Papirius), a French writer, was the son of a rich merchant, and born in the territory of Forez, May 1544. After studying the belles lettres and philosophy, and travelling to different places, he came to Paris, where he was made librarian to the chancellor of the duke of Anjou, in which place he continued ten years. In 1576, he was made an advocate of parliament; yet never pleaded but one cause, which, however, he gained with universal applause. When the troubles of France were at an end, he married the sister of a counsellor in parliament, with whom he lived thirty-four years, but had no issue by her. The infirmities of age attacked him some time before his death, which happened Jan. 9, 1611. He wrote four books of French annals in Latin, first printed at Paris 1577, and afterwards in 1598, 4to. The second edition, more enlarged than the first, deduces... things from Pharamond to Henry II. Masson considered this as his principal performance; yet he is now chiefly known by his *Elogia virorum clarissimorum*, although he published several other works.

Masson (John), a reformed minister in Holland some years ago. He was originally of France, but fled into England to enjoy that liberty in religion which his country refused him. He wrote, 1. *Histoire critique de la republicque des lettres*, from 1712 to 1717, in 15 vols. 12mo. 2. *Vite Horatii Ovidii, et Plinii juniores*, 3 vols small Svo, and printed abroad, though dedicated to Englishmen of rank: the first at Leyden, 1708, to lord Harvey; the second at Amsterdam, 1708, to Sir Justinian Isham; the third at Amsterdam, 1729, to the bishop of Worcester. These lives are drawn up in a chronological order, very learnedly and very critically; and serve to illustrate the history, not only of those particular persons, but of the times also in which they lived. 3. *Histoire de Pierre Bayle & de ses ouvrages*; Amsterdam, 1716, in 12mo. This at least is supposed to be his, though at first it was given to M. la Monnoye.

Masson (Anthony), an eminent French engraver, who flourished towards the conclusion of the last century, and resided chiefly at Paris. It appears that he sometimes amused himself with painting portraits from the life, some of which he also engraved. We have no account of the life of this extraordinary artist; nor are we even informed from what master he learned the principles of engraving. He worked entirely with the graver, and handled that instrument with astonishing facility. He seems to have had no kind of rule to direct him with respect to the turning of the strokes; but twisted and tilted them about, without the least regard to the different forms he intended to express, making them entirely subservient to his own caprice. Yet the effect he has produced in this singular manner (Mr Strutt observes), is not only far superior to what one could have supposed, but is often very picturesque and beautiful. It was not in historical engraving that his greatest strength consisted. He could not draw the naked parts of the human figure so correctly as was necessary; but where the subject required the figures to be clothed, he succeeded in a wonderful manner. Among the most esteemed works by this admirable artist, may be reckoned the following: The assumption of the Virgin, a large upright plate from Rubens; a holy family, a middling-sized plate, lengthwise, from N. Mignard; Christ with the pilgrims at Emmaus, a large plate, lengthwise, from Titian, the original picture of which is in the cabinet of the king of France. This admirable print is commonly known by the name of the table-cloth; for the cloth, with which the table is covered, is executed in a very singular style. Also the following portraits, among others: The comte de Harcourt, a large upright plate, reckoned a masterpiece in this class of subjects; Guillaume de Brifacier, secretary to the queen of France; a middling-sized upright plate usually known in England by the name of the Grey-headed Man, because the hair in this print is so finely executed.