NA
THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES
IN MEMORY OF
EDWIN CORLE
PRESENTED BY
JEAN CORLE
GREAT ENGRAVERS: EDITED BY ARTHUR M. HIND
PROFILE BUST OP A YOUNG
WOMAN. P.V. 180, 1
After Leonardo da Vinci
ANDREA
MANTEGNA
AND THE ITALIAN
PRE-RAPHAELITE ENGRAVERS
FREDERICK A. STOKES COMPANY
NEW YORK PUBLISHERS
BARTSCH, Adam von. Le Peintre-graveur. Vol. XIII. Vienna i8il
DUCHESNE, J. Essai sur les Nielles. Paris 1826
RUMOHR, C. F. von. Untcrsuchung der Griinde fiir die Annahme dass
Maso di Finiguerra Erfinder des Handgriffes sei, gestochene Metall-
platten auf genetztes Papier abzudrucken. Leipzig 1841
PASSAVANT, J. D. Le Peintre-graveiir. Vols. I and V (Leipzig 1860-64)
KOLLOFF, E. See Julius Meyer, Allgemeines Kiinstler-lexikon (Vol. II,
1878, under Baldini)
DELABORDE, Henri. La Gravure en Italic avant Marcantoine (14.52
1505). Paris [1882]
DUTUIT, Eugene. Manuel de 1'Amateur. Tom. I, 2 partie (Nielles).
Paris 1888
KRISTELIER, Paul. Sulle origini dell' incisione in rame in Italia. ArcHv'io
Storico deli' Arte. VI (1893), 391
Italienische Niello-drucke und der Kupferstich. Jakrbuch aer kg/.
Preuss. Kunstsammlungen. XV (1894.), 94
Der Venezianische Kupferstich im XV Jahrhundert. Mittellungen der
Gese Use haft fiir vervlelfaltigende K^unst, 1907, No. I
Florentinische Zierstiicke in Kupferstich aus dem XV Jahrhundert.
Graphische Gesellschaft. Berlin
Die Tarocchi. Graphische Gescllschaft, Berlin 1910
LIPPMANN, F. The Planets. International Chalcographical Society, 1895
COLVIN, Sidney. A Florentine Picture-Chronicle ... by Maso Finiguerra.
London 1898
HIND, A. M., ed. Sidney Colvin, Catalogue of Early Italian Engravings in
the British Museum. 2 vols. (text and plates). 1910
ANDREA MANTEGNA
NO period or school of engraving offers more attraction to the
searcher after the rare and the beautiful in its less popular
forms than that of Italy in the fifteenth century. It is
hardly the field for the private collector, for good examples
of its earliest masters are of the utmost rarity and in many cases
unique ; but the amateur who is content to appreciate the good
things preserved for him in museums will find enjoyment of the
keenest flavour in its study.
London, Paris, and Vienna have by far the richest collections of
prints of this school, and the collection of Baron Edmond de
Rothschild in Paris is the only other of comparable value, but
Florence, Rome, Berlin, and Dresden all possess sufficient treasures
to satisfy the student.
The extreme rarity of the earliest prints has rendered a compara-
tive study of the school a difficult task, and its history is still
enveloped in considerable obscurity. Much of the work remains
anonymous, and the historian has to be content with grouping many of
its examples according to the style of engraving or design. Few of the
great painters of the period seem to have taken any immediate part
in engraving, except in supplying designs to the lesser craftsmen.
Mantegna is the one great exception, for the attempts to attribute the
production of Florentine engravings to Filippo Lippi and Botticelli
are quite without foundation. In fact the earliest Italian prints are
largely the work of craftsmen of quite secondary rank. But the
Italian craftsmen were artists of independence, and never mere tools
in the hands of the greater masters. And the wonder of the early
Renaissance in Italy is that so many secondary artists were able to
express the same indefinable charm and freshness of outlook that
pervade the greater masterpieces.
The earliest engravings in Germany and in the North of Europe
largely consisted of pictures of saints, illustrations of the Passion of
Christ, and little devotional prints scattered broadcast from the con-
vents, with far more thought for their missionary uses than for their
artistic value. A considerable number of the early Italian engravings
were likewise devotional prints and illustrations of the lives of the
saints, but the Renaissance in Italy had opened up many new channels
of thought, and in a country with an awakened sense of beauty,
where art was recognised as having ideals apart from the service of
the church, the artists commanded a far more liberal range of
5
2037956
GREAT ENGRAVERS
subject. Their own great poets, Dante and Petrarch, [and the great
writers of Paganism, who were beginning to be read with so much
ardour, afforded them many subjects outside the Bible ; while prints of
amorous and decorative subjects, sold to embellish the spice and jewel
boxes presented by the gallant to his mistress, and illustrations of current
astrological lore add the flavour of variety that is lacking in the North.
Vasari in his "Lives of the Painters," first published in 1550,
attributed the discovery of engraving about the year 1460 to a
Florentine goldsmith, Maso Finiguerra. Modern research has
definitely proved that certain Northern engravings were produced
before 1445, and has rendered it probable that the art was practised
at least a decade before that date. Now Finiguerra was only born in
1426, and although he was working as a goldsmith in 1447, it is
unlikely that any of his engravings date before the last ten years of
his life, which ended in 1464. What his engravings are, has until
recently been a matter of complete obscurity, and the failure of
Vasari's tradition in one part has induced certain critics to doubt the
rest of his statement, and call into question the very existence of any
engravings by Finiguerra at all.
It is the especial merit of Sir Sidney Colvin to have recovered the
name of Finiguerra from this fairy-tale atmosphere, and by a re-
markably secure chain of reasoning to have attributed to him or his
workshop a group of early Florentine prints, which have hitherto
remained anonymous, or catalogued under the hospitable name of
Baccio Baldini.
Vasari states that Finiguerra, who was one of the most famous
workers in niello of his time, made the discovery of printing- on
paper from engraved plates by a mere chance in the course of his
practice of that art.
Now the niello is a small plate, generally of silver, on which the
design is shown in black like the name on a brass door-plate. The
method of work is to cut lines or spaces on the plate for the design,
and fill these by the fusion of a black composition formed of copper,
silver, lead, and sulphur (nigellum, niello). The art was known for
the simpler forms of decoration in antiquity, and practised to some
extent during the Middle Ages, but it only sprang into any popu-
larity about the middle of the fifteenth century in Florence and
Bologna (to die out again early in the next century), and it had
never been used for elaborate figure-subjects before this time.
To test his work before completion, the niellist was accustomed
to take sulphur casts. The lines being filled with ink show up the
6
ANDREA MANTEGNA
design on the bright surface of the sulphur even more clearly than a
paper impression. The most perfect of these sulphur casts in
existence (and they are of extreme rarity) is the Coronation of the
Virgin in the British Museum (i). It is a cast from the celebrated
niello pax preserved in the National Museum, Florence. For a long
time (but only since the middle of the eighteenth century) it was
quite wrongly attributed to Finiguerra, but it is evidently the work
of Matteo Dei, and very closely reflects the style of Filippo Lippi.
The pax which Finiguerra is known to have supplied to the
Baptistery of St. John in 1452 is almost certainly another of the
niello plates in Florence, a Crucifixion with the City walls in the Back-
ground y much coarser in technique, and nearer in style to Pollaiuolo.
Besides taking casts on sulphur, the niellist proved his work by
taking impressions on paper. Several of these impressions are shown
in our plates, two examples of Florentine work,* and six Bolognese,
one of which is probably by the famous goldsmith and painter
Francesco Francia. In general the Florentine work is the more
clearly and deeply cut, while the Bolognese nielli are often so deli-
cately engraved as to present the appearance of a surface of tone
rather than a network of line.
Early Florentine engraving is generally divided into two groups
(which, no doubt, represent different workshops) called the FINE
MANNER and BROAD MANNER. In the former the shadows are
given by means of close and fine cross-hatchings, with a result
analogous to a washed drawing. In the Broad Manner the shading
is engraved in open parallel lines, sometimes with a short return
stroke laid at an acute angle between the parallels, after the manner
of a drawing in pen and ink. Now comparison of engravings in the
Fine Manner such as the Libyan Sibyl (xxxiv and xxxv) with
a niello shows the elements of an absolutely similar technique. So
whether Finiguerra or another received the first idea of engraving
proper from pulling impressions from niello-plates or not, it must be
admitted that the development of line-engraving in Florence went
hand-in-hand with the methods employed by the niello-worker.
The general conclusion of Sir Sidney Colvin's arguments in relation
to Finiguerra is that the earlier specimens of the Fine Manner group,
such as the Wild Animals Hunting and Fighting (xvn), the Road to
Calvary and the Crucifixion (xvill), and the Judgment Hall of Pilate
(xix), are by Maso Finiguerra himself. They are so closely related
' The largest collection of these Florentine nielli is that of Baron
Edmond de Rothschild, Paris (from the Salamanca Collection).
7
GREAT ENGRAVERS
in style to a series of drawings in Florence (traditionally attributed
to Finiguerra), to the group of Florentine nielli which are also
probably of the same workshop, and to the intarsia panels in the
Sacristy of the Duomo, whose designs are known to have been
partly due to Finiguerra, that there seems every reason to regard
them as the engravings which, according to Vasari, Finiguerra
produced. Another clinching document is the book of drawings
forming a sort of "Chronicle of the World" (acquired from Mr.
Ruskin for the British Museum in 1888), whose style is incontestably
that of a goldsmith of the same workshop as the drawings in the
Uffizi. Several of the designs in the book have been turned to
account in the engravings of the school, e.g. in the Cretan Labyrinth
(xx) and in various plates of the series of Otto Prints (see xxm
and xxi v). That the subject of the Cretan Labyrinth has been
reversed, elaborated, and completed with another figure in the
engraving makes it in the highest degree unlikely that the drawings
are merely copies from the prints.
It is interesting to note in another plate of the school, the Mercury
from the series of Planets (xxn), a goldsmith in his shop actually
engaged in engraving a copper-plate. The shop and its contents
reflect in many details what we know of Finiguerra's workshop.
The chief argument against the literal truth of Vasari's relation
of Finiguerra's discovery of engraving is the existence of a number
of Italian engravings which seem considerably more primitive than
those attributed to Finiguerra. This primitive group is illustrated on
plates x xv. The outstanding characteristics of the MASTER OF
THE LARGER VIENNA PASSION (as I have ventured to call him from
a unique series in the Albertina, Vienna) is coarse line-work,
exaggeration of muscular structure, complex drapery with broken
bulging folds, and a harsh energy of character and expression in the
face and hands that point to the influence of Andrea del Castagno.
His fondness for elaborate and overladen ornament, and a tendency
to throw his figures into relief by a border of shadow, betray the
hand of a goldsmith. His apparently later prints (e.g. the Triumphs
of Petrarch^ which must not be confused with the better-known series
in the Broad Manner) come much nearer the style of Finiguerra, and
reflect more romantic and fantastic elements borrowed from the style
of Pesellino and Baldovinetti. The earliest of the Italian engravings
to bear a date is a Resurrection of 1461 (xv), and although this is cer-
tainly later than the Larger Vienna Passion it is not likely that any of the
known Italian prints go back much before the middle of the century.
8
ANDREA MANTEGNA
Apart from the great probability of the connection of a large part
of the Fine Manner prints with Finiguerra and his workshop (which
is known to have been carried on by his brothers and nephews until
1498), it is difficult to come to any conclusion as to authorship.
Vasari states that Finiguerra's successor in the Florentine school of
engraving was Baccio Baldini, " who, not having much power of
invention, worked chiefly after designs by Botticelli." There are
designs by Botticelli in both the Fine and Broad Manners, so that if,
as seems a priori more natural, the Finiguerra family carried on
Maso's tradition, then Baldini may perhaps be the head of the Broad
Manner workshop, whose prints date somewhat later than Finiguerra
(i.e. from about 14/0). Recent discovery of the inventory (1528) of
a Florentine mercer, Alessandro di Francesco Rosselli, a son of
Francesco Rosselli, who is described as an illuminator and printer,
throws a somewhat new light on the question. Besides a large
number of unidentified woodcuts, chiefly maps and views, it also
contains several of the best-known plates, in the Broad and Fine
Manners. It is conceivable that Francesco Rosselli (a brother of the
better-known Cosimo Rosselli) may himself have been the master
of the Broad Manner workshop.
The principal Broad Manner prints, the series of the Life of the Virgin
and of Christ, and the Triumphs of Petrarch (see xxvn and xxvm),
are most nearly inspired by the styles of Alessio Baldovinetti and
Filippo Lippi. The large Assumption of the Pit-gin (xxxn) is
perhaps the only Broad Manner print definitely after a design by
Botticelli, but others, such as the second series of the Prophets and
Sibyls (xxxv), show his influence. A much more immediate
connection with Botticelli is the Fine Manner series of illustrations
to Dante, made for (but only partially used in) Landino's edition of
the Divina Commedia, 1481.
Engraving may have started in North Italy in the School of
Mantegna very soon after its introduction in Florence. Lomazzo,
who wrote a Treatise on Painting, in 1582, spoke of Mantegna as
the first Italian engraver, and Vasari, in the first edition of his Lives,
almost implies as much, though he revises his phraseology and adds
the story of Finiguerra's discovery in his second edition, in the added
Life of Marcantonio. In his second edition, Vasari states that
Mantegna only took up engraving when in Rome (1488-90), and
this from hearing of the works of the Florentines. There is every
reason, however, to think that there was a regular school of engravers
in Mantua well before 1475, the year of a certain document which
9
GREAT ENGRAVERS
discloses a most interesting story of Mantegna and two engravers,
Zoan Andrea and Simone da Reggio, who were evidently pirating
the master's designs. In technical style Mantegna's engravings are
similar to the Florentine Broad Manner group, or even closer to the
one extant engraving by Pollaiuolo, the Battle of Naked Men (xxxvi),
reflecting in all essentials the manner of his own pen drawings.
Altogether, some twenty-five plates have been attributed to
Mantegna, but seven so far excel the rest in quality that one is
driven to the conclusion that the rest are engravings by the masters
of the school working after his designs. In the authentic group the
outline is deep and strong, but the return lines of shading (laid at an
acute angle between the parallels) are so lightly scratched in the
copper as to have lasted out very few printings. Early impressions
of Mantegna, with the somewhat clouded and mysterious tonality
given by the lighter lines, are of extreme rarity, but later impressions,
where the outlines alone show distinctly, are by no means infrequently
met in the sale-room.
Of all the early Italian engravers, Andrea Mantegna is by far the
most powerful, though scarcely the most human. Like many of the
Florentines, he was an ardent lover of antiquity, but his spirit
was far more impassive than theirs, and far more like the antique
marble itself. His art has a monumental dignity which the Floren-
tines never possessed, but it lacks the freshness and inexpressible charm
that pervade Tuscan art. His was a genius that would have made
one of the noblest sculptors ; the engraving of the 'Risen Christ (XLVIII)
shows what he might have achieved in the field, but it needed the
warmth of Venetian colouring to give his painting invigorating life.
The fifty engravings once called the " Tarocchi Cards of Man-
tegna " (though they are neither Tarocchi, nor cards, nor connected
with Mantegna) are the most interesting and important series of
anonymous prints produced in North Italy during the fifteenth
century. They illustrate in five sections : (i) The Sorts and Con-
ditions of Men ; (ii) Apollo and the Muses ; (iii) The Arts and
Sciences; (iv) The Genii and Virtues; and (v) The Planets and
Spheres. The numbers and arrangement correspond to no known
game of cards, and the existence of several complete sets in con-
temporary binding seems to show that they were rather a sort of book
of instruction and amusement for the young. There are two
complete series, and critics are entirely in disagreement as to which
is the original. What is here termed the original series is much
more finely engraved than the other set, more purely Ferrarese in
10
ANDREA MANTEGNA
character, more archaic, less realistic, and even less graceful in its
treatment of form, I think there is every reason to regard this more
finely engraved series as of Ferrarese origin of about 1465, and
the other set as copies of a few years later, by some engraver working
in the style of the Florentine Fine Manner workshop.
Two of the greatest names in Italian art are represented in the
following illustrations, Leonardo da Vinci and Bramante, the famous
architect of St. Peter's ; but in both cases it seems to me more
probable that the prints attributed are engraved after and not by the
respective masters. The charming Profile Bust of a Young Woman
(FRONTISPIECE) might have been engraved by Zoan Andrea after a
drawing by Leonardo, and Nicoletto da Modena might be responsible
for the large Interior of Bramante's design (LXIII).
Venetian work is most purely illustrated in Girolamo Mocetto,
who was an assistant of Bellini in painting, and a close imitator of his
style. Jacopo de' Barbari is another Venetian with a charming talent
for graceful figure composition. He also worked in Germany and the
Low Countries, and his work has peculiar interest in reference to the
interchange of influence between North and South. His Apollo and
Z)/(7W(7(Lxv)very probably suggested Dttrer's version of the same subject.
By the beginning of the sixteenth century, it was more usually
the Italian who borrowed from Diircr rather than the reverse, and a
variety of copies and adaptations may be seen in the work of
engravers such as Nicoletto da Modena, Benedetto Montagna, Zoan
Andrea, and Giovanni Antonio da Brescia, while his method of
engraving became the general standard for imitation.
The atmosphere of Giorgione is exquisitely rendered by Giulio
Campagnola, a Paduan engraver who had an early repute as a
literary and musical, as well as artistic prodigy. But his pre-
cocious genius was shortlived, and his few engravings are practically
his complete known work. He obtained the soft Giorgionesque
shadows by a system of dots or short flicks with the graver, which in
its effect is an anticipation of stipple.
There is one other engraver to whom I would specially refer, the
anonymous master known by his initials, I B , accompanied by the
figure of a bird. His plates are not numerous, but there is an idyllic
charm in his Leda (LXXIV) and the Satyress with her (Children (LXXV) that
renders them far more attractive than many a greater master's work.
The early Italian engravers were seldom such efficient craftsmen
as their Northern contemporaries, but they knew how to add an
allure which more than makes up for the lack of technical power.
ii
GREAT ENGRAVERS
Marcantonio, the most accomplished of the Italian engravers (who
will be illustrated in a separate volume of this series), is the first
serious rival in the South to Diirer's technical mastery. Marc-
antonio himself largely worked after designs by Raphael, but he
preserved an individuality in his interpretation which almost permits
us to regard him as a great original engraver. But from his work
the painters and the public recognised the uses of reproduction, and
the lesser engravers were for the most part content to quash their
originality and yield to the demand. Still the true dignity of
engraving rests finally with the masters who have used it for their
original expression. And of these the Italian Pre-Raphaelites, in
spite of affectations and deficiencies, will always remain among the
most attractive.
LIST OF PLATES
The abbreviations used in this list: B. = Bartsch ; D. = Duchesne ;
Dut. = Dutuit; P. = Passavant; H. = Hind. The letters that follow H. refer
to the sections of that catalogue. In the case of unique prints the locality
of the impression is given. The Roman number immediately following
each title refers to place in this volume.
ATTRIBUTED TO LEONARDO DA VINCI. plate preserved In the National
Profile Bust of a Young Woman. Museum, Florence, Florentine,prob-
Frontispiece. P. v. 180, i. H. 4 ably by Matteo Dei
Set of eight panels of ornament Two Cupids by a Vase. n. D. 227.
fitted together to form an orna- Florentine
mental border. Title-page border. The Concert, in. D. 288. Floren-
B. xin. 141, 73. H., A. ii. 7 tine
Vienna, Albertina. By Maso Fini- Portrait of a Bentivoglio. iv. 0.350.
guerra, or an engraver of his school. Bolognese, probably by Francesco
Perhaps designed to serve as a Francia
border to the series of " Planets" Portrait of a Lady, v, Dut. 590 bis.
see xxn Bolognese
I-IX. EXAMPLE OF NIELLI, FLOREN- Portrait of a Lady. vi. Dut. 699.
TINE, AND BOLOGNESE, Nos. n-ix Bolognese ; attributed to Peregrino
BEING PRINTS FROM NIELLO- da Cesena
PLATES Orpheus, vn. D. 255. Bolognese;
The Coronation of the Virgin, i. attributed to Peregrino da Cesena
D. 129. A sulphur cast (British Pyramus and Thisbe. vm. D. 259.
M use urn) from the original niello- Bolog'iese
12
ANDREA MANTEGNA
Arion on the Dolphin, ix. D. 258.
Bolognese
X-XVI. EXAMPLES OF THE EARLIEST
FLORENTINE ENGRAVINGS, FOR THE
MOST PART ANTERIOR TO THOSE
ATTRIBUTED TO FlNIGUERRA. THEY
ARE ENGRAVED IN A STYLE NEARLY
APPROACHING THAT OF THE FlNE
MANNER. DATES ABOUT 1450-60.
No. xvi after 1465
Christ carrying the Cross, x. B.XIII.
79, 21. H. A. i. i (6). From the
Larger Vienna Passion (Vienna,
Albertina)
The Triumph of Chastity, xi. B.
xiii. 117,13. H.A.I. 3(2). From
a series of the Triumphs of Petrarch,
by the Master of the Larger Vienna
Passion (Vienna, Albertina)
The Resurrection with the Medici
badge, xn. P. v. 69, 66. H. A. i. 5.
Probably by the Master of the
Larger Vienna Passion (British
Museum')
Profile Portrait of a Lady. xin.
Chalcogr. Society, 1887, No, I.
H. A. i. 6. Berlin
El gran Turco. xiv. Chalcogr.
Society, 1888, No. 13. H. A. i. 7.
Berlin
The Resurrection with the Table
for finding Easter, xv. H. A. I. 9.
British Museum
Dante as Poet of the DivineComedy.
XVT. P. v. 43, 10 1. H. A, i. 23.
Based on Domenico dl Michelino's
painting (1465) in the Duomo,
Florence. Vienna, Hofbibliothek
XVII-XXVI. EXAMPLES OF FLOREN-
TINE ENGRAVINGS IN THE FINE
MANNER, attributed to Maso
Finiguerra and his workshop,
xvn-xx and xxu being in all
probability by Finiguerra himself.
See also title-page border. Dates
about 1460-1480
Various Wild Animals hunting and
fighting, xvn. P. v. 23, 46. H.
A. n. i. British Museum
The Road to Calvary and the Cruci-
fixion, xvin. H. A. 11. 4. British
Museum. (A second version of the
same subject, P. v. 68, 64, also in
the British Museum, is probably a
contemporary copy]
The Judgment Hall of Pilate, xix.
P. v. 41, 98. H. A. ii. 5. Gotha,
'Ducal Museum
The Cretan Labyrinth : with the
story of Theseus and Ariadne, xx.
P. v. 44, 105. H. A. n. 10. British
Museum
Triumphal Procession of Bacchus
and Ariadne, xxi. P. v. 44, 104.
H. A. n. ii. British ^Museum.
After a design by a close follower of
Botticelli, possibly by Bartolommeo di
Giovanni (Berenson's " Alunno di
Domenico ")
The Planet Mercury, xxii. P. v.
34,66. H. A. in. 6. One of a
series of seven plates illustrating
current astrological lore in relation to
the Planets and their influences on
men
A Pair of Dancers, encircled by a
scroll with Cupids and other
Figures, xxui. B. xiii. 145, 7.
H. A. iv. 12. One of a series of
designs (probably intended for the
decoration of box-lids, etc.) known as
the " Otto Prints" from the collector
to whom they belonged in the \%tb
century . This, and the greater part
of the series, are now in the British
Museum
Young Man and Woman holding up
a Sphere, xxiv. B. xin. 148, 17.
'3
GREAT ENGRAVERS
H. A. iv. 13. Another example of
the " Otto Prints." Paris
Two illustrations to Landino's
edition of Dante's " Divina
Commedia," Florence, 1481
Canto I, Dante lost in the Wood ;
escaping, and meeting Virgil, xxv.
B. xin. 175, 37. H. A. v. 2 (i).
Canto II, Dante and Virgil, with the
Vision of Beatrice, xxvi. B. xin.
175,38. H. A. v. 2(2). Engraved
after Botticelli. The plates were
only engraved for nineteen cantos of
the " Inferno" andfezv copies of the
book contain more than two of these
XXVII-XXXIII. EXAMPLES OF
FLORENTINE ENGRAVINGS IN THE
BROAD MANNER
The Virgin presenting her Girdle
to St. Thomas, xxvn. B. xin.
262 and 267, 20. H. B. i. 14.
From a series of fifteen prints illus-
trating the Life of the Virgin and of
Christ
The Triumph of Love, xxvni. B.
xin. 277, 39. H. B. ii. i. From
a series of the six " Triumphs of
Petrarch "
The Temple of Solomon ; with the
Visit of the Queen of Sheba.
xxix. P. v. 39, 95. H. B. in. 4
The Adoration of the Magi. xxx.
P. v. 40, 96. H. B. in. 6
The Virgin and Child enthroned,
with St. Helena and St. Michael.
xxxi. P. v. 108, 33. H. B. in. 9
The Assumption of the Virgin.
xxxn. B. xin. 86, 4. H. B. in. 10.
The largest of all the early Italian
engravings, measuring about 82.5 x
56 cm. It is almost certainly after
a design by Botticelli.
St. George and the Dragon, xxxui.
P. v. 70, 70. H. B. in. ii.
H
The Libyan Sibyl, xxxiv and xxxv.
B. xin. 172, 26, and 93, 10. H.,
c. ii. 2 A. and B. From a series of the
Twelve Sibyls originally engraved
in the Fine Manner of the Finiguerra
School (xxxiv) and repeated in the
Broad Manner (xxxv)
ANTONIO POLLAIUOLO. Battle of
Naked Men. xxxvi. B. 2. H. i
CRISTOFANO ROBETTA. The Two
Muses, xxxvii. B. 23. H. 17.
Erato, in two versions, xxxvni and
xxxix. From two series of fifty in-
structive cards erroneously called the
" Tarocchi Cards ofMantegna." B.
XIII. 12O, 18-67. H. E. I.I-5O.
xxxvm : Original series. Ferrarese,
about 1465. xxxix : Second series.
Copied, probably by a Florentine Fine
Manner engraver, from the original
series
Queen of Staves (Bastoni, Dama). XL.
P. v. 132, 31. H. E. ii. 41. From
a complete series of Fei rarese Tarocchi.
The only complete series is in the
collection of Count Sola, Milan
Portrait of a Lady. XLI. P. v. 53, I.
H. E. in. 214 By an anonymous
Lombard engraver of about 1500
ANDREA MANTEGNA. The Virgin
and Child. XLII. B. 8. H. i
Bacchanalian Group with Silenus.
XLIII. B. 20. H. 2
Bacchanalian Group with a Wine-
press, XLIV. B. 19. H, 3
Battle of Sea-gods : the left portion
of a frieze. XLV, B. 1 8. H. 4.
Battle of Sea-gods : the right portion
of a frieze. XLVI. B. 17. H. 5
The Entombment (horizontal plate).
XLVII. B. 3. H. 6
The Risen Christ between St. Andrew
and St. Longinus. XLVIII, B. 6.
H.7
ANDREA MANTEGNA
SCHOOL OF MANTKGNA
The Triumph of Cssar : the Ele-
phants. XLIX. B. 12. H. I. This
and the following are based on two of
the series of nine cartoons noiv pre-
served in Hampton Court, or on lost
original designs for the same. There
is a third engraving uf the Senators,
tvhich is not among the subjects of the
cartoons
The Triumph of Caesar : Soldiers
carrying Trophies. L. B. I 3 H. 2
The Scourging of Christ (with the
pavement). LI. B. i.H.if. There
is a contemporary copy with land-
scape background
Christ descending into Hell. LII.
B. 5. H. 5
Christ taken down from the Cross.
LIII. B. 4. H. 6. Unfinished state
The Entombment (with the three
Birds), LIV. B. 2. H. 7
The Adoration of the Magi (the
"Virgin in the Grotto"). LV.
B. 9. H. 8. After the central
panel of Mantegna's triptych in the
Uffizi
Four Women Dancing. LVI. B.
1 8 (Zoan Andrea). H. 1 1
GIOVANNI ANTONIO DA BRESCIA. The
Holy Family with the Infant St.
John. LVII. B. 5. H. 4. Second
state (with cross-hatchings in the
background)
ZOAN ANDREA. Two upright ara-
besques on a dark ground. LVIII
and LIX. P. v. 83, 48. H. 17,
A and B.
Upright Arabesque, from a series of
Tzvefoe Arabesques of which three
are by Zoan Andrea, and nine by
the Master of the Sforza Bock of
Hours. LX. B. xin. 307, 24. H.
p. 398, 4 .
MASTER OF THE SFORZA BOOK OF
HOURS. The Virgin and Child
with two Angels in a Landscape.
LXI. B. xin. 85, 3. H. I
After LKONARDO DA VINCI. Profile
Bust of a Young Woman. P. v.
1 80, i. H. 4. See Frontispiece
Profile Bust of a Young Woman
with a Garland of Ivy. LXII. P.
v. 1 80, 2. H. 5
After DONATO BRAMANTE. The
Interior of a ruined Church, or
Temple, with Figures. LXIII. P.
v. 177, i. H. I
NlCOLETTO ROSEX DA MoUENA.
Orpheus. LXIV. B. 53. H. 25
JACOPO DE' BARBARI. Apollo and
Diana. LXV. B. 16. H. 14
A Satyr playing the Fiddle. LXVI.
B. 13. H. 19
A Satyr with a Wine-skin. LXVII.
B. 14. H. 20
GIROLAMO MOCETTO. The Calumny
of Apelles. LXVIII. B. xin. 113,
10. H. 9. First state
BENEDETTO MONTAGNA.
The Sacrifice of Abraham. LXIX.
B. i. H. i
Apollo and Pan. LXX. B. 22. H. 37
GIULIO CAMPAGNOLA. Christ and
the Woman of Samaria. LXXI.
B. 2. H. i
DOMENICO CAMPAGNOLA. The Shep-
herd and the Old Warrior. LXXII.
B 8. H. 9
GIULIO AND DOMENICO CAMPAGNOLA.
Shepherds in a Landscape. LXXIII.
B. 9 (Domenico C.). H. II
(Giulio C.).
THE MASTKR I B (WITH THE BIRD).
Lcda and her Children. LXXIV. B.
3- H 3.
Satyress with her Children. LXXV.
B. 2. H. 6
15
I. THE CORONATION OF THE VIRGIN. SULPHUR CAST OF A
NIELLO, PROBABLY BY MATTEO DEI. D. 129
M. 1
NIELLO-PRINTS
II. TWO CUPIDS BY A VASE. D. 227. Florentine
III. THE CONCERT. D. 288. Florentine
IV. PORTRAIT OF A BENTIVOGLIO. D. 350. Bolognese ;
probably by Francesco Francia
V. PORTRAIT OF A LADY. Dut. 590 bis. Bolognese
VI. PORTRAIT OF A LADY. Dut. 699. Bolognese ; attributed
to Peregrino da Cesena
VII. ORPHEUS. D. 255. Bolognese ; attributed to Peregrino da
Cesena
VIII. PYRAMUS AND THISBE. D. 259. Bolognese
IX. ARION ON THE DOLPHIN. D. 258. Bolognese
X. EARLY FLORENTINE ENGRAVING. CHRIST CARRYING THE
CROSS, FROM THE LARGER VIENNA PASSION. B. xin. 79,
21. Vienna (Albertina)
BARN ABA! |RM
TDI&IT VT CRV< i
XL EARLY FLORENTINE ENGRAVING. THE TRIUMPH OF CHAS-
TITY. B.xm, 117, 13 .
By the Master of the Larger Vienna Passion. Vienna (Albertma)
XII EARLY FLORENTINE ENGRAVING. THE RESURRECTION
WITH THE MEDICI BADGE. P. v. 69, 66
Probably by the Master of the Larger Vienna Passion. British Museum
XIII. ANONYMOUS EARLY FLORENTINE ENGRAVING. PROFILE
PORTRAIT OF A LADY. Berlin
XIV. ANONYMOUS EARLY FLORENTINE ENGRAVING. EL GRAN
TURCO. Berlin
XV. ANONYMOUS, FLORENTINE. THE RESURRECTION WITH
THE TABLE FOR FINDING EASTER
The earliest Italian engraving to bear a date (1461). British Museum
_
ANN
VEDat^DtSOPRA APtE-+tT-pej At^NOVERAIE Ptt
ANNO U$C!AN0-LACHASflLA DoVH STATO-QVETANNT"
|gJ RA ' ;./ > -l/'tZ3
LAflOTTE IVA EOILPI Of IIADO/AEHICHA APIKA/AJCO U3OLI PfP. NI/AICO AVtllf
TK3NI BVI^OO LA?V /-XOftTf i3\.tR.f> NVAMMAI ION*
AM/ t>ioi VIKC<> niNorrf VA f t.z ifti''^: 11: ^
-' OIU
^
XXIII. FLORENTINE ENGRAVING IN THE FINE MANNER, AT-
TRIBUTED TO THE SCHOOL OF FINIGUERRA. A PAIR
OF DANCERS, ENCIRCLED BY A SCROLL WITH CUPIDS
AND OTHER FIGURES
From the " Otto Prints." B. xiu. 145, 7. British Museum
XXIV FLORENTINE ENGRAVING IN THE FINE MANNER, AT-
TRIBUTED TO THE SCHOOL OF FINTGUERRA. YOUNG
MAN AND WOMAN HOLDING UP A SPHERE
From the " Otto Prints." B. xm. 148, 17. Paris
M.3
FLORENTINE ENGRAVINGS IN THE FINE MANNER, ATTRI-
BUTED TO THE SCHOOL OF FINIGUERRA. TWO ILLUSTRA-
TIONS TO LANDING'S EDITION OF DANTE'S DIVINA COM-
MEDIA, FLORENCE, 1481. B. xm. 175, 37 and 38
XXV. CANTO I. DANTE LOST IN THE WOOD ; ESCAPING,
AND MEETING VIRGIL
XXVI. CANTO II. DANTE AND VIRGIL, WITH THE VISION
OF BEATRICE
XXV
XXVI
XXVII. FLORENTINE ENGRAVING IN THE BROAD MANNER.
THE VIRGIN PRESENTING HER GIRDLE TO ST.
THOMAS. B. xni. 262 and 267, 20
From the series of the " Life of the Virgin and of Christ "
XXVIII. FLORENTINE ENGRAVING IN THE BROAD MANNER.
THE TRIUMPH OF LOVE. B. xm. 277, 39 ^
From the series of the " Triumphs of Petrarch "
) ufftottolwrcMmofKJocHMnuamoix E i nu*di-aomt.not>roSgnoir latiofignor^diodascnit uana
XXIX. FLORENTINE ENGRAVING IN THE BROAD MANNER.
THE TEMPLE OF SOLOMON, WITH THE VISIT -OF THE
QUEEN OF SHEBA. P. v. 39, 95
XXX. FLORENTINE ENGRAVING IN THE BROAD MANNER.
THE ADORATION OF THE MAGI. P. v. 40, 96
XXXI. FLORENTINE ENGRAVING IN THE BROAD MANNER.
THE VIRGIN AND CHILD ENTHRONED, WITH ST.
HELENA AND ST. MICHAEL. P. v. 108, 33
JQ.VAMV1DES HIUNAMAMPLKTI-LACTA. MARIA FILIVMTWiM.CREAJb Pd. INCE PS-GIOR.1OSISIME-
.fSf-XPI \NOHciM Vp.O*AN01^yci51A IU /A TV VI. ACT A PAN EM Cll LACTA tMCHXE.UAR.CA.GE
'l^o.T,VD^.RlSVRSrnOCtcD^-OVK PRJETIVM-MVNDI-PRtBtLAMBtN Mt M.OR/NOSTRJ H K ITVI.i
. A CtvtXJ^J^y^fl*' TI-MAMULAM VT-I PSt-P^EAT Q^S tM PtR'PR tC AR I
OLAK)APJOR-IUf tCTTONIS P LR--CV r 1 1 N I I M AX I L L AM -
XXXII. FLORENTINE ENGRAVING IN THE BROAD MANNER.
THE ASSUMPTION OF THE VIRGIN. B. xm. 86, 4
XXXIII FLORENTINE ENGRAVING IN THE BROAD MANNER.
ST. GEORGE AND THE DRAGON. P. v. 70, 70
M.4
THE LIBYAN SIBYL, IN TWO VERSIONS. B. xni, 172, 26, and 93,
10.
From a series of the Twelve Sibyls originally engraved in the Fine Manner
(xxxiv), and repeated in the Broad Manner (xxxv)
XXXVI. ANTONIO POLLAIUOLO. BATTLE OF NAKED MEN B. 2.
Goldsmith, sculptor, and painter ; b. Florence 1432, d. Rome
1498. The most famous goldsmith of his time, his best-known
work being the silver cross now preserved in the sacristy of the
Duomo, Florence. He only produced the one engraving, which
is here illustrated
XXXVII. CRISTOFANO ROBETTA. THE TWO MUSES. B. 23
Goldsmith and engraver ; b. Florence, 1462 ; worked until
1522. An interesting master of a transition period, with some-
thing of the attraction of the primitive school, but loose in his
technical handling. Adapted in his engravings pictures by
Filippino Lippi and Pollaiuolo ; chiefly influenced by the style
of Filippino
ERATO, IN TWO VERSIONS
From two series of fifty Instructive Cards erroneously called the " Tarocchi
Cards of Mantegna." B. xm. 120, 18-67
XXXVIII. Original series. Ferrarese
XXXIX. Second series. Probably Florentine copies
XL. QUEEN OF STAVES. P. v. 132, 31
From a series of Ferrarese Tarocchi, complete only in the collection
of Count Sola, Milan
XLI. PORTRAIT OF A LADY. P. v, 53, i. By an anonymous Lombard
engraver
XLII. ANDREA MANTEGNA. THE VIRGIN AND CHILD. B. 8
Painter and engraver ; b. Vicenza, 1431 ; w. Padua, Mantua, and
for a short time in Rome ; d. Mantua, 1506. The greatest of the
early Italian engravers
XLIII. ANDREA MANTEGNA. BACCHANALIAN GROUP WITH
SILENUS. B. 20
M. 5
XLIV. ANDREA MAXTEGNA. BACCHANALIAN GROUP WITH A
WINE-PRESS. B. 19
XLV. ANDREA MANTEGNA. BATTLE OF SEA-GODS. THE LEFT
PORTION OF A FRIEZE. B. 18
XLVI. ANDREA MANTEGNA. BATTLE OF SEA-GODS. THE RIGHT
PORTION OF A FRIEZE. B. 17
XLVII. ANDREA MANTEGNA. THE ENTOMBMENT (horizontal
plate). B. 3
XLVIII. ANDREA MANTEGNA. THE RISEN CHRIST BETWEEN
ST. ANDREW AND ST. LONGINUS. B. 6
XLIX. SCHOOL OF MANTEGNA. THE TRIUMPH OF OS\R
THE ELEPHANTS. B. 12
L. SCHOOL OF MAXTEGXA. THE TRIUMPH OF CESAR :
DIERS CARRYIXG TROPHIES. B. 13
LI. SCHOOL OF MANTEGXA. THE SCOURGIXG OF CHRIST
(WITH THE PAVEMENT). B. i
M. 6
LII. SCHOOL OF MANTEGNA. CHRIST DESCENDING INTO HELL.
B-5
LIII SCHOOL OF MANTEGNA. CHRIST TAKEN DOWN FROM
THE CROSS. B. 4
LIV. SCHOOL OF MANTEGNA. THE ENTOMBMENT (WITH THE
THREE BIRDS). B. 2
LV. SCHOOL OF MANTEGNA. THE ADORATION OF THE MAGI.
B. 9
LVI. SCHOOL OF MANTEGNA. FOUR WOMEN DANCING. B. 18
(Zoan Andrea)
LVII. GIOVANNI ANTONIO DA BRESCIA. THE HOLY FAMILY
WITH THE INFANT ST. JOHN. B. 5
Engraver; w. from about 1500 (or earlier) until after 1516; first
in Brescia and the north of Italy, under Mantegna's influence and
in that master's style, and later in Rome, where he adopted the
technical manner of Marcantonio
LVII1 AND LIX. ZOAN ANDREA. TWO UPRIGHT ARABESQUES.
P. v. 83, 48
LX. ZOAN ANDREA. UPRIGHT ARABESQUE. B. 24
Engraver; w. ab. 1475-1505 ; first in Mantua under Mantegna's
influence ; later probably in Milan, in a finer technical manner
more akin to that of the miniaturist, the Master of the 'Sforza Book
of Hours
LVIII
LX
LIX
LXI. MASTER OF THE SFORZA BOOK OF HOURS." THE
VIRGIN AND CHILD WITH TWO ANGELS IN A LAND-
SCAPE. B. xiu. 85, 3
Several engravings have been attributed on the basis of similarity of
style to the Milanese artist who is responsible for the miniatures of
the Sforza Book of Hours now preserved in the British Museum. He
has been sometimes called Antonio da Monza, but with insufficient
reason. He worked in collaboration with Zoan Andrea, doing nine
of the series of twelve upright arabesques, one of which is illustrated
on the preceding plate. He did one of the earliest engravings after
Leonardo's Last Supper
M. 7
LXII. AFTER LEONARDO DA VINCI. PROFILE BUST OF A YOUNG
WOMAN WITH A GARLAND OF IVY. P. v. 180, 2
Painter ; b. Vinci (near Empoli) 1452 ; pupil of Vefrocchio in
Florence ; in Milan from ab. 1483-1499, where he painted his most
famous work, the Last Supper ; returned to Florence 1500; from
1506 to 1^12 working in the service of Louis XII, chiefly in Lom-
bardy ; in Rome 1513-15; from 1516 until his death in 1519 settled
at Amboise in the service of Francis I of France
<\
LXIII. AFTER DONATO BRAMANTE. THE INTERIOR OF A RUINED
CHURCH, OR TEMPLE, WITH FIGURES. P. v. 177, i
The famous architect of St. Peter's ; b. near Urbino, ab. 1444;
w. in Milan and other parts of Lombard/ from before 1477 until
1499 ; then in Rome, where he died 1514
LXIV. NICOLETTO ROSEX DA MODENA. ORPHEUS. B. 53
Engraver. No details of his biography known ; three of his prints
are dated, 1500, i^oi, and 1512. His earlier work in the more open
manner (of which the Orpheus is an example) is based on Mantegna's
style ; his later prints, in which a single figure is often placed in a
landscape with a setting of classical ruin, are generally smaller, and
engraved more in Durer's method
LXV. JACOPO DE' BARBARI. APOLLO AND DIANA. B. 16
Painter, engraver, and designer of woodcuts ; b. Venice between 1440
and 1450; 1500-1508 w. in Germany, and afterwards in the
Netherlands, where he died before 1516
LXVI. JACOPODE'BARBARI. A SATYR PLAYING ON THE FIDDLE.
B. 13
LXVII. JACOPODE'BARBARI. A SATYR WITH A WINE-SKIN. 6.14
LXVIII. GIROLAMO MOCETTO. THE CALUMNY OF APELLES.
B. xiii. 113, 10
Painter and engraver ; b. Murano before 1458 ; w.in Venice until
after 1530. According to Vasari he was an assistant of Giovanni
Bellini
LXIX. BENEDETTO MONTAGNA. THE SACRIFICE OF ABRAHAM.
B.I
Engraver and painter; w. Vicenza from ab. 1500 until after 1540.
A son of Bartolommeo Montagna, the leading painter of the school
of Vicenza. His earlier engravings are in the open lineal manner ex-
emplified in the present plate ; his later prints are for the most part
smaller compositions, and, like Nicoletto da Modena's later work,
engraved more in the manner of Diirer. Many of these later plates,
such as the.d polio and Pan, are illustrations of Ovid's " Metamor-
phoses," but they are not known to have been used in any edition
LXX. BENEDETTO MONTAGNA. APOLLO AND PAN. B. 22
M. 8
LXXI. GIULIO CAMPAGXOLA. CHRIST AND THE WOMAN OF
SAMARIA. B.2
Engraver ; b. Padua ab. 1482 ; w. at Ferrara and Venice ;
d. soon after 1514. In his method of using dots (or rather, short
flicks) in his engraving he anticipated the process of stipple, and
rendered with wonderful feeling the atmosphere of Giorgione's paint-
ings
LXXII. DOMENICO CAMPAGNOLA. THE SHEPHERD AND THE
OLD WARRIOR. B. 8
Painter, engraver, and designer , of woodcuts ; w. Padua from
1511 until after 1563 ; acted as Titian's assistant in 1511 in the
frescoes in the Scuola del Carmine and the Scuola del Santo in
Padua. Probably a pupil of Giulio Campagnola, if not a close
relation. In plate LXXIII, the Shepherds in a Landscape, the figures
are by Domenico, the landscape by Giulio. Domenico probably
completed a plate left unfinished by Giulio at his death
LXXIII. GIULIO AND DOMENICO CAMPAGNOLA. SHEPHERDS
IN A LANDSCAPE. 6.9
LXXIV. THE MASTER I B (WITH THE BIRD). LEDA AND HER
CHILDREN. B. 3
Engraver; w. ab. 1500, possibly in the neighbourhood of
Bologna. Has been identified with a certain Giovanni Battista del
Porto of Modena, but there is little foundation for the identifica-
tion
LXXV. THE MASTER I B (WITH THE BIRD). SATYRESS WITH
HER CHILDREN. B. 2
PRINTED AT THE BALLANTYNE PRESS LONDON