File:A short history of engraving (and) etching - for the use of collectors and students; with full bibliography, classified list and index of engravers (1908) (14760210176).jpg

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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but witha softness of tone which seems to indicate the use of the dry-point. Another small group of engravings,^ which has been generallyassigned to the Milanese school, seems to be nearer in style of ^ In the will of Aldo Manuzio (Jan. 1515), who charges his executor to get certaincursive type cut by G. C. (see A. Baschet, Aldo M., Lettres et Documents, Venice,1867, p. 47). Another famous artist of the period, who is known to have cut typefor Aldo, is Francesco Francia (see A. Panizzi, Chi era Francesco da Bologna?London, 1858 and 1873). Martino worked in Ferrara at various times betvveen 1504 and 1512, but thereis no evidence of a transformation of style sufficient to support the hypothesis. ^ For the attribution to Cesare da Sesto, see Passavant, Deutsches Kunstbl. i. 364. GIULIO AND DOMENICO CAMPAGNOLA 67 composition to the school of Campagnola, and in technical manner Master of thefinds its closest analogy in Marcello Fogolino. The AUes:ory ivith ^^heading of ^ John the Baptist.
Text Appearing After Image:
Fig. 27.—Domenico Campagnola. Young Shepherd and aged Warrior. a Nude and various Animals (attributed by Bartsch to Duvet), theBeheading of John t/ie Baptist, and studies of a Stag and a Doe(P. G. Campagnola 16 and 17) form the group in question.The fact that the Allegory is based on a drawing by Leonardo (in the 68 THE EARLIEST ENGRAVERS Louvre) seems to be the only real connexion with Milan, while theclose analogies, both in technical manner and in the landscapebackground to Fogolino, the suggestion of Giorgione in the Behead-ing of John the Baptist, and of Campagnola in the two animalstudies, seem greatly to favour the assumption that the artistbelonged to one of the provinces in the north-eastern corner ofItaly.3omenico The work of DoMENico Campagnola may be mentioned here, :ampagiiola. though, like several of the engravers just referred to, it falls whollywithin the sixteenth century. None of his engravings are datedexcept in the years 1517-18, but there seems little reason to

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