46 
Bagraving. " The’ of Mare Antonio forms the tiost bril- 
——— fiant Wh the history of Ttlian ire,” He? was'borh 
pee 0 Vabout the year 1488, and there commencetl 
- his ‘as under the tuition of Raibolini, 
nacaia, St artist of Considerable celebrity at that time: Tn these é' 
— to have made . Teis not 
under whom he learnt Pits gry rte i ‘is 
probable that it was from some one of the goldsmiths 
of that ‘day: His first’ are the heroes, 
and his Pyramus and’ Thisbe, 4 1502, taken froth 
the designs of Raibolini, ~ 
Being desirous of i 
he ra: to Venite, where a thet 
Germun’ engravers, particu a set of wood cuts 
Albert Durer, the life and ion’ of 
Christ.” These he copied with such accuracy on co 
per, that they were | sold for the originals ; whic 
coming to the knowledge of Albert, he came to Venice, 
and instituted a prosecution against him for the piracy 
before the senate.’ 
The excellence of Roman di , which, by the 
nius of Michael Ange elo and i aided by the ° 
interment of the'the d' ewires of ancient ed and the 
magnificence of the Medici, had now reached its acmé, 
attracted Mart Antonio to Rome, where his merit soon 
recommended him to the notice and friendship of Raf- 
faelle, who em him to engrave from his d 
under his own eye, and is ‘said “hough without suffi- 
cient evidences) ¢ to have assisted correcting the 
outlines ‘on his’ plates. The first plate whtich he exe- 
cuted from the of Raffaelle, was Lucretia stab- 
bing herself ; and in it he seems to have exerted’ all his 
abilities to make it neat antl delicate : tg after, 
the plate of the 7 t of Paris ; a work possessed 
of cdacti more spirit and Poder His engravings af- 
ter Raffaelle are very numerous, and are all marked 
with that correctness of scientific delineation, and beau- 
ty of character in his heads, which distinguish his 
works, and which placé him, in this respect, in the 
est rank of engravers of any age or nation. 
himself by travelli 
saw the works of the 
The style of Mare Antonio, however, possesses none — 
of the-blandishments of smooth delicate execution, to 
which his German contemporaries had attained in so 
eminent a degree, His manner is dry and unattractive, 
without any tittle at banaue of local 
Tighe” or oscuro, or reflected 
Among the many young Italian artists whom the re- 
putation of Mare Antonio had attracted to Rome, for 
the sake of his instruction, the following may be na- 
med; Agostino de Musis, Mare da Ravenna, Giuglio 
Bonasoni, Nicolo Beatrici, and Enea Vico. His school 
was likewise frequented by several artists from Germa- 
ny, such as olomew Beham, George Penz, James 
Binck, and many others. 
Mare rete d during the lifetime of Raffnelle, de- 
voted himself'almost exclusively to hich ‘ap the works 
of that master; but on his death, which happened in 
1520, he executed several plates from the’: Loess of 
Giuglio Romano, and amongst others a set of lewd sub- 
jects, accompa ee amin tan pen of the 
Aretino. offended Pope ¢ Clement VIT. 
that he wat casino prison, from whence he was with 
released at the intercession of Cardinal 
io de Maciel and Baccio Bandinelli, the scul 
In to the latter of these, he engraved 
I rte the eer of thay ut) 
of 
St Laurence; in which, the drawing of the naked 
(which he corrected) is excellent, draperies are 
by pine 
ENGRAVING. 
oad Kept keg , 
well maintain ae e 
‘mentioned, ae walle By Gece 
under the name OP Mitt B his ‘siete “and 
their relations, Giovatini Battista and ‘Ais Ghisi ; 
though in none ‘of the ‘hi, er excellencies of the art 
has he’ ever ‘beet’ equallec 
of his suce 
o de Musis a few of his 
vie Te method which “has since ‘been ake 
of wetted tk Baltes 
A men of his method will be found 
works, in a small plate of an old man seated on a 
che garb earl e back : “in thi 
zeae 
a 
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Zz = bs 
af | 
ire 
it 
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: 
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il 
iF 
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oe 
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i 
ving’ engra ee 
the Dutch and Flemish painters, he went to Italy. 
first settled at Venice, where he resided in the ho 
of Titian, and engraved some of the finest works 4 
that great He afterwards established a : 
‘at Rome, where Ke exectited those admirable works af- 
ter e, and others of the Roman school, which 
are much sought after by the judicious collector. The 
‘plates of C. are wrought entirely with the graver, 
in a bold, open, and masterly manner, and 
more freedom of execution than had been eat be 
pti te hi reed eevetic 
8, is are 
with and t addvees el 
This ‘style was imitated by Henry Golzius, who 
introdu it into the Low Countries, and laid the 
pete tH the works of Bolswert, Pontius, and Vos- 
terman. This period, when the transcendent - 
ties of the Roman and Florentine schools of paintin 
were thus so successfully diffused by the ts 
Mare ogg and his seg successors, marks x4 
true era ie talian engra ; 
soon after this time, the oe pl ‘of ‘the art baba 
to develope themselves, for the charms of 
chiar’ oscuro, the delicate Hh ag umah flesh, and, 
to a certain extent, the beauties or haeal colour. Its 
professors relaxed their efforts in the 
and difficult paths of d 
and attractive e parsuits, Ww lepend on freed 
dexterity of execution ; but pa higher rare 
of the art have never been entirely lost si 
Italian school, and they have shone fo Airs 
splendour in our own re united wie oa ry 
which the experience of so many cen 
, as the works of Cunego and Vo’ ban 
tly testify , and still more, > of e Mor- 
i ghen, and lt of his pupils, 
The art of en and was likewise cul- 
tivated with mu sie by ost AG Aor eathe. 
ers. Titian etched many pes in a slight spi- 
3 
i, to coo thé more foe 
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