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An Essay on the Utility of Collecting the Best Works

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An Essay on the Utility of Collecting the Best Works This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com - , , , , , , 'S --- - DEL: - £87 1-0. - Alt . v. ' * **, M871-6 Mº its Vl. 1922 tº | - v i y T wool." "I * ria:… ety--- *AN&#: ; ; AN ESSAY ON THE UTILITY OF COLLECTING THE BEST WORKS OF THE ANCIENT ENGRAVERS OF THE ITALIAN SCHOOL ; ACCOMPANIED BY A CRITICAL CATALOGUE, WITH INTERESTING ANECDOTES OF THE ENGRAVERS, OF A CHRONOLOGICAL SERIES OF RARE AND VALUABLE PRINTS, FROM THE EARLIEST PRACTICE OF THE ART IN ITALY TO THE YEAR 1549, NOW DEPOSITED IN THE BRITISH MUSEUM AND ROYAL ACADEMY, IN LONDON, BY GEORGE CUMBERLAND. Give me your favour:-my dull brain was wrought With things forgotten. Macbeth, Act i. Sc. 3. LONDON. PRINTED BY W. NICOL, CLEVELAND-ROW ; AND SOLD BY PAYNE AND FOSS, PALL-MALL ; J. AND A. ARCH, CORNHILL; AND COLNAGHI, SON AND Co. PALL-MALL EAST. 1827. TO BARON FARNBOROUGH, OF BROMLEY HILL, KENT, of HIS MAJESTY's MosT HONOURABLE PRIVY COUNCIL, GRAND CROSS OF THE ORDER OF THE BATH, F. R. S. 4c. 4c. &c. MY LoRD, THAT the Polite Arts may become, for the general benefit, as perfectly understood among us as the arts of Commerce are, is a desire in which we mutually participate. In permitting me there fore to inscribe this Work to your Lordship, whose indefatigable zeal for their advancement has been invariable, you confer a new obligation on Your faithful Friend, and very humble Servant, THE AUTHOR. Bristol, 1826. PR E FA C E. A work like this, which is only likely to interest a select numberof Amateurs, cannot, at first, be expected to meet with much attention, and must, consequently, be of slow sale. But now that every study tending to promote a profound understanding of the Arts, in any form, seems to be calculated to unite with the improving state of the public mind, it may be expected, ultimately, to repay the expenses of its intelligent Publisher; for every year seems to augment the number of our Collectors, even in the most recondite pursuits relative to design. It is true, we have among us but few who are enabled, from experience, to distinguish the perfect excellence of the Greeks in Cameos or Intaglios, whether found on gems or pastes; and, except among some of our artists, we are centuries behind the Italians in exercising a nice judgment on the most perfect of these productions; yet it is impossible to doubt that, with our exorbitant wealth, the day will come when a correct estimation of the supreme excellence of even these precious labours will accompany the public demand. Antique pastes, Terra cottas, Gems, Bronzes, Coins, and Marbles of the higher schools, are at present articles that there is no general enquiry after; but painted ancient Wases procure a high price. Pictures and Painting are better understood than vi PREFACE. heretofore; and Architecture, with all its ornamental accompaniments, is universally admired and considerably employed. But still our national habit of seeking wealth through commerce has become too general not to have impeded our advances in matters of Taste; and although money may, and must imperceptibly augment our national collections of every species of fine works of art, yet until a sound, well founded national taste is formed among us, we shall never be able to understand or re tain them. For Taste is the sunshine of Prosperity, as well as the shelter from adverse fortune to all who really possess it; Nature cannot be seen without it; and this it was which shed a lustre over Greece and Italy, no less brilliant than their language and poetry,—and on this also the success of our own artists depends. Every work therefore that is connected with a nice judgment of any branch of the Fine Arts, may reasonably expect to be received with suavity and attention. And this is all the Author of these sheets solicits in return for his labours. The worldly wise will say he might have employed his time better in the acquisition of wealth, than in the study of ornamental arts; and perhaps he thinks also that more important interests to himself and his country might have claimed his leisure hours: but if he has valued personal independence above all the earth's honours or emoluments, considering the enjoyment of it as his most valuable freehold, and that has led him to be in any way useful to society, the world, which he must now soon quit, will, he trusts, ab solve him for thus idling away his time in its service, and accept this free-will offering with complacency. PREFACE. vii For the errors (of which he fears there are but too many), owing to his being too far from the press to revise the proof sheets, or to communicate with the printer on any doubtful points in his manuscript, he must deprecate the wrath of the criticks with all humility. G. C. Bristol, Oct. 1826. Notice. That all the Prints (numbered in Roman Capitals) refer to the order in which they are placed in the six volumes of Mr. Cumberland's Collection, now in the Library of the Royal Academy, of which Thomas Stothard, Esq. R.A. is Librarian. That all the Prints of Julio Bonasoni, numbered in Arabic figures, refer to the order in which they are placed in the three folio volumes of Mr. Cumberland's Collection now in the Print Room of the British Museum; where are also the three volumes of the Roman School, referred to in the Appendix: all of which are open to the Public eye at stated times. CoNT ENTs. Page Introductory Essay, . I Critical Catalogue of Rare and Valuable Italian 51 * * * * * * * * * * * * Prints, . • • • • * * * * * * * * * Anecdotes of Julio Bonasoni, . 284 Catalogue of the Works of Julio Bonasoni, now in the British Museum Print Room, . 302 APPENDIX. A Catalogue Raisonné of all the Prints inserted in the three folio volumes in the Print Room in the British Museum, intitled Roman School, Marc Antonio Raimondi, . 467 Memoranda of some Rare Objects in other Volumes of Prints at the British Museum, ... 520 Portrait of the Author to face the Title-page. Four Plates of Monograms, &c. to follow the Appendix. ..) Arafe A <> → 3 O-3 O-47.1 - O.J. Q. As I-T / 4 /3 4/X/ Néo "Tcl"F | "is E * OAP vs. $ ly!C -PA OAO E. "J.E. – INTRODUCTORY ESSAY.* The original intention of the Author of this Publication, was to confine his remarks solely to those Engravings of the best Italian Schools which manifested the superior intelligence of their founders; but, like others who me ditate a noble excursion on the majestic confines of a mighty river, he has gradually been attracted to its source; and has thence unavoidably been entangled in the marshy Syrtis from whence the first feeble springs of this Art took their rise. He trusts therefore that cu riosity will pardon what a refined taste may perhaps, in following these deviations, justly condemn. The promotion of the highest and most useful species of Collecting being the avowed object of this work, in which are included only the best Schools of Italy, it may be expected that I should give specific reasons why I consider them as such, and so earnestly wish to pro mote that particular object: from the task I shall not shrink, but rather embrace it with alacrity, because I hope it may be the means, in some degree, of encreasing the number of a very limited but useful class of Collectors; * Written in 1816. B 2 and perhaps of turning those, who are now with weighty purses accumulating the trash of other Schools, into the right way, as we hold it, of drinking only at the purified stream of the Arts when flowing steadily in well defined limits. I know there are many who will start at this doctrine, and think it is my intention to lay sacrilegious hands on their Van Mechelins, Aldegravers, Van Leydens, &c.; nay even that George Pens, Isbens, and their dear Albert Durer, will be slighted; but I can assure them I by no means think lightly of the services such men have afforded to Artists whose aims were moderate; but where the object is to acquire modes of composition the most perfect, to improve the taste, to exalt the mind, to correct the hand, to feel in what consists richness of light and shade, elegance of contour, graceful motion, simplicity with dignity, the majesty of history, the value of expression; where nothing is to be mean, nothing ex travagant: if these ought to be the genuine object of the Collector's search, and Artist's pursuit, I know not where, after the good antique, I can direct them better for obtaining these ends than to the best works of the Artists of the pure Roman School. They may collect largely in the other line and never rise to this; but if ever they begin to taste the beauties of the class of Prints recommended, they will never seek after others to any extent, or at any rate not begin their selections from them till their judgment is too well confirmed to be in danger of being injured by the flat barbarities of the inferior Schools; whose faults they will be, by that time, so well able to discern, as safely to 3 extract the honey from the poisonous flower, and thus the awkward woodenness of Lucas Van Leyden, or the extravagant fury of Goltzius will become alike innoxious.
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