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 UNIVERSITY 
 
 LIBRARY 
 
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 Professor 
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 PRINTED ii^l U.S.A 
 
GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND 
 
MA.RCANT0NIO EAIMONDI : 
 POETRY. B. 382 
 
 After a lost drawme by Raphael for the iresco m the 
 Camera della Segnalura m the Vatican 
 
K.^ 
 
 
 1^' 
 
 ^''''\ 
 
 
MARCANTONIO 
 
 THE mastery of form and the absolute facility and technical 
 accomplishment shown in the best of Marcantonio's plates 
 are not the best recommendation of his art to the modern 
 amateur. Academic perfection has tended so much to foster mere 
 imitation and crush the smaller individuah'ties, that one is often 
 tempted from very surfeit to over-estimate the value of revolt and the 
 striving after originality in the mere outward form of things, and to 
 forget the real qualities of a great master amid the average production 
 of his followers. It must be confessed that a great proportion of the 
 sixteenth-century engravings in Italy suffers from the overwhelming 
 influence of Raphael. The engravers of the preceding century were 
 far from attaining the same level of technical proficiency, but they 
 seldom failed to show an independence that characterises even the 
 minor works of the early Renaissance in Italy. 
 
 According to Vasari, Marcantonio worked as an engraver in the 
 service of Raphael, who turned his factotum Baviera to printing, and 
 with these two adjutants carried on a considerable trade in repro- 
 ductions of his works. One would expect, if this had actually been 
 the case, that Marcantonio's engravings would have more consistently 
 reproduced Raphael's finished pictures or frescoes, as in the case of 
 Rubens and the engravers who worked under his immediate direction. 
 But with Marcantonio this is practically never the case. Just a kw 
 of his prints correspond fairly closely with the finished compositions, 
 e.g. the Galatea (xxx) with the painting in the Farnesina, but the 
 majority of the plates which are related to frescoes in the Vatican 
 and to other paintings by Raphael, seem to have been taken from 
 sketches done by the master in the course of his work. The finished 
 compositions generally show an advance in the development or 
 concentration of the design beyond the state in which it is rendered 
 by Marcantonio. 
 
 This consideration has led to some doubts being cast on the 
 
 S 
 
GREAT ENGRAVERS 
 
 intimate association of Raphael and Marcantonio as related bv Vasari. 
 But Vasari wrote within fifty years of the event, and even in face of 
 a priori probabilities his tradition should carry great weight. Besides, 
 in a period when close reproduction was only in its infancy, Raphael 
 might quite well have preferred to leave Marcantonio the liberty 
 justified by his genius as an engraver, merely supplying him with 
 drawings to develop in his own way. 
 
 In any case, whether he worked in this manner directly in 
 Raphael's service or not, he must somehow have obtained many of 
 the master's preparatory studies for his paintings, and elaborated them 
 with a setting of his own invention. 
 
 There are very few examples in which the original drawings used 
 by the engraver can be traced, two of the most certain being one for 
 the Lamentation (B. 37) in the Ashmolean Museum, Oxford, and 
 another for the Massacre of the Innocents (xxii and xxill) in the 
 British Museum. We have, as far as possible, indicated beneath the 
 plates the sources of the engravings, but in most instances it is only a 
 relation to a finished composition that can be given, while in others 
 the relation to painting and even painter must be left entirely 
 undefined. 
 
 In most of Marcantonio's work done at Rome (where he lived 
 from 15 10 until 1527), Raphael must be regarded as the chief inspirer, 
 though Baldassare Peruzzi may have supplied the original designs for 
 other plates {e.g. the Triumph of Scipio, after a drawing in the Louvre). 
 In the earlier part of his life at Bologna, where he was born about 
 1480, he must have reproduced or adapted compositions by his 
 master, the goldsmith-painter Francesco Francia (see i), but the 
 majority of his plates in this manner may be his own original work. 
 He is said to have worked as a niello-engraver under Francia, and 
 the closely hatched shading which characterises the Bolognese nielli 
 may account for the peculiarly dark style of his engravings of this 
 period. 
 
 The study of Diirer was undoubtedly the chief influence in 
 clarifying his lineal style, which is seen at its best in the early works 
 6 
 
MARCANTONIO 
 
 of his Roman period, in plates such as the Poetry (Frontispiece), and 
 the Death of Lucyetia (xix), with their perfection of line and alluring 
 mellowness ot tone. 
 
 Later he became more rugged and summary in his mode of ex- 
 pression, using a stronger and more open svstem ot line work. The 
 de\elopment of his style may be exemplified in the two versions of 
 the Alamicre of the Innocents (xxil and xxill) and the Christ lamented 
 h\ his Mother (xxiv and xxv), i.e. if the plausible theory that 
 Marcantonio repeated himself in a popular subject at a later date be 
 correct. 
 
 How closely he was approached by the best work of his pupils, 
 Marco de Raxenna and Agostino Veneziano, is shown by some of the 
 examples of their work here gi\'en. Bartch was wise in classing their 
 plates with the master's in one catalogue, for in man)' cases in the 
 absence of signature the authorship remains quite uncertain. 
 
 From what we ha\e said of Marcantonio's method of handling 
 Raphael's designs, it will be seen that he was merely on the threshold 
 of reproducti\e engra\ing. For the better part of the sixteenth 
 centur)- most ot the Italian engravers probably used the same liberty 
 in interpreting their ongmals, and a school ot reproductive engra\ing, 
 strictly so called, coincides with the advent in Italy of Flemings, such 
 as Cornells Cort, and with the growing influence ot the Carracci. 
 
 Besides the line-engravers working more or less under the influence 
 ot Alarcantonio, of whom Giorgio Ghisi, of Mantua, was one of the 
 most individual, we have given examples of the original etchings of 
 two famous painters, Parmigiano and Meldolla. 
 
 Parmigiano is one of the earliest ot the Italian painters to make a 
 regular practice ot etching. His lightly bitten plates have all the 
 characteristics ot his swift and flowing pen drawings, with too little 
 emphasis to be forcible as etchings. Nevertheless, in spite of their 
 mannerism, his prints possess a graceful charm, and found numerous 
 imitators. 
 
 Meldolla, who is better known under the name of Andrea 
 
 7 
 
GREAT ENGRAVERS 
 
 Schiavone for his little oblong panel-paintings of landscape and 
 mythology, is even more mannered than Parmigiano, and less secure 
 as a draughtsman. He was one of the first engravers to work with 
 the dry-point, a process little used until the time of Rembrandt. 
 His subjects are etched in a scratchy and irregular style, somewhat 
 intensified by the irregular surface of his plates, which tradition has 
 described as of pewter. But with all their faults, there is a touch of 
 fire and a sense of motion in his pictures and prints, which render 
 them peculiarly attractive. 
 
BOOKS OF REFERENCE 
 
 Cumberland, George. Some Anecdotes of the Life of Julio Bonaione, 
 followed b\- a catalogue of his engravings. London I793 
 
 Bartsch, Ad.im. Le Peintre-gr.-iveur. X'oh. XH'-XVL \'ienna 1813, 
 1S18 
 
 Passavant, J, D. Le Peintre-graveur. ^'ol. Yl. Leipzig 1864 
 
 RuLAXD, Carl. The Works of Raphael Santi as represented in the Royal 
 Library at Windsor (privately printed). 1876 
 
 LippMANX, F. Ein Holzschnitt von Marcantonio. ] al.rhuch tier kgl. Preuss. 
 Kunstsammlungcti, L 270 
 
 Delaborde, Henri, ALarcantonio Raimondi. Paris 1887 
 
 FiscHEL, Oskar. Raphael's Zeichnungen. Strassburg 1S9S (Dr. Fischel 
 is preparing a new complete catalogue ot Raphael's draivmgs \vhich is 
 certain to throiv more light on their relation to Marcantonio's prints) 
 
 Kristeller, Paul. IVLarcantons Beziehungen zu Raffael. Jahrbuck der 
 kgl. Preuss. Kunstsammlungen, XX\TII (1907), 199 
 
 HixD, A. AL Ed. Sir Sidney Cohin. Catalogue oi the Earl}' Italian 
 Engravings in the British Museum. London 1910 (includes Jacopo 
 Francia) 
 
LIST OF PLATES 
 
 The abbreviations used in this list : B. = B.irtsch ; P. = Passavant. 
 
 Marcantomo Raimondi 
 
 Poetry. 13. 382. After a lost dra-.cing by Raphael for the fresco in the 
 Camera delta Segiiatiira in the Vatican. Frontispiece 
 
 The Baptism of Christ. I. B. 22. After a study by Francesco Francia 
 for the picture at Hampton Court {there is a fragment in the Vffiz.i, 
 ZL'hich may be part of the original drazi'ing) 
 
 Allegory (the serpent speaking to a young man). 11. B. 396 
 
 Apollo and the Graces, iii. B. 39S 
 
 St. George and the Dragon, jv. 9S 
 
 Pyramus and Thisbe. v. B. 322 
 
 Orp>heus. vi. B. 3 1-|. 
 
 Venus. VII. B. 312 
 
 Woman watering a plant. \\u. B. 383 
 
 \'enu3 and Cupid, ix. B. 313. 
 
 Children playing, x. B. 320 
 
 Portrait of Philotheo .Achillini. xi. 8.469 
 
 Man asleep b)' a wood. xii. B. 438 
 
 Allegorical subject, called "Raphael's Dream." xiii. B. 359. The 
 figures based on some Giorgionesque original ; the fantastic ana grotesque 
 motives reminiscent of Jerome Bosch 
 
 St. Jerome, xiv. B, 102. The landscape suggested by some Venetian 
 original 
 
 II 
 
GREAT ENGRAVERS 
 
 Marcantonio Raimondi (continued) 
 
 The Bathers, xv. B. 487. Based on details in Michelangelo's lost 
 cartoon of the " Battle of Piia." The landscape copied from Lucas van 
 Leydens " Mahomet and the Monk Scrgius " 
 
 Adam and Eve. xvi. B. I 
 
 Orpheus and Eurydicc. xvii. B. 295 
 
 The Death of Dido, xviii. B. 187 
 
 The Death of Lucretia. xix. B. 192. 
 
 Bacchus presiding at the Vintage, xx. B. 306 
 
 God appearing to Noah. xxi. B. 3. .4fter some stud-^ by Raphael for 
 the ceiling of the Stanza of Heliodorus in the I'atican 
 
 The Massacre of the Innocents (with the fir tree), xxii. B. 18. First 
 state, before the signature {zuhich is here added in pen and ink). Probably 
 based on a drazving by Raphael in the British Museum 
 
 The Massacre of the Innocents, xxiii. B. 20. A second version of the 
 subject, possibly a later repetition by Marcantonio himselj 
 
 Christ Liinented h}' his Mother, xxiv. B. 34 
 
 Christ lamented by his Mother, xxv. B. 35. A second version of the 
 subject, possibly a later repetition by Marcantonio himself 
 
 St. Cecilia, xxvi. B. 116. After a study by Raphael for the picture in 
 
 Parnassus, xxvii. B. 247. Based on some drawing by Raphael jar the 
 fresco in the Vatican, Rome. 
 
 The Judgment of Paris, xxviii. B. 245. After a drazving b\ Raphael, 
 based on the antique. Compare reliefs in the 'Villa Medici, and Villa 
 Pamphilj, Rome 
 12 
 
MARCANTONIO 
 
 Marcantomo Raimondi {continued') 
 
 Jupiter and Cupid, xxix. B. 3^.2. Bused on a dra-xlng by Raphael for 
 the fresco in the Farnesina, Rome 
 
 Galatea, xxx. B. 350. After the painting ]>\ Raphael in the Farnesina, 
 Rome, or based on some study for it. 
 
 Strength, xxxi. B. 3-5 
 
 The \'irgin and Child, x.xxii. B. 52. Jfter a study for RaphaeTs 
 'Madonna di Foligno 
 
 Christ in glory, with the Virgin, St. John the Evangelist, St. Paul and 
 St. Catherine, xxxiii. B. I13 
 
 Children dancing, xxxiv. B. 217 
 
 Allegorical subject (the man \vith the double trumpet). xx.xv, B. ^56 
 
 Illustration to Amadeo Berruti's Dialogue on Friendship, Rome 1517. 
 
 XXXA'I 
 
 The young mother and two men. xxxvii. B. 4^2 
 The Three Doctors, xxxviii. B. 404 
 
 Women supporting an urn (design for sculpture or bronze), xxxix. 
 B. 489 
 
 The Three Graces. XL. Based on the antique. Compare the sculpture in 
 the J'atican, Clarac,pl. 632, No. 1,427 
 
 Fauns carrying a child in a basket. .XLi. B, 230. Jfter a relief on a 
 sarcophagus in the Naples Museum {reproduced, E. Gerhard, Antike 
 Bild'.vcrke, cxi) 
 
 Portrait of Pietro Aretino. XLii. B. 513 
 Supposed portrait of Raphael, xliii. B, 496 
 
 13 
 
GREAT ENGRAVERS 
 
 Anonymous : School of Marcantonio 
 
 The Virgin reading to the child. xliv. B. 48. Possibly by Marco da 
 Ravenna. Based on a drawing, attributed to Raphael, in Chatsworth 
 
 St. Helena and the Vision of the Cross, xlv. B. 460 
 
 Jacopo Francia 
 
 Lucretia. xlvi. B. 4. First state, before the clouds were added in the 
 upper corners 
 
 B.icchus and his attendants, xlvii. B. xv. 646, 7 
 
 Marco Dente da Ravenna 
 
 Entellus and Dares. XLvni, B. 195. Based on an antique relief in the 
 Lateran, Rome {Benndorf and Schone, Leipzig l?i6j, No. 13) 
 
 Laocoon. xlix. B. 353. After the sculpture in the Xiatican 
 
 Agostino (Veneziano) de' Musi 
 
 The Three Holy Women going to the Sepulchre, l. B. 33 
 
 Portrait of Barbarossa. li. B 520 
 
 Baccio Bandinelli and his pupils in his studio. Lii. B. 418 
 
 Enea Vico 
 
 Baccio Bandinelli and his pupils in his studio, liii. B. 49 
 
 Nicolas Beatrizet. Portrait of Antonio Salamanca, printseller. liv. B. 6 
 
 GlULIO Bonasone 
 
 Portrait of Michelangelo, lv. B. 345. Vndescribed, early state 
 
 Portrait of Raphael, lvi. B. 347 
 14 
 
MARCANTONIO 
 
 [acopo C.araglio 
 
 The Annunci.ition. lvu. B. 3. After a lost picture by Titlm 
 
 GluRC.IO GhISI 
 
 Fortune, u'lii. B. 34 
 
 Three muses and a genius. li\. B. 38, Jfter a ailing painting by 
 Prinidticiio, once in Tontaiucbltdu 
 
 Francesco Mazzuoli (Parmkii wii) 
 The \'irgin .ind ChilJ. LX. B. \ 
 Shepherd Bjy. lxi. B. 12 
 
 Woman seated on the ground (St. Thais r). LXii. B. 10 
 The Entombment, lxiii. B. 5 
 
 Andrea Schlavone (Meldolla) 
 
 Moses and the Burning Bush. Lxir. B. 3 
 
 Anonymous Etcher after Tintoretto 
 
 Portrait of the Doge Pasquale Cicogna. LXv. B. xv, 105, I 
 
 The portrait of I\Iarcantonio at p. 8 of the text is from a woodcut bv 
 Cristofano Coriolano (after a design by ^'asari or .m artist of his school) 
 in the second edition of \'asari's Lives (1568). 
 
 The tail-piece at p. 9 (Frieze of children) is after an engraving bv the 
 Ma;ter of the Die (Benedetto ^'erini :), B. 36. 
 
 The decorative piece at p. 10 (L'nicorn) is an anonymous engraving of 
 the School of Marcantonio. 
 
 15 
 
I. MARCANTONIO RAIMONDt. THE BAPTISM OF CHRIST. B.22 
 
 After a study by Francesco Francia for the picture at Hampton Court 
 (there is a fragment in the Uffizi which may be part of the original 
 drawing). Line-engraver; b. ab. 1480 ; d. ab. 1530 ; w. at Bologna, 
 Venice, and Rome 
 
II. MARCANTONIO RAIiAlONDI. ALLEGORY. THE SERPENT 
 SPEAKING TO A YOUNG MAN. B. 396 
 
Ill MARCANTONIO RAIMONDI. APOLLO AND THE GRACES. 
 
 B. 398 
 
 t 
 
IV. MARCANTONIO RAIMONDI. ST. GEORGE AND THE 
 DRAGON. B. 98 
 
V. MARCANTONIO RAIMONDI. PYRAMUS AND THISBE. B. 322 
 
"5,'. -^^^ - ^-3" ■^■^S^ 
 
VI. MARCANTONIO RAIAIONDI. ORPHEUS. B. 314 
 
i':- 
 
 VII. MARCANTONIO RAIMONDI. VENUS. B. 312 
 
VIII. MARCANTONIO RAIMONDI. A WOMAN WATERING A 
 PLANT. B. 383 
 
IX. MARCANTONIO RAIMONDI. VENUS AND CUPID. B. 313 
 
X. MARCANTONIO RAIMONDI. CHILDREN PLAYLXG. B. 320 
 
XI. MARCANTONIO RAIMONDI. PORTRAIT OF PHILOTHEO 
 ACHILLINI. B. 469 
 
XII. MARCANTONIO RAIMONDI. MAN ASLEEP BY A WOOD. 
 B.438 
 
XIII, MARCANTONIO RAIMONDI. ALLEGORICAL SUBJECT, 
 CALLED " RAPHAEL'S DREAM." B. 359 
 
 The figures based on some Giorgionesque originaL The fantastic 
 and grotesque motives reminiscent of Jerome Bosch 
 
XIV. MARCANTONIO RAIMONDI. ST. JEROME. B. 
 The landscape suggested by some \'enetian original 
 
XV. MARCANTONIO R/\IMONDI. THE BATHERS. B. 487 
 
 Based on details in Michelangelo's lost cartoon of the BattU of Pisa. 
 The landscape is copied from Lucas van Leyden's Illahomei mid ihe 
 Monk Sergius 
 
XVI. MARCANTONIO RAIMONDI. ADAM AND EVE. B. i 
 
X\1I. RIARCANTONIO KAIMONDI, ORPHEUS AND EURYDICE. 
 B, 295 
 
XVIII. MARCANTONIO RAIMONDI. THE DEATH OF DIDO. B. 1S7 
 
XIX. MARCANTONIO RAIMONDI. THE DEATH OF LUCRETIA. 
 B. 192 
 
XX. MARCANTONIO RAIMONDI. BACCHUS PRESIDING AT THE 
 VINTAGE. B. 306 
 
XXI. MARCANTONIO RAIMONDI. GOD APPEARING TO NOAH. 
 
 B.3 
 
 After some study by Raphael for the ceiling of the Stanza oi 
 Hcliodorus in the Vatican 
 
XXII. MARCANTONIO RAIMONDI. THE MASSACRE OF THE 
 INNOCENTS. B. i8 
 
 First state, before the signature (which is here added in pen and ink). 
 Probabl)^ based on a drawing by Raphael in the British Rluseum 
 
,f- If 
 
XXIII. MARCANTONIO RAIMONDI. THE MASSACRE OF THE 
 INNOCENTS. B.20 
 
 A second version of the subject, possibly a Liter repetition by 
 Marcantonio himself 
 
XXIV. MARCANTONIO RAIMONDI. CHRIST LAMENTED BY 
 HIS MOTHER. B. 34 
 
XXV. MARCANTONIO RAIMONDI. CHRIST LAMENTED BY 
 HIS MOTHER. B. 35 
 
 A second version of the subject, possibly a later repetition by Marc- 
 antonio himself 
 
M 4. 
 
XXVI. MARCANTONIO RAIMONDI. ST. CECILIA. B. ii6 
 
 After a study by Raphael for the picture in Bologna. 
 
XXVII. MARCANTONIO RALMONDI, PARNASSUS. B. 247 
 
 Based on some drawing by Raphael for the fresco in the Vatican, 
 Rome 
 
XXVIII. MARCANTONIO IL^IMONDI. THE JUDGMENT OF 
 PARIS. B. 24.5 
 
 After a drawing by Raphael based on the antique (compare reliefs 
 in the Villa Medici, and Villa Pamphilj, Rome) 
 
XXIX. MARCANTONIO RAIMONDI. JUPITER AND CUPID. B. 342 
 Based on a drawing by Raphael for the fresco in the Farnesina, Rome 
 
XXX. MARCANTONIO RAIMONDI. GALATEA. B. 350 
 
 After the painting by Raphael in the Farnesina, Rome, or based on 
 some study for it. This engraving shows fewer variations from 
 Raphael's finished composition than almost any other Marcantonio 
 print connected with the subject of a Raphael pictui'e 
 
XXXI. MARCANTONIO IL-MMONDI. STRENGTH. B. 375 
 
XXXII. MARCANTONIO RALMONDI. THE VIRGIN AND CHILD. 
 B. 52 
 After a study for Raphael's Madonna di Foligno 
 
XXXIII. MARCANTONIO RAIMONDI. CHRIST IN GLORY WITH 
 THE VIRGIN, ST. JOHN THE EVANGELIST, ST. PAUL 
 AND ST. CATHERINE. B. 113 
 
.M 5 
 
XXXIV. MARCANTONIO R.\IMONDI. CHILDREN DANCING. 
 B. 217 
 
XXXV. MARCANTONIO RAIMONDI. ALLEGORICAL SUBJECT 
 (THE MAN WITH THE DOUBLE TRUMPET). B. 356 
 
XXXVI. R4ARCANT0NI0 RAIMONDI. Illustration to Amadco Bcnuti's 
 Dialogue on Friendship, Rome, 15 17 
 
XXX\-n. MARCANTONIO RAIMONDI. THE YOUNG MOTHER 
 AND TWO MEN. B. 432 
 
 XXXVni. MARCANTONIO RAIMONDI. THE THREE DOCTORS. 
 B. 404 
 
'KXXIX. MARCANTONIO RAIMONDI. WOMEN SUPPORTING AN 
 URN. (Design for sculpture, or bronze.) B. 489 
 
XL. MARCANTONIO RAIMONDI. THE THREE GRACES. B. 340 
 B:iscd on tlie antique. Compare the sculpture in the Vatican (Clarac, 
 pi. 632, No. 1427) 
 
XLI. MARCANTONIO RAIMONDI. FAUNS CARRYING A CHILD 
 IN A BASKET. B. 230 
 
 After a relief on a sarcophagus in the Naples Museum (reproduced, 
 E. Gerhard, Antike Bildwerke, cxi). 
 
XLII, MARCANTONIO RAIMONDI. PORTRAIT OF PIETRO 
 ARETINO. B. 513 
 
 Vasari refers to this plate as a portrait by Marcantonio from the 
 life (Aretitio, the notorious blackmailer and litterateur, was in Rome 
 about 1526). Apart from this tradition one might be more inclined 
 to regard it as based on some Venetian painting. 
 
iPETRYS ARRETINVS ACIRRIMVS VIRX\"r.M AC V;T!OP.VM ; 
 DEMDSTRATOR. .| 
 
XLIII. MARCANTONIO RAIMONDI. SUPPOSED PORTRAIT OF 
 RAPHAEL. B. 496 
 
XLIV. ANONYMOUS : SCHOOL OF MARCANTONIO MIMONDI 
 (MARCO DA RAVENNA ?). THE VIRGIN READING TO 
 THE CHILD. B. 48 
 Based on a drawing attributed to Raphael, in Chatsworth 
 
XLV. ANONYMOUS : SCHOOL OF MARCANTONIO RAIMONDI. 
 ST. HELENA AND THE VISION OF THE CROSS. B. 460 
 The design is near in style to Parmigiano. A picture of the same 
 subject by Paul Veronese in the National Gallery may have taken its 
 suggestion from this print 
 
XLM. JACOPO FRANCIA. LUCRETIA. B. 4 
 
 First state, before the clouds were added in the upper corners. 
 Line-engraver ; b. ab. 1487 ; d. 1557 ; w. at Bologna 
 
XL\'II. JACOPO FRANCIA. BACCHUS AND HIS ATTENDANTS. 
 B. XV. 646, 7 
 
XLVIII. MARCO DENTE DA RAVENNA. ENTELLUS AND DARES. 
 B. 195 
 
 Based on an antique relief in the Lateran, Rome (Benndorf and 
 Schone, Leipzig, 1867, No. 13). 
 
 Line-engraver ; d. 1527 ; w. at Rome, under the immediate 
 influence of Marcantonio 
 
XLIX. MARCO DENTE DA RAVENNA. LAOCOON. B. 353 
 After the sculpture in the Vatican 
 
L. AGOSTINO (VENEZIANO) DE' MUSI. THE THREE HOLY 
 WOMEN GOING TO THE SEPULCHRE. B. 33 
 Line-engraver ; w. ab. 1 5 14-15 36, at Venice, and under the immediate 
 influence of Marcantonio at Rome 
 
M 7 
 
LI. AGOSTINO (VENEZIANO) DE' MUSI. PORTRAIT OF BARBA- 
 
 ROSSA. B. 520 
 
■ARIADEHVS BARBMVS SA CIRTHAE, TVUEl 
 ICkREX 'AC OTOAAA14ICAE C LAS S iP RMiJ 
 
LII. AGOSTINO O'ENEZIANO) DE' MUSI. BACCIO BANDINELLI 
 AND HIS PUPILS IN HIS STUDIO. B. 418 
 
LIII. ENEA VICO. BACCIO BANDINELLI AND HIS PUPILS IN 
 HIS STUDIO. B. 49 
 Line-engraver; w. ab. 1541-1567, at Parma 
 
LIV. NICOLAS BEATRIZET. PORTRAIT OF ANTONIO SALA- 
 MANCA, PRINTSELLER. B. 6 
 Line-engraver ; b. ab. 1515 ; d. ab. 1560 ; w. at Luneville and Rome 
 
LV, GIULIO BONASONE. PORTRAIT OF MICHELANGELO. B. 345 
 
 Undescribed early state. 
 
 Line-engraver; w. ab. ic;3l-1574, at Bologna and Rome 
 
LVI. GIULIO BONASONE. PORTRAIT OF RAPHAEL. B. 347 
 
RAPHAELI 
 
 w- 
 
 MCTOPIS tMINENTISS-EFFICIE'' IVLIVS BONASONIVS BONONIEN-AB 
 tXEWPLAKI IVMPTA V. CAELO EXPRESS! T- 
 
 X^ 
 
LVII. JACOPO CARAGLIO. THE ANNUNCIATION. B. 3 
 
 After a lost picture by Titian. 
 
 Line-engraver, and medallist ; b. ?.b. 1500 ; d. 1565 ; w. in Parma, 
 
 Verona, Rome, Venice, and Cracow 
 

LVIII. GIORGIO GHISI. FORTUNE. B. 34 
 
 Line-engraver ; b. 1520 ; d. 1582 ; w. at Mantua 
 
LIX. GIORGIO GHISI. THREE MUSES AND A GENIUS, 
 AFTER A CEILING PAINTING BY PRIMATICCIO ONCE 
 IN FONTAINEBLEAU. B. 38 
 
LX, FRANCESCO MAZZUOLI (PARMIGIANO). THE VIRGIN AND 
 CHILD. B.4 
 
 Painter and etciier ; b. 1503 (1504 ?) ; d. 1540 ; w. at Parma 
 
LXI. FRANCESCO MAZZUOLI (PARMIGIANO). SHEPHERD BOY- 
 B. u 
 
LXII. FRANCESCO MAZZUOLI (PARMIGIANO). WOMAN SEATED 
 ON THE GROUND (ST. THAIS ?). B.io 
 

 .#v.::^^jr 
 
LXIII. FRANCESCO MAZZUOLI (PARMIGIANO). THE ENTOMB- 
 MENT. B. s 
 
LXIV. ANDREA SCHIAVONE (MELDOLLA). MOSES AND THE 
 BURNING BUSH. B. 3 
 Painter and etcher ; b. 1522 (?) d. 1582; w. Sebenico, and Venice 
 

 
 
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 ;&^^ 
 
 
LXV. ANONYMOUS ETCHER AFTER TINTORETTO. PORTR.'MT 
 OF THE DOGE PASQUALE CICOGNA. B. xv. 105, i 
 
PASCHAUS. 
 .CICONIA. 
 
 .DVX. 
 VEMETIAB^ 
 
PRINTED AT THE BALLANTYNE PRESS LONDON 
 
X