acobus Augustus Thuanus_, returning from his Embassy to
_Paris_; wherein also was marked the _Figure_ of that _Phaenomenon_;
represented in print by our Author: who from all this collects, that,
whereas this Star hath been seen formerly, and that 150. years since, but
yet neither observed by _Hipparchus_, nor any other of the Antients, that
we can find; nor also in the former Age by _Tycho Brahe_, nor in our Age,
by _Bayerus_; and appear'd also in the Month of _November_ last (wherein he
wrote this _Tract_) much lessened and obscure, after it had, two years ago,
shone very bright; that therefore it must needs appear and dis-appear by
turns, like those in the _Necks_ of the _Whale_ and _Swan_.

__II._ ENTRIENS sur les Vies et sur les Ouvrages_ Des plus excellens
Peintres, Anciens et Modernes, par Monsieur_ FELIBIEN._

This Author, having first discoursed of that Royal Pallace the _Louvre_,
and the Designs of finishing it; passes on to the Art of _Picturing_, and
treats of the three principal things, wherein a good Master of the Art must
excel, _vid._ the Composition, Designing, and Laying on of Colours, which
done, he ravels into the Origine, and deduces the Progress of Painting, and
relates what is most remarkable in the Lives of the Antient Painters: And
among many particulars, he observes in the Life of _Andreas de Sarte_, how
difficult it is, to judge well of a Picture; relating, that a Duke of
_Mantua_, having obtained of _Clement_ VII. a Pourtrait of _Leo_ X. which
had been done by _Raphael Urbin_, and was at _Florence_, those of that Town
being unwilling to lose so excellent a {384} piece, caused a Copy thereof
to be made by the said _Andreas de Sarte_, which they sent instead of the
Original. This _Copy_ was so perfect, that _Julio Romano_, who had been
bred and taught by _Raphael_, and was one of the best Painters of _Italy_,
took it for an _Original_; and would never have been undeceived, if one
_Vasari_ had not assured him, that it was but a Copy, which himself had
seen made, and had not shew'd him certain marks, that were there put to
discriminate it from the Original.

In the _Second_ Part, the Author has set down all that is requisite to
judge and discourse well of Painting. But, to add Examples to Precepts, he
discourses of the _Modern_ Painters, and making a Description of their best
Works, he takes occasion to observe, what is there found most excellent,
and to shew, how they have put in practice the