M A RCANTONI O

HE mastery o f form and th e absol ute f ac ility and te chnical ’ acc omplishment sh own in th e best of Mar canto nio s pl ates are no t th e b est r ecommendati o n o f h is art to th e mod ern ama e u Aca em e e o h as e n e so m to o e me e t r . d ic p rf cti n t d d uch f st r r

m at on and c u th e mal e ual e a o ne o en i it i r sh s l r individ iti s, th t is ft

- h e t empt ed from v e ry surfe i t to o ve r estimate th e v al ue o f r e v o lt and t

t n a te o a i th e me e o a d o m of n and to s rivi g f r rigin l ty in r utw r f r thi gs, fo rge t th e r e al q ualiti es of a great maste r amid th e av e rage p ro d ucti o n

e mu b e co e e a a e a o o o n o f th e o f his fo ll ow rs. It st nf ss d th t gr t pr p rti sixtee nth - ce nt ury e ngrav i ngs in Italy suff ers fro m t h e ove rwh e lmi ng

o f Ra ael T h e e n av e o f th e ece n ce we e i nflue n ce ph . gr rs pr di g ntury r f ar o m a a n n th e ame ev e of e ca of c enc but h e fr tt i i g s l l t chni l pr i i y, t y s el do m fail ed to sh o w an i ndep end e nce that ch aracterises e v e n th e

o of t h e ea Re a an e in a min or w rks rly n iss c I t ly .

A o d n to a a M a can on o o e as an e av e in th e cc r i g V s ri , r t i w rk d ngr r

e ce o f Ra ae wh o u ed acto um B av e a to n and s rvi ph l , t rn h is f t i r printi g, wi th th ese two adjutants carri e d o n a consid e rabl e tr ade in r epr o

o h i wo O ne ou d e e s h ad ac ua be e ductions f s . rks w l xp ct, if thi t lly n ’ th e ca e a Ma ca on o en av n o u a e mo e co e t s , th t r nt i s gr i gs w ld h v r nsist n ly ’ e oduce Ra h ae f e c u e or e co e as in th e a e o f r pr d p l s inish d pi t r s fr s s, c s

Rub en and th e e a e wh o o e un e mme i a e ec o s ngr v rs w rk d d r h is i d t dir ti n .

B ut w t M a can o n o a t a ne ve th e ca e u a f ew i h r t i this is pr c ic lly r s . J st of n co e o d a c o e th e fi n e com o o h is pri ts rr sp n f irly l s ly with ish d p siti ns , e h alatea xxx h th e a n th e Fa e na h . t e G t e g. ( ) wit p i ting in rn si , but maj o rity o f th e pl ates which are re l ate d to fr esco es in th e V ati can and to o e a n n Ra ae eem to av e ee a e n om th r p i ti gs by ph l , s h b n t k fr

e h e o ne b th e ma e th e co e o f wo T h e fi ed sk tc s d y st r i n urs h is rk . nish c ompositions ge ne rally sh o w an advance in th e de v e lopme nt o r c once ntrati on of th e d esign bey ond th e state in whi c h it is r e nd e r e d

M a ca o n by r nt io . This co nsiderati on h as led to so me d o ubts be ing cast o n t h e G REAT E N G R AVE RS

t ma e a o a Ra ae and Ma a o o as ela e by a a in i t ss ci tion of ph l rc nt ni r t d V s ri .

But a a o e fi t ea o f th e e v e and e en in a e o f V s ri wr t with in f y y rs nt, v f c

a riori a e a o a ea e . B e e p p rob biliti s his tr diti n should c rry gr t w ight sid s,

a e o e o e e o was o a c Ra ae in p ri d wh n cl s r producti n nly in its inf n y, ph l migh t q uite well h av e p re fe rred to l eav e M arcantonio th e l i be rty

fi e b en u as an e av e me e n h im justi d y his g i s ngr r, r ly sup plyi g with d a n to e v e o own wa r wi gs d l p in h is y .

I n an a e e e h e e ma e e in y c s , wh th r work d in this nn r d ir ctly ’ Ra ae e v ce h e mu o me o w av e o b a e ma o f ph l s s r i or not, st s h h t in d ny ’ th e ma e e a a u e f or a and e a o a e em st r s pr p r tory st di s h is p intings, l b r t d th

a e of v e o with s tting h is own in nti n . Th e re are v e ry f ew exampl es in wh i ch th e o rigin al d rawings use d b t h e e av e can b e a e two of th e mo e a n e one f or y ngr r tr c d , st c rt i b ing t h e Lamentation B th e A mo ea M e m O o and ( . 37) in sh l n us u , xf rd , an o th e r f or th e M assacre qf th e 1nnocentr (xx11 and X X I I I ) in th e

B M e m W e av e as f ar as o e n a e e ea th e ritish us u . h , p ssi bl , i dic t d b n th

a e th e e th e e a b ut m a e a pl t s sourc s of ngr vings, i n ost inst nc s i t is only

e a o to a fi e om o o a can b e v e e e r l ti n nish d c p siti n th t gi n , whil in oth rs th e r e l ati o n to p ainting and e v e n p ainter must b e l e ft e ntirely u efi ned nd . ’ In most o f M arcan tonio s w o rk d on e at R ome (wh e r e h e li v ed

o m 1 1 0 Ra ae mu b e e a e as th e e e fr 5 until ph l st r g rd d chi f inspi r r, th ough B aldassare P eruz z i may h av e suppli ed th e original d esigns f o r

' t h Tr ium h a Scz io a te a a th e L v e e at e a . t e . oth r pl s ( g p f p , f r dr wing in ou r )

I n th e ea e a e at B o a e e h e was a rli r p rt of his lif ol gn , wh r born bout

1 80 h e m av e e o e or a a ed m 4 , ust h r pr duc d d pt co positions by his ma e th e o m - a e F a e F a a see I th e st r, g lds ith p int r r nc sco r nci ( ), but

ma o a e ma e ma b e own o a j rity of his pl t s in this nn r y h is rigin l work .

He a av e e as a e o - e a e e F a c a and is s id to h work d ni ll ngr v r und r r n i , th e closely h atc h e d sh ading which ch aracte rise s th e B ologn ese ni elli may ac count for th e p ec uli arly dark styl e of his e ngrav ings of th is

e o p ri d . T h e study of D il re r was undo ubtedly th e c hi e f i nfluence in

a ea e c ee at e th e ea o cl rifying his lin l styl , whi h is s n its b st in rly w rks 6 M A RCA NTON I O

o f Roman e od in ate u as th e Poetr FRONT ISPI ECE and his p ri , pl s s ch y ( ) , t h e D eath o L ucretia x xx t t e e ec o of ne and a f ( ) , wi h h ir p rf ti n li lluring

ne of to ne mell o w ss . Late r h e b ecame mo r e rugge d and summary in h is mod e of ex T h e e on a o e and mo e o e em o f ne o . pr ssi , using str ng r r p n syst li w rk f d e v elo pme nt of his styl e may b e e x e mplifi e d in t h e two v ersi ons o

mented th e M assacr e of the I nnocents (xxu and X X I I I ) and t h e Ch rist la

I t h e au i b e eo t a b his 'Moth er X X V and xx v Le. y ( ), if pl s l th ry h t M arcanto ni o repeated h imself in a pop ular subj ec t at a l ate r d ate be c o ec rr t ,

How c o e h e was a o a ed b th e e t o u l s ly ppr ch y b s w rk of h is p pils,

M a o de Rav e a and A o o e ne z a o o b ome of t h e rc nn g stin V i n , is sh wn y s

l f k v n Ba tc was e in a i n e i e x amp e s o th e i r wo r h ere gi e . r h wis cl ss g th r ’ l ate w t th e ma e one ca a o e f or in ma ca e th e p s i h st r s i n t l gu , ny s s in

n ta n absence o f signatur e th e auth o rship re mai s quite un ce r i . ’ F rom wh at W e h av e said of M arcanto nio s metho d o f h andli ng ’ Ra ae e n il b e ee a h e was me e o n th e t e o ph l s d sig s, it w l s n th t r ly hr sh ld of e oduc e en a i n Fo r th e b e t e a o f th e te ent r pr tiv gr v g , t r p rt six h cent ury most of t h e I tali an e ngrav e rs pro bably used th e same li be rty in e e n h ei o i i a and a c oo of e o e e a int rpr ti g t r r g n ls , s h l r pr ductiv ngr ving,

t ct so ca l e co nc de t th e ad e a o f F e m n c s ri ly l d , i i s wi h v nt in It ly l i gs, su h

Co ne Co and w t h e o n nfluen e o f e a acc i as C . r lis rt, ith gr wi g i c th rr

B esides th e li ne- engrav ers worki ng mo re or l ess und e r th e i nflu ence

o f M a ca o o of o m G o o G o f M an t a was o ne th e r nt ni , wh i rgi hisi , u , of

mo t ndi dua w e a e e e am e of th e o i a e h n of s i vi l , h v giv n x pl s rig n l tc i gs

two amo u a nte Pa m i a o and M eldolla f s p i rs, r ig n . P armigi ano is o ne o f t he earli est of th e Italian p ai nt e rs to make a

e ul a a i c e o f e ch H l b tten l a e a l r g r pr ct t ing . is light y i p t s h v e al th e

c a ac e c of w and flo w n en d a w t too tt e h r t risti s h is s ift i g p r wings , i h li l

e m a to b e c i e as e tc Ne v e e . e S e o f ph sis for bl hings rth l ss, in pit th e ir

man e m e a a e c a m and n ume o n ris , h is prints poss ss gr c ful h r , found r us

m tato i i rs .

M eldolla wh o b e e e th e ame o f A d , is tt r known und r n n r ea G RE AT E N G R AVE RS

Sc hi avo ne f o r h is li ttle oblo ng pane l - pai ntings o f landscape and m e v e m e ma e e d a P a m ano and e ec e ythology, is n or nn r th n r igi , l ss s ur as a a ma He was o ne of th e fi e av e to o w h dr ughts n . rst ngr rs w rk it

h - t e o a o e l i e e n th e me R em a . dry p int, p r c ss ttl us d u til ti of br ndt

H b e are e c ed a a c and e u a e o me a is su j cts t h in scr t h y i rr g l r styl , s wh t

e fi e t h e e a u a e o f a e c a o h as int nsi d by irr gul r s rf c h is pl t s, whi h tr diti n de c b e as o f e w e B ut w all e a t e e a ouc s ri d p t r . ith th ir f ul s, th r is t h of fi e and a e e o f mo o in i u e and n c e e r s ns ti n h s pict r s p ri ts, whi h r nd r

h em e a a a v e t p culi rly ttr cti . BOOKS OF R E FE R ENCE

e UM B E RLAN D eo e ome necdo tes of th e ife of uli o Bonason , C , G rg . S A L j

ondon 1 f oll owed by a catal ogue o f h is engravi ngs . L 7 93

— - 81 A SC i V l s XI V X . Vi enna 1 RT H dam. Le e nt e ra e u . o . , B , A P r g v r VI 3 1 8 1 8

- Vol I e z 1 86 . i . i i ASSAVAN T e n re ra e u . V L e t . P , J . D . P g v r L p g 4

LAN l Works o f a h ael ant i as re resented in th e o al U D a . Th e R , C r R p S p R y

i Wi i l ri nted 1 8 6 L brary at ndsor (pr vate y p ) . 7

I ANN l h i t v n arc ant ni o Jaf rhurh def k '. Preuss. PPM E in o z sc n t o o . L , F . H M g mm/un n l 2 0 Kunstsa e . g , 7

i i aim ndi ari s 1 8 D ELAB OR DE e nr a canton o o . 8 , H . M r R P 7

’ ISC L k h l s Z e i ch nun en trassb ur 1 8 8 Dr i sch el E a . H s a . a e . F , O r R p g S g 9 ( F ’ is pre pari ng a new comple te c atalogue o f Raph ael s drawi ngs wh i ch is ’ certai n to th row more ligh t o n th ei r rel ati on to M arcantoni o s p ri nts)

M n a KR ST L E R aul . arcanto s ez i e h un en z aff el ahrhurh def I EL u . , P B g R J

h l ems Kanstsamm/un en XXV 1 Pr . g . g , III 99

dne o n a o f IN Ed. i i l i l l li D . . . ta ue o th e ar t a an H , A M S r S y C v C g E y I

n ra i n s in th e ri ti sh use um o ndon 1 10 i ncl udes aco o E g v g B M . L 9 ( J p Franc i a)

L I ST OF PLATE S

= Th e b i i i li h assa an . a b e at ons used in h s st B a tsc . r v t . B r P P v t

Maxcanr o mo RAI M ONDI

oetr 82 A ter a lost drawin b Ra hael r the resco in the P y . B . 3 . f g y p fi f

Camera del/a Se natura n the Vatican rontis iece g i . F p

T h e a ti s h i s r a tu b rancesco Francia m of t 1 . 2 2 . A te s d B p C r . . B f y y F

or the icture at Ham ton ourt there is a ra ment in the L iz i f p p C ( f g lfi ,

which may be part of the original drawing)

ll e or th e se en s ki n 6 t ea to a o un man 11. A g y ( rp p g y g ) . B . 39

ollo and th e aces 8 m . . Ap Gr . B 39

St . eo r d th ra e an e xv. 8 G g D go n. 9

amus and h i s 2 be . 2 Pyr T . v B . 3

h r e us v1. 1 O p . B . 3 4,

V enus 11 1 1 2 . . B . 3

Woman wate i n a lan v t u r . 8 r g p . . B 3 3

Venus and u id l x 1 . C p . . B . 3 3

h ildren l a i n . 11 2 0 C p y g . B . 3

o t ai t of illi i Ph iIOth eo c . X' . 6 P r r A h n B . 4 9

M an aslee b a w xu . . 8 p y ood. B 43

' ’ ll e ori cal sub ec t c all a h ael s eam xm ed . . . . Th A g j , R p Dr B 35 9 e

’ r n u o n h n t fi gu es based on some Giorgr o esg e rigi al ; t ef a tas ic and grotesgue

motives reminiscent of Jerome B osch

S t . e rome 1 1 0 2 Th landsca e su ested b om . . . e s e Venetian J x v B . p gg y original

I I G R E AT E NG R A VE RS

M A RCAN T O N I O RAI M-O N D I (continued)

Th e Bath e s l 8 . B as d on etai s r . xv . B . 4 7 e d

cartoon o th t e o sa Th l n s a rom Lucas nan f e Ba tl f Pi . e a d c pe f

’ Leyden s M ahomet and the Monh Sergius

dam and Eve 1 1 A . xv . B .

h eus and ur di c v e x n . . 2 Orp E y . B 95

T h a e e th o f i d v . x nr. . 1 D D o . B 87

Th e eat h o f i ucre t a XI X . 1 2 . D L . B . 9

acc h us residi n h i at t e V nta e . . 0 6 B p g g xx . B 3

G od a eari n h er som tud b Ra hael r to oa XXI . . A t e s o pp g N . . B 3 f y y p f

the ceiling of the Stanz a of Heliodorus in th e Vatican

t 10111 . . 1 8. irs Th e M assacre o f th e I nno cents (wi th th e fir tree) . B F

t i Probabl sta e be re the si nature which is here added n en and inh . , fi g ( p ) y

based on a drawing by Raphael in the B ritish Museum

h assa re o f h e nn c s 1 2 A second vers on o the 11 . . 0 . i T e M c t I o ent . xx B f

sub ect ossib a later re etition b Marcantonio himse j , p ly p y h

h ri st l amented b h is o th er xxw. . C y M . B 34

A s cond v rsion c th h ri s l m t b h is h er . e e e C t a en ed y M o t . xxv B . 35 . f

sub ect ossibl a later re etition b M arcantonio himsel j , p y p y f

S A stud b Ra hael r the icture in t ec ili a i . . 1 16 . ter a o . C . xxv B f y y p f p

B ologna

ss s xxvn 2 B as d on me r w n b Ra ha l r the a na u . . . e so d a i e P r . B 47 g y p fi f m c n the Vat can Ro e. res o i i ,

A r draw n b Ra hael d ri s 111 2 . t a i T h e u me nt o f a . . . e j g P xxv B 45 f g y p ,

as d on the anti ue Com are relie ' in the Uilla M edici and Villa b e o . p f ,

Parn hil Rome p j,

1 2 M A R CA NTONI O

M ARCANTON-I O RAI M ON DI ( continued)

i i as on a drawin b Ra hael or u te and u d. xxrx 2 . B ed J p r C p . B . 34 g y p f

the ' esco in th Farnesina Rome fi e ,

l a ea e t aintin b Ra hael in the arnesina a t . . . 0 . A t r he G xxx B 35 f p g y p F ,

m r ba n m tud r it Ro e o sed o so e s o . , y f

t en th . m 1 . S r g . B 37 5

’ V A r a stud r Ra hael s Th e i r i a d h ild. xxxn . 2 n n . c o g C B . 5 fi y f p lll adonna di F oligno

' h n th s a and h i st in l or wi th th e V i r i n S t . o li l e an e t St . u C r g y , g , j Ev g , P

St ath eri ne xxxm . 1 1 . C . B . 3

h ildren da i v 2 1 nc n . xxxr . C g . B 7

ll e ri cal ub c th e man wi th h e do ubl e t u m . o s e t t et x . 6 A g j ( r p ) xx v B . 35

ll s rati n to Amadeo Berr ti s i al o ue i dsh i o m u t o u on en e 1 1 . I D g Fr p, R 5 7 xxxv i

Th e oun moth e and two men xxxvn 2 y g r . . B . 4 3

Th e h ee octo s xxxvm 0 T r D r . . B . 4 4

W omen su o rti n an urn desi n f o r sc ul t u b onz e e or xxxut . pp g ( g p r r ) .

B . 489

‘

h h r es . B ase n t an i u XL d o he t e. Com ar c l T e T ree G ac . q p e th e s up ture in

he Vatican larac l 6 2 No t C . . , , p 3 ,

a h sk 0 A r auns c r i n a c ild in a b a e t . . 2 t F r y g B 3 . f e a relief on a

ha us in the Na les M useum re roduced sarco E . G erhard p g p ( p , , Antihe

ildw rhe cxr B e , )

mr 1 ai f i e t reti no . x P ortr t o P ro A . B . 5 3

u osed o t a t f a h ael . xu n 6 S pp p r r i o R p . B . 49 G R EAT E N G R AVE RS

N ON ' O U S ' S no o r M aRCANT Nio A M c or. O

The Vi r i n ea n to th e h il x v arco da c d. u 8 Possib b M g r di g . B . 4 . ly y

Ravenna. B ased on a drawin attributed to Ra hael in Chatsworth g, p ,

n nd h e V s on o f h r s St . el e a a i i t t e o s. XLV 60 H C . B . 4

J ACO PO FR- ANCIA

uc eti a. XLVI . . First state b isre the clouds were added L r B . 4 , ef upp er corners

i endan s 1.v 6 6 acch us and h s a t . x n . . . B t t B xv 4 , 7

MA RC O D EN T E DA RAV ENNA

l us and a es v m . 1 . B ased on an anti ue relie in the E nte l D r . . B 9 5 y f

‘ Rom Benndor and Schone Lei z i 1 86 No 1 Lateran e . , ( f , p g 7 , 3)

‘

o n xu x. . A er the scul ture in the Uatican Laoco . B 35 3 fl p

’ Ac o sr mo (Venrz tano) D E M0 31

l W men oin o th e e l h L e e o o t u c e . . . Th e Th r H y .g g S p r B 33

i o ar a ssa 20 Por tra t f B b ro . B . 5

i andi nelli and h is u ils in h i studi o . 1 8 B acc o B p p s . B 4

E N EA V i co

i i ll il s i h is studi o B acc o B and ne i and h is pup n . B . 49

IC LAS i ni l a a ca rintseller. rv. B EAT RI Z T o tra of nto o a m n L . 6 N O E . P r t A S , p B

q o Bo nasoms

i i l l nd scr bed arl tat W . U e i e s e t a t o f ch e an e o . . . P o r r M g B 345 , y

i o f a h ael Lv1 . P o rtra t R p . . B 347 M A R C A NTONI O jacoPo CA RAG LI O

G ruacl o G nrsl

v r ne L m . . F o tu . B 34

8 an e i s L x. h ree m ses d a n u . . T u g 1 B 3 .

Pr maticcio once in Fantai-neb/eau i ,

F RANCESCO M az z uou (Pa amro u xo)

h e Vi r i n a h il d LX . . T g nd C . B 4

B h e h erd o LXI . 1 2 S p y . B . W a h a s m m. om n seated o n th e gro und (St . T i

B T e nto mb me t . x1 11 . h E n L . 5

A s p am Se mavo xs (M E LD OL L A)

a d h urn i n ush L . i . Moses n t e B g B . x v B 3

' ‘ ANO N ' M OU S E TCH-ER A FT E R T 1Nr ort 151 r o

i f h e s ua-le i o na C v . 10 ortra t o t e Do a e . . P g P q g B xv, 5 ,

h e ortrai t o f a can oni t 8 o f th e te xt wo odc T p M r t o a p . a ut

Cri stofano C ori'o l ano (after a design b y Vasari or an ar tis t of h is scho ol)

’ in th e seco nd edi ti on of Vasari s Liv es

- Fr ez e f ch n s f r Th e tail pi ece at p . 9 ( i o ildre ) i a ter an e ng avi ng by th e

' nede t V -r 6 ter o f th e Die e t o e i ni E . M as . (B ) , B 3

T h e de corati e i ece at 1 0 Uni co n is an ano n mo us en r i v p p . ( r ) y g av ng of

l o f Marcantoni o th e S ch oo .

I S . . B 2 2 I . MARCANTONIO RAIMONDI THE BAPTISM OF CHRIST . Af ter a study by Francesco Franci a f or th e pi cture at Hamp ton Court (th ere is a f ragment in t h e Ufliz i wh i ch b e p art o f th e o rigi nal — ab 80 i i n n a e b . . 1 l draw n e e d. 1 0 w at o o na g) . L gr v r ; 4 ; 53 ; . B g , Veni ce and ome , R

L ‘ 11. . ' MARCANTONIO RAIMONDI AL EGOR . THE B 6 SPEAKI NG TO A . 39

R . I II . MARCANTONIO AIMONDI APOLLO AND

B .

V T . T S . R E I . MARCAN ONIO RAIMONDI GEO G 8 B . D RAGON . 9

’

. P' U V . MARCANTONIO RAIMOND I RAM S THISBE .

RAIMONDI .

I VII . MARCANTONIO RA MONDI .

V MARCANT N M I . I I O IO RAI OND I . A 8 B . 3 3

X . AN E U D . I MARCANTONIO RAIMONDI . V N S CUPID

H R MARCANTONIO RAIMONDI . C ILD EN

XI . MARCANTONIO RAIMONDI . PORTRAIT OF

ACHILLINI . B .

I MARCANTONIO RAIMOND . 438

XIII . MARCANTONIO RAIMONDI . ALLEGORICAL ’ ' CALLED RAPHAEL S DREAM . B . 359 Th e fi u es b ased on some G io r iones ue o ri inal Th e f an a ic g r g q g . t st and grotesque motives remi ni scent of Jerome Bosch

M T T S . . XIV ARCAN ONIO RAIMONDI . B Th e l andscap e suggested by some Venet ian origni al

X 8 V MARCANTONIO RAIMONDI . THE BATHERS . B . 4 7 ’ B ased on details in Mi ch elangelo s lost cartoon o f th e Battle 0/ ’ Th e l andscape is copied f rom Lucas van L eyden s Mahomet and Al on/e Sergius

RAIMONDI .

HE MARCANTONIO RAIMONDI . ORP US

B .

XV I . III . MARCANTONIO RAIMONDI . D DO

RAIMONDI

MARCANTONIO RAIMONDI . BACCHUS B 06 VINTAGE . . 3

M R D PPE XXI . ARCANTONIO AIMON I . GOD A ARING TO

B . 3 Af ter some study by Raph ael ceiling of th e Stanz a of Hel'iodorus in th e Vati can

R MARCANTONIO AIMONDI .

I NN T . 1 8 OCEN S B . i st state b ef o e th e si na u e whi ch is h e e added in F r , r g t r ( r Prob ably b ased a drawi ng Raph ael Bri ti sh M useum

R I I I R . M XX . MARCANTONIO AIMONDI ASSAC E

INNOCENTS . A second ersio n sub ec oss bl a la e v j t , p i y t r ‘ M arcantonio h imself

RAIMONDI . MOTHER=

MARCANTONIO RAIMONDI . CHRIST LAMENTED

HIS MOTHER . B . 35 nd ve sion of th e b ec l a a e e e o b a c A seco r su j t, possib y l t r r p titi n y M r antonio himself

M . V . . 1 1 XX I ARCANTONIO RAIMONDI CECILIA B . 6 f te a s ud a ael th e ictu e in olo na A r t y R ph p r B g .

V . XX II . MARCANTONIO RAIMONDI B ased o n some drawi ng by Raph ael f or Rome

A A XX MARC NTON . TH UDGMENT VIII . IO R IMONDI E j 2 PARIS . B . 45 Af ter a drawing by Raph ael based on th e antique (com-p are reli ef s in th e Villa edi ci and Pam hil ome M , p j, R )

MARCANTONIO JUPITER

' ased on a d awi n b a h ael f or th e f esco in th e F- arnesina B r g y R p r ,

A . 0 MARCANTONI O R IMONDI B . 35 f te th e ai nti n b a h ael in th e a nesi na o r b ased A r p g y R p F r , some stud f or it h i s en ra i n sh ows f ewe a i a i y . T g v g r v r t ons f rom ’ Raph ael s fi ni sh ed composi t ion th an almost any oth er Marcantoni o p ri nt connected wi th th e subject of a Raph ael pi cture

A R IMONDI .

RAIMONDI . VIRGIN

' W XXXIII . MARCANTONIO RAIMONDI . CHRIST IN GLOR ITH

. U V . oHN TH N THE IRGIN , ST j E EVA GELIST, ST PA L 1 1 AND ST . CATHERINE . B . 3

MARCANTONIO RAIMONDI . CHILDREN 2 1 B . 7

MARCANTONIO RAIMOND I . ALLEGORICAL AN W M M . 6 (THE ITH THE DOUBLE TRU PET) . B 3

MARCANTONIO RAIMONDI . Ill ustration Amade o Di alogue on 15 17

v O HE xxx n . T ' . MARCANTONIO RAIM NDI OUNG N B 2 AND TWO ME . . 43 X XV H X . . II I MARCANTONIO RAIMONDI T E THREE DOCTORS. 0 B . 4 4

MARCANTONIO RAIMONDI . es bron e (D ign z . ) B .

H ’ E . RAIMONDI . T R E GRACES B ased o n th e anti ue om a e c l u e i larac B q . C p r s u p t r n (C , 6 2 1 2 3 , 4 7)

MARCANTONIO RAIMONDI . CHILD

A BAS KET . f a eli ef sa co a th e a le Museum e o uced A t er r r ph gus N p s (r pr d , e h a d n ike ildwe ke G r r , A t B r ,

X R F P E R LI I . MARCANTONIO RAIMONDI . PORT AIT O I T O

R . 1 A ETINO B . 5 3 Vasari ref ers to th i s pl at e as a p ortrai t by M arcantonio f rom lif e et no th e oto i ous b l ac kmaile and li tt' a eu was i me (Ar i , n r r r t r, n Ro ab out Ap art f rom th i s tr aditio n o ne migh t b e more inclined i as as n Ve i an ai nt i n to regard t b ed o some net p g.

I T N . P OS PO R I XL II .. MARCAN ONIO RAIMO DI SU P ED RT A T

RAPHAEL .

XLIV ANON'MOUS SCHOOL OF MARCANTONIO RAIMONDI (MARCO DA RAVENNA THE VIRGIN READING TO 8 THE CHILD . B . 4 ased on a d awi n a i ed to a ael in a s B r g ttr but R p h , Ch t worth

X ' ' R . LV . ANON MOUS SCHOOL OF MARCANTONIO AIMONDI V 60 ST . HELENA AND THE ISION OF THE CROSS . B . 4 h e desi n is nea in st l e to a mi i a o i of h e ame T g r y P r g n . A p cture t s subject by Paul Veronese in th e N ational Gallery may h ave taken its suggestion f rom th i s print

X F V . ACOPO . . L I j RANCIA LUCRETIA B . 4 i s s a e ef o e th e clouds e e added the u e c e F r t t t , b r w r in pp r orn rs .

- i ne e ave . 1 8 d. 1 at olo na L ngr r ; b 4 7 ; 557 ; w. B g

' BACCHUS 6 B . 46, 7

R DEN D R E T RES TF. A E . E . XLVIII . MA CO AV NNA N LLUS DA 1 B . 95 a ed on an a e el ef i th e a e a ome e o f and B s ntiqu r i n L t r n, R (B nnd r ' o e e i c z 186 . S h n , L ip g, 7, No

i e- e ave d 1 2 at R me e th e imme a e L n ngr r ; . 5 7 ; w . o , und r di t i nfluence of Marcantonio

' . V N . DENTE RA EN A LAOCOON . sculp ture

’

V Z . H L . AGOSTINO ( ENE IANO) DE MUSI THE T REE HOL'

WOMEN GOING TO THE SEPULCHRE . B . 33 — i n - n r w ab 1 1 1 6 at Veni ce and un i i e e a e . . de th L g v r ; 5 4 5 3 , , r e mmed ate i nfluence o f Marcantoni o at Rome

V AGOSTINO ( ENEZ IANO) MUSI . PORTRAIT 2 0 ROSSA . B . 5

AGUSTIN' BACCIO BANDINELLI

V ICO . BACCIO BANDINELLI

STUDIO . B .

n - n — m i e e a e w ab . 1 1 1 6 at a a L gr v r ; . 54 5 7, P r

LI V BE A O NICOLAS ATRI Z ET . PORTRAIT NT NIO PRI NTSELLER 6 MANCA , .

‘ i ne- en av b 1 d ab 1 60 at u eville and ome e 1 . . L gr r . 5 5 5 L n R

BONASONE e rl ate a y st .

i ne- en a e ab 1 1— 1 L gr v r . 53 574,

LVI . GIULIO

V ' L II . JACOPO CARAGLIO . ANNUNCIATION 3 Af ter a lost pi cture

i ne- en meda t e b . 1 00 d 1 6 lli s b . a L grav r, ; 5 ; . 5 5 Ve ona ome nd acow r , R , a Cr

H . F . . LVIII . GIORGIO G ISI ORTUNE B 34

- 1 82 an in ave b . 2 0 a e d. 1 w t ua L engr r ; 5 ; 5 ; . M t

R X . LI . GIORGIO GHISI TH EE MUSES AND A GENIUS , CEILING PAINTING B' PRIMATICCIO ONCE 8 IN FONTAINEBLEAU . B . 3