Identifier: shorthistoryofen00hinduoft (find matches)
Title: A short history of engraving (and) etching : for the use of collectors and students; with full bibliography, classified list and index of engravers
Year: 1908 (1900s)
Authors: Hind, Arthur Mayger, 1880-1957
Subjects: Engravers Engraving Etchers Etching
Publisher: London : A. Constable
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN

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idely known and copied in Italy. Of these copyists Marcantoniowas the most prolific and not the most scrupulous in his appropria-tions. Besides many of Diirers line engravings, he copied the largewood-cut series the Life of Mary on copper, in a manner closelyimitating the original, and signed them with the Northern masterssignature. This was in 1506, and Diirer, who visited Italy in thatyear, had this immediate incentive for his bitter complaints to theVenetian Senate of his young rivals action. Happily this sufficedto induce Marcantonio, whose previous offence had no doubt beenless his own than that of unscrupulous dealers, to add his ownsignature to the copies which he subsequently made of Diirerssmaller Wood-cut Passion. It is almost impossible to overestimate the influence of the MARCANTONIO AND DURER 93 Nuremberg master on Marcan.tonios development. The latter,however, was always original in his assimilation of anothersmethods, and though learning much from Diirer in respect of a
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Fig. 37.—Marcantonio Raiinondi. Portrait of Ihilotheo Achillini. regular method of cross-hatching, he ended by simplifying the sameto a system which possesses a strength and character of its own, byno means inferior to the technical style of his Northern rival. For an uncertain period between 1505 and 1509 Marcantonio 94 THE GREAT MASTERS OF ENGRAVING was working in Venice, and in this centre of artistic commerce he nodoubt had greater opportunity for seeing Dlirers prints, even if we arenot to accept Vasaris story that it was here that he first made theiracquaintance. An interesting reUc of his sojourn in this city is the printwhich, at least since the middle of the eighteenth century, has bornethe inexplicable title RnphaeFs Dream (B. 359). Giorgione may haveinspired this, as he did at least one other print of the period, i.e. theSt. Jerome (B. 102), though the latter is probably more immediatelysuggested by the style of Giorgiones interpreter, Giulio Campagnola. Marcantonio left

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