospital). After 
 
 J. Bacon, R.A. 
 
 64 Dr. Samuel Johnson. LL.D. Published 1785. 
 
 6s* Marten van Suchen (in steel armour). After A^ 
 
 Schouman. 
 66 Vincent Lunar di {" First aerial traveller in English 
 
 atmosphere "]. After R. Cosway.
 
 LIST OF PRINTS 8i 
 
 6y*0mai. Native of Ulaietea (brought to England in 
 1774). After N. Dance. 
 
 68 Quirino, Senator of Venice (imprint " ne omnis moriar 
 
 Bartolozzi me sculpsit 1794"). 
 
 69 Right Hon. William Pitt, First Lord Commissioner, &c. 
 
 Published 1789. After J. S. Copley. 
 
 70 Alex. Wedderburn (Lord Loughborough). 
 
 71 Andrew Keppis, D.D., F.R.S. After W. Acland. 
 72* Sir Ralph Abercromhie. After Hoppner. 
 
 7 Z** John Ash, M.D. {full-length. Published 1791). After 
 Sir J. Reynolds. 
 
 74 Johann Christian Bach {medallion with figures, 1782). 
 
 After A. Carlini. 
 
 75 Cardinal Pietro Bembo {A. Paselli Ven, del). After 
 
 Titian. 
 
 76 Lieut.-Col. Cox {uniform of Bloomsbury and Inns of 
 
 Court Association in 1794). After G. Hounsom. 
 
 77 Captain Cook {published by Webber at Cape of Good 
 
 Hope and London, 1784). 
 
 78 The Poet Cowper {drawn in 1793 from life by Sir T. 
 
 Lawrence). 
 
 79 Napoleon Buonaparte (F. Bartolozzi, R.A., del. et 
 
 scidpt.). 
 
 80 Lord Wellington. {Engraved in 18 10, by Bartolozzi, when 
 
 the latter was eighty-three years old.) 
 
 %i*Lord Clive. {Painted by N. Dance. Engraved by F. 
 Bartolozzi. ) 
 
 82 The Affectionate Brothers. {Sir J. Reynolds pinx. 
 F. Bartolozzi sculpt.). 
 
 S^** George Augustin Eliot — Lord Heath field. Governor of 
 Gibraltar* {Painted by Poggi. Engraved by Barto- 
 lozzi.^ 
 
 P
 
 82 LIST OF PRINTS 
 
 84 Sir J. F. E. Acton, Bart. {Proof before letters, in 
 
 Baron de Worms' collection.) 
 
 85 H.R.H. the Prince of Wales. Dedicated to the 
 
 Kentish Bowmen. {J. Russell, R.A., pinx. F. 
 Bartolozzi, R.A., sculpt.] 
 86*Francis Bartolozzi, Esq., R.A. {W. Acland pinx. 
 Pastorini and P. W. Tomkins sculpt.} 
 
 87 Magliahecchi {the famous Librarian of Florence}. 
 
 88 Charles Pratt — Earl Camden. After Gainsborough. 
 Sg**John Dunning — Lord Ashburfon {published 1790J. 
 
 After Sir J. Reynolds. 
 go**William Murray — Earl of Mansfield {published 1786). 
 
 After Sir J. Reynolds. 
 gi**Edward, Lord Thurlow {part line, cross hatched, 
 
 part stipple). After Sir J. Reynolds, 
 g2*Hon. Leicester Stanhope {child with drum\. After 
 
 Sir J. Reynolds. 
 gi* Frederick II. of Prussia. After Ramberg's painting. 
 g4** Right Hon. William Pitt. After Gainsborough 
 
 Dupont. 
 g4aThe Same Statesman. After Thomas Gainsborough, R. A.- 
 
 95 The Earl of Bute. After Romney. 
 
 96 W. Cobbett {published 1801). After J. R. Smith. 
 
 gy* Master Philip Yorke {with bird and dog. Published 
 March 1788J. After Sir J. Reynolds. 
 
 98 George, Duke of Marlborough, his Duchess and child. 
 
 After Samuel Shelley. 
 
 99 John, Lord Burghersh (as child running), afterwards 
 
 Earl of Westmoreland. After Sir J. Reynolds, P. R.A. 
 
 100 Francesco Bartolozzi, R.A. Engraved by his pupil, 
 
 Marcuard. After Sir J. Reynolds, P.R.A. {See 
 illustration.)
 
 LIST OF PRINTS 83 
 
 lOi G. F. Barbieri (called Guercino da Cento). After 
 
 Guercino. 
 lo,-? Pietro Berettini da Cortona {medallion). After Carlo 
 
 Maratta. 
 
 103 Carlo Cignani. After Carlo Maratta^ 
 
 Female Portraits 
 
 104 Georgiana, Duchess of Devonshire. After Lady Diana 
 
 Beauclerc. 
 10^* Elizabeth, Duchess of Devonshire {Lady Betty Foster). 
 
 After Sir J. Reynolds. 
 io6*Georgiana, Duchess of Devonshire (1783). After 
 
 Jas. Nixon. 
 ioy**The Same. After a drawing by Mr. Downman. 
 
 {See illustration.) 
 
 108 Mrs. Crouch {seated by the sea, three-quarter length). 
 
 After G. Romney. 
 
 109 Lady Jane Dundas. After Hoppner. 
 iio*Duchess of Rutland {oval, very charming). Published 
 
 July 15. 1780. 
 
 111 Mrs. Arabella Lennox {published 1792). After Sir J. 
 
 Reynolds. 
 
 112 Jane Shore {published by Harding, 1790, for Harding's 
 
 " Shakespeare "). 
 
 113 Van Dyck's Wife and Child (published 1770). After 
 
 Van Dyck. 
 11^** Daughters of Lady Diana Beauclerc * {a charming 
 creation. Published 1780). After Lady Diana 
 Beauclerc. Imprint : Etched by F. Bartolozzi. 
 
 * Lady Diana was the daughter of Charles Spencer, 2nd Duke 
 of Marlborough. A clever amateur artist— i^. 1734 ; d. 1808.
 
 84 LIST OF PRINTS 
 
 lis* Catharine ^^- ^i Russia {published 1788, after Mi 
 
 Benedetti : drawn in 1783). 
 116 Maria of Austria. 
 iiy*Mary, Queen of Scots. After Zucchero (See chap. ii.Jj 
 
 1 1 8 Duchess of Northumberland. After G. B. Cipriani. 
 
 119 Right Hon. Anne, Countess Cowper. After W. 
 
 Hamilton, R.A. 
 i20**Miss Elizabeth Farren, Countess of Derby (full-length. 
 Published by Jeff ryes, London, 1791. Commenced by 
 G. C. Knight, finished by Bartolozzi). {See illustration.) 
 
 121 Lady Diana Beaucterc and Sister. After Lady Diana 
 
 Beauclerc. 
 
 122 Cipriani's Daughter, and Lais {Cipriani)^ 
 122, Miss O'Neill. After R. Cosway, R.A. 
 12^* Maria Cosway. After R. Cosway, R.A.- 
 
 125 Countess of Bute. After Romney. 
 
 126 Miss Ponsonby. After R. Cosway, R.A. 
 i2y**Lady Smith and Children. After Sir J. Rejmolds, 
 
 P.R.A. Also in colour. 
 12?>* Angelica Kauffman, R.A. (1780, red stipple). After 
 
 Sir J. Reynolds, P.R.A. 
 129 Lady Elizabeth Foster. After Sir J. Reynolds, P.R.A. 
 20**CoHntess of Harrington and Children. After Sir J. 
 
 Reynolds, P.R.A. 
 l$i*Countess of Bessborough {published 1787). After 
 
 Lavinia, Countess Spencer. 
 \7,2*Lavinia, Countess Spencer. After Sir J. Reynolds, 
 
 P.R.A. 
 
 133 Another portrait of above. After J. R. Smith. 
 
 134 Lady Ashburton. After Sir J. Reynolds, P.R.A. 
 I35*ill^s. Siddons {published 1785). After Horace Hone, 
 
 A.R.A.
 
 LIST OF PRINTS 85 
 
 l$6**The Hon. Anne Bingham. After Sir J. Reynolds, 
 
 P.R.A. Also in colour. 
 137 H.R.H. Princess Amelia, Daughter of George III. 
 
 After Sir Thos. Lawrence. 
 
 Fancy Portraits 
 
 11^* John Philip Kemble, as Richard III. After W. 
 
 Hamilton, R.A. 
 139 A Lady in a Grecian Dress {Mrs. Baldwyn). After 
 
 R. Cosway, R.A. 
 i^o**Thais {portrait of Emily Pott, or Coventry], After 
 
 Sir J. Reynolds, P.R.A. {See illustration.) 
 i4i*Winter {portrait of Mrs. Wheatley, nee Miss Leigh). 
 
 After Francis Wheatley, R.A. 
 
 142 Summer {portrait of Mrs. Toward, Wheatley' s sister-in- 
 
 law). After Francis Wheatley, R.A. 
 
 143 Guardian Angels, or Silence {Mme. Vestris, Bartolozzi' 
 
 grand-datighier, a baby-girl asleep). By F. Barto- 
 lozzi, R.A. Engraved by Clarke. 
 i/^*Hebe {Emma Hart, later Lady Hamilton). After 
 G. Cipriani, R.A., to whom she sat, as well as 
 to Romney and others. A charming creation. 
 
 145 Lesbia {Miss Theophila Palmer, as a child). After 
 
 Sir J. Reynolds, P.R.A. 
 
 146 Thalia {Mrs. Abingdon crowning Shakespeare's bust. 
 
 Published 1783). After R. Cosway, R.A. 
 I ^y* Simplicity {Miss Theophila Gwatkin, daughter of 
 
 Sir Joshua's niece. Miss Theophila Palmer, by her 
 
 marriage with R. Gwatkin). After Sir J. Reynolds, 
 
 P.R.A. 
 148 Mr. Henderson as " lago " {Stuart del., Bartolozzi 
 
 sculpt. Published by Balawyn).
 
 86 LIST OF PRINTS 
 
 f49 The Resurrection of a Pious Family. After William 
 Peters. {The male figure ascending from below is 
 said to be the artist's portrait.] 
 
 SUBJECTS DRAWN FROM MYTHOLOGY AND 
 ROMANCE 
 
 {Many in stipple and colour. The inscriptions here 
 are taken from the actual prints.) 
 
 i50*JuDGMENT OF Paris. {G. B. Cipriani inv. F. Bart. 
 
 sculp. J. Boy dell exc, 1783.) 
 i5i*Venus and Adonis. {Cosway pinx'. F. Bart. 
 
 sculp. Published by J. Walker, 1778.) 
 152 The Angelic Child. {Robinson pinx, F. Bart., 
 
 R.A., sculp. Published by W. Palmer, 1790.) 
 i53*Parting of Achilles and Briseis. (G. B. Cipriani 
 
 inv. et del., 1785. F. Bart', sculp. Published by 
 
 Vivares, 1786.) 
 154 The Latter's Return to her Parent. {By the 
 
 same artists.) 
 I55*Hercules and Omphale. {G. B. Cipriani inv 4 
 
 F. Barf, sculp.) 
 i56*Innocence taking Refuge in the Arms of Justice. 
 
 {Louisa E. Lebrun inv. et pinxit, 1779. F. Bart', 
 
 sculp., 1783. Published in Paris and London.) 
 157 Charity. (/. B. Cipriani, R.A., inv. F. Bart., 
 
 R.A., sculp.) 
 i58*Eurydice. {Ang*^. Kauffman pinx. F. Barf, sculp. 
 
 Published in 1790.) 
 I59*Cordelia. {Ang'. Kauffman pinx. F. Bart*, sculp. 
 
 Published by J. Burchall, 1784.J
 
 LIST OF PRINTS S7 
 
 160 Friendship (nude child). {G. B. Cipriani del. 
 
 F. Bart'., R.A.. sculp.) 
 
 161 Cephalus and Procris. (G. B. Cipriani del. F. 
 
 Bart\, R.A., sculp.] 
 
 162 Griselda. {Ang. Kauffman pinx. F. Bart'., sculp. 
 
 Published 1784 by Vivares.) 
 
 163 Zephyrus and **Flora {two roundels). {Colibert inv. 
 
 F. Barf, sculp. Published by W. Palmer. 1788.) 
 
 164 Cupid Mends his Bow. {A. Allegri pinx. [it is really 
 
 by Parmigianino]. F. Barf, sculp. Published by 
 Ai Torre, 1785.) 
 
 165 Cupidon achette (sic.) trop CHER. {Jos. Turts 
 
 pinx. F. Barf, sculp. Published, 1786.) 
 1 66** Venus Chiding Cupid. {Sir J. Reynolds pinx. 
 F. Bart, fecit. Published by A. Torre, 1784. j In 
 black ; also in red stipple. 
 
 167 Jupiter and Io. {From Allegri' s painting. In red 
 
 stipple.) 
 
 168 Reading Magdalen. {From painting attributed to 
 
 Allegri. F. Bart., R.A., sculp.) 
 i69*Hebe Feeds the Eagle. {A. Kaufman pinx. 
 
 F. Bart, sculp. Published by J. Walker, 1782.) 
 I70*Nymphs Bathing. {G. B. Cipriani inv. F. Bart. 
 
 sculp. From Cipriani's " Rudiments of Drawing." 
 
 Published by F. Barf'., 1787. Republished by 
 
 Gaetano Barf., 1792.) 
 \yi*Same subject; colour print in line, in my possession. 
 
 {G. B. Cipriani del. F. Bart, sculp.) 
 
 172 Also *colour stipple {Baron de Worms' collection)^ and 
 
 an oval, red stipple {British Museum collection.) 
 
 173 Nymphs after Bathing. {Colour print, in my 
 
 possession. By Cipriani and Bartolozzi.j
 
 88 LIST OF PRINTS 
 
 174 Nude Children Quarrelling and Mourning* 
 
 {Two plaUs. G. B. Cipriani inv. F. Bart, sculp., 
 
 and published 1787.) 
 i75**Telemachus and Mentor. {Ang. Kauffman pinx. 
 
 F. Bart, sculp. Ryland published. 1786.) 
 I76**The Country Girl going a Reaping. (F. 
 
 Wheatley, R.A., del. F. Bart., Esq., R.A., sculpt.} 
 
 Probably from Mrs. Wheatley. Cf. his Winter. 
 
 Published by A. Molteno, 1787.) 
 177 Romeo and Juliet at the Masque. {W. Hamilton 
 
 pinx. F. Bart, sculp. J. Burchell published. 1783.) 
 I78*The Sleeping Nymph. (G. B. Cipriani inv. F. 
 
 Bartolozzi sculpt.). 
 179 Tancred and Clorinda. {Ang. Kauffman pinx. 
 
 F. BartK sculpt. 1783.) 
 i8o*Tke Deserted Village. (F. Wheatley, R.A., pinx, 
 
 F. BartK sculp. From Macklin's " British Poets," 
 
 which contained a fine series of stipple prints.) 
 i8i*The Death of Chatham. (/. 5. Copley del. En- 
 
 graved by F. Bart., R.A. See chap, iii., p. 41). 
 i82*PsYCHE Going to Bathe. (G. B. Cipriani, R.A., 
 
 pinx. F. Bart., R.A., sculp.) 
 i83*PsYCHE GpiNG TO Dress. (G. B. Cipriani, R.A., 
 
 del., F. Bart., R.A., sculp. Published 1786 hy 
 
 E. M. Diemar.) 
 
 184 Venus Combing Her Hair. {Drawn by F. BarV. 
 
 Engraved by J. A. Minasi, late pupil of F. BarV, 
 Published by M. Bori, 1798.) 
 
 185 Vigilance. (G. B. Cipriani inv. F. Bart, sculp. 
 
 Published in 1782 by Vivares.) 
 
 186 Music. (G. B. Ciprani inv. F. Bart, sculp. Pub' 
 
 fished in 1793 by A. Molteno.)
 
 LIST OF PRINTS 89 
 
 i87*GiRL AND Kitten. {Sir J. Reynolds pinx. F. Bart., 
 R.A., sculp. Published in 17^7 by W. Dickin- 
 son.) 
 
 188 History, Painting, Music {three ovals). {G. B. 
 Cipriani inv. F. BarV. sculp., ij2>2. Published 
 by J. Woodhotise.) 
 
 i89*Serenity. (G. B. Cipriani inv. F. Bart, sculp. 
 Published 1782 by {Mrs.) Susanna Vivares.) 
 
 190 Prosperity, aw^ (191) Contentment {nude children). 
 By the Same. 
 
 192 Fortune Running with Children around Her. 
 
 {Drawn by Cipriani. Engraved by Bart'. Published 
 1 801 by Bori.) 
 
 193 Amorini or Baby Loves. {Lady Di. Beauclerc del. 
 
 F. Bart'., R.A., sculp.) 
 i94*HoPE. {F. Bart'., R.A., inv. del. et sculp.) One of 
 
 four oval medallions, Hope, Merit, *Prudence, and 
 
 Vanity {published by Molteno, 1794.) 
 195 Summer. {F. Bart., R.A., del et sculp. Published by 
 
 A. Molteno, 1799.) 
 I96*Winter. {Drawn, engraved, and published by the 
 
 same.) 
 197 Cupid and Psyche. {Lavinia Countess Spencer del. 
 
 F. Bart\, R.A., sculp., 1792.) 
 i98*CupiD AND Psyche. {Here Psyche, nude, stands upright 
 
 before winged Love.) Published 178 1. 
 i99*CupiD AND Psyche {as children). {Drawn by Bart\ 
 
 Engraved by Delattre.) 
 200 Venus Attired by the Graces. (G. B. Cipriani del. 
 
 F. Bart, sculp. J. Boy dell exc, 1783.) 
 20i*The Triumph of Beauty. (G. B. Cipriani del 
 
 F. Bartoloezi, R.A., sculp.]
 
 90 LIST OF PRINTS 
 
 202*The Sacrific*b to Cupid. (/. B. Cipriani del. 
 F. Bart\, R.A., sculp. Published 1783 by W. 
 Palmer. ) 
 
 203 Bacchus and Ariadne. {B. Cipriani del. En- 
 graved by F. Barf. Published by Duchesne, 
 1787.) 
 
 204*JupiTER AND JuNO. (G. B. Cipriani del. F. Bart, 
 scidp. Published by A. Torre, 1782.) 
 
 205* Juno Keceiving the Cestus from Venus. (G. B. 
 Cipriani del. F. Ban^. sculp. Published by 
 A. Torre, 1784.J 
 
 206 The Nursing of Bacchus {Ang. Kauffman del. 
 F, Bartolozzi, R.A., sculp.) 
 
 207*Nymphs Sporting. {Aug. Kaufman del. F. Barto- 
 lozzi, R.A., scidp.) Pendant to last. 
 
 208 Neptune and Amphitrite {frieze}. (G. B. Cipriani 
 
 inv. F. Barf, scidp. 1777.) 
 
 209 A Sacrifice to Jupiter {frieze). {Same artists ; same 
 
 date.) 
 
 210 Vulcan and Venus, with the Graces {frieze), 
 
 {Same artists and date.) 
 
 211 Minerva Visiting the Muses {frieze). {Same artists 
 
 and date.) 
 2I2*Tritons and Sea Nymphs. {A very spirited little 
 frieze by same. No date.) 
 
 213 Baby Bacchanals. {Lady Di. Beauclerc del., F. 
 
 BarV'., R.A., sculpt. Published 1791.) 
 
 214 The Children are too numerous to catalogue : they are 
 
 playing, scuffling, naked, and in dress of period. 
 Cf, Sculpture and Painting {F. Bart, del) also. 
 
 215 Cherubim. {Drawn and engraved by F. Bart*. 
 
 Published by Mariano Bori, 1792.)
 
 LIST OF PRINTS 91 
 
 «i6*H0PE. {G. B. Cipriani del. F. Bart\, R.A., sculp. 
 Published by J. Walker, 1784.) 
 
 217 Sophia and Olivia. (H. W. Bunhury del. F. Bart'. 
 
 sculp. Published by J. Matthews, 1784.) 
 
 218 Little Girl Asleep. {F. Bart. del. et sculpt. 
 
 Published ijgS by Dickinson.) 
 2i9*EuPHROSYNE. (G. Amicoui pinx. F. Bart', sculp. 
 
 Published 1784 by J. Burchall.) 
 220*The Birth of Shakespeare. {Ang. Katiffman pinx. 
 
 F. Bart, sculp., 1782. Published by A. Poggi.) 
 22i*Shakespeare's Tomb. {Ang. Kauffman pinx. F. 
 
 Bart, sculp. Published by A. Poggi, 1782.) 
 722 The Fair Ariadne, {F. Bart'., R.A., del. et sculpt.] 
 223 The Death of the Stag {Diana and her nymphs]. 
 
 {Gabbianiinv. F.Bariolozzi sculp.) Published ijg^. 
 224*" Orange Girl." (/. H. Beniuell del. F. Bart\ 
 
 sculp. Published 17Z7 by J. Walker.) 
 225 " A St. James Beauty." (/. H. Benwell pinx. 
 
 F. Bart, sculp. Same date, by E. Diemar.) 
 2 26* A St. Giles Beauty." (/. H. Benwell pinx. F. 
 
 Bart, sculp. Same date, by E. Diemar.) 
 227 Britannia Rewarding Music and Literature. 
 
 (IF. Hamilton, R.A., pinx. F. Bart., R.A., etched.] 
 228*The Nymph of Immortality Crowning the Bust 
 
 of Shakespeare. (G. B. Cipriani pinx. F. Bart. 
 
 sculp. Published in 1784 by J. Burchall.) 
 229-233 The Seasons. {*" Spring" and "Autumn" 
 
 drawn by R. Westal, etigraved by Bart'. Published 
 
 by J. Simpson, 1791. " Summer " and " Winter " ; 
 
 see Fancy Portraits above.) 
 a34*RELiGiON. {Ang. Kauffman pinx. F. Bari. sculp. 
 
 Published 1783 by A. Torre.]
 
 92 LIST OF PRINTS 
 
 235 Poetry. {Ang. Kaiiffman inv. F. Bart, sculpt 
 
 Published 1781 by S. Biickland.) 
 236**The Power of Beauty. (G. B. Cipriani inv, 
 
 F. Bart, sculp. Published 1783 by W. Palmer.) 
 
 237 The Fair Alsatian. {Ang. Kauffmanpinx. F.Bart. 
 
 sculp. Published 1779 by F. Bartolozzi.] 
 
 238 Girls (of Otaheite ?) Dancing : Natives Stand 
 
 Round. {No imprint.) 
 
 239 The Tarantella Dance. {W. Lock inv. et del. 
 
 F. Bart', sculp. Published 1799 by F. Bartolozzi 
 and Company.) 
 
 240 A Turkish Beauty. {G. B. Cipriani del. F. BarU 
 
 sculp. Published 1775. Red and black stipple.) 
 
 241 Comedy {two renderings). {G. B. Cipriani del. F4 
 
 Bart, sculp., 1784, oval). *One full-length, with 
 children dancing, 1788. Published by Molteno. 
 
 242 Tragedy. {By the same.) 
 
 243 Geography. {Cipriani inv. F. Bart, sculp. Pub- 
 
 lished 1789 by J. and J. Boy dell.) 
 244*Composition and Design {two ovals). {Ang. Kauff- 
 
 man pinx. F, Bart, sculp. Published 1787 by 
 
 Boy dell.) 
 245*Blind Man's Buff, {Ang. Kaufman del. Etched 
 
 by F. Bart^. Published 1784 by S. Walker.) 
 246 Origin of Design. {Bartolozzi fecit.) 
 247**Beauty. (G. B. Cipriani del. F. Bart, sculp. 
 
 Published 1783. See illustration.) 
 248 A Naiad. (G. B. Cipriani inv. F. Bart, sculp. 
 
 Published 1779 by F. Bartolozzi.) 
 249**Horace. {Ang. Kaufman, R.A., pinx. F. Bart. 
 
 R.A., sculpt. Published 1792 by T. Ryder. Set 
 
 illustration.)
 
 LIST OF PRINTS 93 
 
 '250*Adelaide in the Garden. {After H. W. Btinbiiryi 
 
 In colony.) 
 251 Charlottb and Her Sisters. {After the sanies 
 
 Published 1783 by W. Dickinson.) 
 2 52*The Song {four young girls). {After the same^ 
 
 Published 1782 by W. Dickinson.) 
 252a**THE Dance {three girls dancing). {After the same. 
 
 H. Bunbury del. F. Bart. engr. See chap, v., p. 64.) 
 253*Amoret and Britomart. {After T^ Opie, R.A, 
 
 F. Bart\ sculp.) 
 
 254 Celadon and Amelia. {After W. Hamilton, R.A., 
 
 Engraved by F. Bartolozzi, R.A. 1794.) 
 
 255 Adelaide, or The Shepherdess of the Alps. 
 
 {B. Cipriayii inv. F. Bart, sculp. 1784.) 
 256*Selim, or The Shepherd's Moral. {Ang. Kauff- 
 
 man, R.A., pinx. F. Bart., R.A., sculp. Also in 
 
 colour.) 
 257*The Shepherd of the Alps. {Ang. Kauffman 
 
 painted. Engraved by F. Barf.) 
 
 258 Louisa Hammond. {Ang. Kauffman del. F. Bart. 
 
 sculp. Colour : for Pratt's " Emma Corbett.") 
 
 259 The Liberal Fair. {Ang. Kauffman pinx. F. 
 
 Bart, sculp.) 
 
 260 Ceres. {Ang. Kauffman del. F.Bart, sculp. 1782,) 
 
 261 Dido. (G. Cipriani inv. et pinx. F. Bart, engraved. 
 
 1788.) 
 
 262 Painting. 263 Design. 264 Architecture. 265 
 
 Invention. Four ovals in Baron de Worms' 
 collection. {A. Kauffman pinx. F. Bart, sculp. 
 Published by J. and J. Boy dell, 17S7.) 
 266 Orlando Rescuing Olympia. {Ann. Caracci 
 pinx. F. Barf, sculp. Published by Boydell, 1788.)
 
 94 LIST OF PRINTS 
 
 267 Imogen's Chamber. {Martin, R.Ai, pinx. F. Bart^ 
 
 sculp. 1780.) 
 
 268 Cleopatra and Her Maids Arm Anthony. {Martin 
 
 inv. F. Bart, sculp.] Dedicated to the Corporation 
 of Liverpool. 
 
 269 For THE Grand Lodge of England : Representing 
 
 Masonic Charity. (Engraved by Brother Barto- 
 lozzi, R.A. Painted by Brother Stothard, R.A* 
 Jeff ryes published. 1802.) 
 
 270 Nude Female (Venus ?) with Vase. {Cipriani 
 
 inv. Bart, sculp. 1779.) 
 
 271 Lodona. {Maria Cosway pinx. F. Bart. sc. 
 
 Published 1792.) 
 
 272 and 273 Two large allegorical Subjects: (?) Arts of 
 
 Invention and Husbandry^ From B. West, R.A. 
 Bart\ Engr. Fine and scarce prints. 
 274*Bacchus and Ariadne. {G. B. Cipriani Fiorentino 
 inv. F, Bartolozzi Fiorentino sculp. 1763.) 
 [N.B, This print, in Baron de Worms' collection, shows 
 the two friends working together as early as 1763, and 
 claiming Florentine birth.] 
 275-278 The Four Elements : Earth, Air, Fire, 
 Water. {Drawn by Cipriani. Engraved by F. 
 Bart. Published May 20, 1803, by Molteno.) 
 One of Bartolozzi's latest works in England. Water, 
 which I possess, shows Venus drawn by dol- 
 phins, 
 
 279 The Months. {W, Hamilton, R.A., pinx., except 
 
 " January " and " November," which are by N. 
 Gardiner. F. Bart, sculp.) 
 
 280 Love and Honour. {H. Bunburfdel. Eng. by Bart**
 
 LIST OF PRINTS 95 
 
 28i**Sleepin-gnymph with Loves. A beautiful creatioa.' 
 {Cipriani and Bart^.) 
 
 282 **RoYAL Academy Diploma. A noble allegorical design. 
 
 {Dated 1768). See p. 31. 
 
 283 Tom Jones and Molly Seagrim {from Fielding's 
 
 " Tom Jones"). {Loutherbourg del. Eng. by Bart.] 
 
 284 The Dead Ass and The Snuffbox at Calais, {from 
 
 Sterne's " Sentimental Journey "]. {Loutherbourg 
 del. Eng. by Bart.) 
 
 BOOK ILLUSTRATIONS AND BENEFIT TICKETS 
 
 285 Frontispiece {*Pan pursuing Syrinx, with Cupids) 
 
 for Six Sonatas by J. C. Bach. {Cipriani inv. 
 F. Bart, sculp.) See tail-piece. 
 
 286 Another for J. C. Bach. {Drawn by Carlini. 
 
 Etched by Bartolozzi.) 
 
 287 Frontispiece for Six Sonatas by Borghi. {By 
 
 Cipriani and Bartolozzi.) 
 
 288 Frontispiece for Rogers' " Century of Prints " : 
 
 Time and Female Figure with Love. {Rebecca 
 inv. F. Bart, sculp.) 
 
 289 Damon AND MusiDORA (r/zowso«'s "Seasons"). {Ang. 
 
 Kauffman pinx. F. Bart, sculp. Published 1782.) 
 
 290 Three Nymphs with Flowers {Thomsoyi' s " Sea- 
 
 sons "). {Ang. Kauffman pinx. F. Baft, sculp.) 
 291-293 Milton's " Paradise Lost." **Adam awaking 
 Eve. {W. Hamilton, R.A., and Bart\) Adam, 
 Eve, and the Angel. {T. Stothard and Barf.) 
 
 1 A little volume of six prints has just come into the hands of 
 Messrs. Goodhomes, 46 Knightsbridge, W. Imprint : Published 
 Jan. 1, 1788, by F, Bartolozzi. Sketches of tha late G. B. Cipriani. 
 iso. 281 is the first of these, The Tragic Muse, Dido, Galatea, and 
 Perseus follow. Cipriani died in 1785, and was buried in Chelsea 
 where Bartolozzi placed a monument to his old friend s memory.
 
 96 LIST OF PRINTS 
 
 293 Metastasio's " Galatea." (G. B. Cipriani and 
 
 F. Bart\ 1783.) 
 
 294 Frontispiece to Bromley's '" Fine Arts." {Pax 
 
 Arlium Nutrix). {B. West inv., 17^7, R.A. F. 
 Bart, sculp.) 
 295**The Ticket for the Mansion House Ball, 
 given by J. Wilkes as Lord Mayor of London in 
 1775- {Cipriani, R.A., del. F. Bart., R. A., sculp.) 
 
 296 Medallion of Handel, held up by Fame and Love. 
 
 For the edition of " Handel's Songs." 
 
 297 Bust of Martial, with Pan Seated. Frontispiece 
 
 to Graglia's Italian version of Martial's poems. 
 
 298 Frontispiece to Leonora. {Drawn by Lady Di^ 
 
 Beauclerc. Etched by F. Bart. 1796.) 
 
 299 Frontispiece to Cipriani's " Rudiments of Draw- 
 
 ing." {Engraved by F. Bart.) 
 
 TO Thomson's " Seasons." With 
 medallion portraits of Bartolozzi, R.A., W. Hamil- 
 ton, R.A., and P. W. Tomkins {see chap. ii.J^ 
 Fame is crowning ThomsoDg
 
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