GREUTER, Matthaeus ( 1564-1638 )

EVELYN, John, Sculptura: Or, The History, And Art of Chalcography And Engraving in Copper. With an ample enumeration of the most renowned Masters, and their Works. To which is annexed A new manner of Engraving, or Mezzo Tinto, communicated by his Highness Prince Rupert, to the Authour of this Treatise, London, G. Beedle, 1662.

CHAP. V. Of Drawing, and Design praevious to the Art of Chalcography ; and of the use of Pictures in Order to the Education of Children, p. 126-127.

Quotation

Thus Aglaphontes us’d but one Colour, no more did Nitia the Athenian Painter ; and it was this Relievo also for which the famous Zeuxis became so renound’d : not to insist on Heredices the Corinthian, and Thelophanes the Sicyonian, who were both of them but Monochromists ; and, ‘till Cleophanes came amongst them, no dissemblers, as owning no other Colours but those eminent Contraries ; that is, the lights and the shades, in the true managing whereof, so many wonders are to be produc’d by this Art, and even a certain splendor, and beauty in the touches of the Burin, so as the very Union and colouring it self may be conceiv’d without any force upon the imagination, as we have before observed in these excellent Gravings of Natalis, Rouslet, and Poisly, after Bourdon ; and in what Greuter, Blomart, and some others have done after Monsieur Poussin, Guido Rhene, Cortoon, &c.

EVELYN, John, Sculptura: Or, The History, And Art of Chalcography And Engraving in Copper. With an ample enumeration of the most renowned Masters, and their Works. To which is annexed A new manner of Engraving, or Mezzo Tinto, communicated by his Highness Prince Rupert, to the Authour of this Treatise, London, G. Beedle, 1662.

CHAP. V. Of Drawing, and Design praevious to the Art of Chalcography ; and of the use of Pictures in Order to the Education of Children, p. 126-127.

Quotation

Thus Aglaphontes us’d but one Colour, no more did Nitia the Athenian Painter ; and it was this Relievo also for which the famous Zeuxis became so renound’d : not to insist on Heredices the Corinthian, and Thelophanes the Sicyonian, who were both of them but Monochromists ; and, ‘till Cleophanes came amongst them, no dissemblers, as owning no other Colours but those eminent Contraries ; that is, the lights and the shades, in the true managing whereof, so many wonders are to be produc’d by this Art, and even a certain splendor, and beauty in the touches of the Burin, so as the very Union and colouring it self may be conceiv’d without any force upon the imagination, as we have before observed in these excellent Gravings of Natalis, Rouslet, and Poisly, after Bourdon ; and in what Greuter, Blomart, and some others have done after Monsieur Poussin, Guido Rhene, Cortoon, &c.

EVELYN, John, Sculptura: Or, The History, And Art of Chalcography And Engraving in Copper. With an ample enumeration of the most renowned Masters, and their Works. To which is annexed A new manner of Engraving, or Mezzo Tinto, communicated by his Highness Prince Rupert, to the Authour of this Treatise, London, G. Beedle, 1662.

CHAP. V. Of Drawing, and Design praevious to the Art of Chalcography ; and of the use of Pictures in Order to the Education of Children, p. 126-127.

Quotation

Thus Aglaphontes us’d but one Colour, no more did Nitia the Athenian Painter ; and it was this Relievo also for which the famous Zeuxis became so renound’d : not to insist on Heredices the Corinthian, and Thelophanes the Sicyonian, who were both of them but Monochromists ; and, ‘till Cleophanes came amongst them, no dissemblers, as owning no other Colours but those eminent Contraries ; that is, the lights and the shades, in the true managing whereof, so many wonders are to be produc’d by this Art, and even a certain splendor, and beauty in the touches of the Burin, so as the very Union and colouring it self may be conceiv’d without any force upon the imagination, as we have before observed in these excellent Gravings of Natalis, Rouslet, and Poisly, after Bourdon ; and in what Greuter, Blomart, and some others have done after Monsieur Poussin, Guido Rhene, Cortoon, &c.

EVELYN, John, Sculptura: Or, The History, And Art of Chalcography And Engraving in Copper. With an ample enumeration of the most renowned Masters, and their Works. To which is annexed A new manner of Engraving, or Mezzo Tinto, communicated by his Highness Prince Rupert, to the Authour of this Treatise, London, G. Beedle, 1662.

CHAP. V. Of Drawing, and Design praevious to the Art of Chalcography ; and of the use of Pictures in Order to the Education of Children, p. 126-127.

Quotation

Thus Aglaphontes us’d but one Colour, no more did Nitia the Athenian Painter ; and it was this Relievo also for which the famous Zeuxis became so renound’d : not to insist on Heredices the Corinthian, and Thelophanes the Sicyonian, who were both of them but Monochromists ; and, ‘till Cleophanes came amongst them, no dissemblers, as owning no other Colours but those eminent Contraries ; that is, the lights and the shades, in the true managing whereof, so many wonders are to be produc’d by this Art, and even a certain splendor, and beauty in the touches of the Burin, so as the very Union and colouring it self may be conceiv’d without any force upon the imagination, as we have before observed in these excellent Gravings of Natalis, Rouslet, and Poisly, after Bourdon ; and in what Greuter, Blomart, and some others have done after Monsieur Poussin, Guido Rhene, Cortoon, &c.

EVELYN, John, Sculptura: Or, The History, And Art of Chalcography And Engraving in Copper. With an ample enumeration of the most renowned Masters, and their Works. To which is annexed A new manner of Engraving, or Mezzo Tinto, communicated by his Highness Prince Rupert, to the Authour of this Treatise, London, G. Beedle, 1662.

CHAP. V. Of Drawing, and Design praevious to the Art of Chalcography ; and of the use of Pictures in Order to the Education of Children, p. 126-127.

Quotation

Thus Aglaphontes us’d but one Colour, no more did Nitia the Athenian Painter ; and it was this Relievo also for which the famous Zeuxis became so renound’d : not to insist on Heredices the Corinthian, and Thelophanes the Sicyonian, who were both of them but Monochromists ; and, ‘till Cleophanes came amongst them, no dissemblers, as owning no other Colours but those eminent Contraries ; that is, the lights and the shades, in the true managing whereof, so many wonders are to be produc’d by this Art, and even a certain splendor, and beauty in the touches of the Burin, so as the very Union and colouring it self may be conceiv’d without any force upon the imagination, as we have before observed in these excellent Gravings of Natalis, Rouslet, and Poisly, after Bourdon ; and in what Greuter, Blomart, and some others have done after Monsieur Poussin, Guido Rhene, Cortoon, &c.