The vigorous manner of artists of this period is so marked that even in the reproduction of antique designs a connoisseur can recognize their peculiar style. Their original works are highly meritorious, attaining a great degree of excellence. Many rose to eminence; some, not content with rising in the firmanent of the dawning effulgence, aspired to positions in the bright constellation of fame, producing engraved gems for the ornamentation of costumes, armor, inlaying and embossing of vases, tankards, etc. [Illustration] SUCCEEDING DECLINES AND REVIVALS. Constant encouragement was given to this branch of art-industry throughout the fifteenth and part of the sixteenth century; but after the death of the Emperor Charles V., in 1558, recurred another period of decline. Private and royal accumulations of art works were again the victims of depredation; cabinets and museums were pillaged and scattered by military marauders, as one after another the great cities of the Continent of Europe were besieged and conquered. The glyptic, of all the arts, was the most easily affected by the changing fortunes of nations. These circumstances compelled artists to give their attention more particularly to church architecture, to the production of large devotional basso-rilievos for the altar, and sculptured figures, which, though representing sacred subjects, were often too voluptuous in form, and lacking the essential qualities of true art. In the last twenty years of the eighteenth century gem-engraving received fresh impetus; new practitioners were enrolled from Germany, England, and France. Some of these resided many years in England, pursuing their profession assiduously and profitably. In this period quantities of intaglios and cameos were reproduced from the most salable antique subjects. To supply the wants of enthusiastic amateurs frauds were freely committed, by close imitation, and the insertion of signatures of celebrated Greek and Roman engravers, though the age produced artists of the highest ability and honor. The works of Natter, Sirletti, Pickler, Marchand, Pistrucci, Santarelli, and others come to us so directly from their hands that we feel they almost belong to our day, and we think of them as of acquaintances. [Illustration] Many of the gems of Giovanni Pickler compare favorably with the finest incisions of the Greek, and even with the work of the renowned Dioscorides. During the latter part of the eighteenth century and the commencement of the nineteenth, monarchs and noblemen indulged in making collections of gems to such an extent that the list of patrons increased competition, and fabulous prices were obtained from such buyers as the Empress Catherine II. of Russia, the Prince Frederick of Prussia, the Duke of Orleans, George III., the Empress Josephine of France, and many of the English nobility, among others the Dukes of Devonshire and Marlborough.