A treatise on wood engravings : historical and practical . er. Theil, S. 340, says that Joseph Porta was a pupilot Cecchino Salviati, who is not to be confoimded Avith Francesco Salviati; and yet in hisIdee Generale, published subsequently, page 134, we find Francesco del Salviati, autrementRossi, de Florence, et son disciple Giuseppe Porta, appelle communement Giuseppe , in his first work, committed the mistake of supposing that Francesco Salviatis?o-name was the Chi-istian name of another person. In Hubers Notice Generale desGraveurs et Peintres, Francis Salviati appears as
A treatise on wood engravings : historical and practical . er. Theil, S. 340, says that Joseph Porta was a pupilot Cecchino Salviati, who is not to be confoimded Avith Francesco Salviati; and yet in hisIdee Generale, published subsequently, page 134, we find Francesco del Salviati, autrementRossi, de Florence, et son disciple Giuseppe Porta, appelle communement Giuseppe , in his first work, committed the mistake of supposing that Francesco Salviatis?o-name was the Chi-istian name of another person. In Hubers Notice Generale desGraveurs et Peintres, Francis Salviati appears as Fran9ois Cecchini, dit Salviati. :J: The first forty-six cuts are the best, generally, both in design and execution. Theothers, commencing at page 108, are illustrative of the sayings and doctrines of ancientphilosophers and moralists, and one or two of the cuts are repeated. In this portion of thework, each page, except what is occupied by the cut, is filled with explanatory or illustrativeverses an-anged in triplets. 892 FURTHER PROGRESS AND DECLINE OF. Angelos, The drapery is admirably cast; the figure is good; and theaction and expression are at once simple and severe.
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectwoodengraving, bookye
