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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chool of Squarcione at Padua, he settled about 1459in Mantua, remaining there in the service of its Marquessesuntil his death in 1506. The character of his engraving is aclose imitation of the style of his pen drawings—open parallel linesof shading with lighter lines obliquely laid between them. Possiblythe first idea that suggested engraving of this type was the popularity ^ Probably dating about 1470, and referring to the meeting of Paul II. andFrederick III. which took place just before that date. The engraving described byBartsch (xiii. no, 8), bearing the date 1495, is a repetition of the subject, which isalso found earlier in several wood-cuts. 56 THE EARLIEST ENGRAVERS of his drawings as designs in other studios, and the profit that wouldaccrue through the multipHcation of impressions. In all, some twenty-five plates have been attributed to Mantegna,but it is very doubtful whether the master himself engraved morethan the seven or eight, which so far excel the rest in quality.
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Fig. 23.—Andrea Mantegna. The Virgin and Child. These plates are the Virgin a?id Child (B. 8, Fig. 23). Thetwo Bacciia/ials (B. 19 and 20), the Battle of the Tritofts andSea-Gods^ (two plates, B. 17 and 18), Xho. Entombmetit (horizontalplate, B. 3), and the Risen Christ betiveen St. Andrew and St.Longimts (B. 6). In these the line exhibits all the characteristicsof Mantegnas pen-work. The outline is firm and broad, but the 1 Christened by R. Forster Etwy among the Ichthiophages (Jahrb. .x.xiii. 205). ANDREA MANTEGNA 57 cross-lines of shading seem to have been but Hghtly scratched onthe plate, and were consequently worn away in a very few printings,leaving most of the late impressions (which are not uncommon)mere ghosts of the composition in its original state. Generally, too,fine early impressions show the broken line, which possibly impliesan undeveloped roller-press and lack of pressure in the printing. With one possible exception (the Elephants, from the Triumphof Caesar, B. 12)

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