A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . rancesco ^ See G. A. Moschini, Pittura in Padova, 1826 (pp. 61, 70, and 76). ^ J. Morellis Anonimo refers to paintings in the Palazzo Cornaro, Padua, asby Domenico Veneziano allevato da Julio Campagnola, and there seems good reasonto regard this artist as (Ed. Frizzoni, 1884, p. 22). ^ Several similar designs are found in the cuts in the 1497 Venice edition of theMetaviorphases, and it seems probable that Montagna rather than the wood-cutter
A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . rancesco ^ See G. A. Moschini, Pittura in Padova, 1826 (pp. 61, 70, and 76). ^ J. Morellis Anonimo refers to paintings in the Palazzo Cornaro, Padua, asby Domenico Veneziano allevato da Julio Campagnola, and there seems good reasonto regard this artist as (Ed. Frizzoni, 1884, p. 22). ^ Several similar designs are found in the cuts in the 1497 Venice edition of theMetaviorphases, and it seems probable that Montagna rather than the wood-cutterwas the plagiarist. 4 gg^ pp ^^^ ^^_ BenedettoViontagna, Francia andihe School ofBologna. THE SCHOOL OF FRANCIA 69 Raibolini (Francia). Besides two niello plates in the Bolognagallery, a few prints from nielli, the Profile Head {of a Bentivoglio ?)Duch. 350 (Brit. Mus.), can certainly be attributed to the master,but it is more than doubtful whether we know any real engravingsby his hand.^ Among the many anonymous nielli and niello-like prints which ? (Peregrinocome from his school, there is a group by an engraver who generally ^^ Cesena?). Fig. 28.—Benedetto Montagna. The Shepherd. uses the signature P, less frequently (^ or O^DC. A print of theResurrection (Duchesne 122) is inscribed Opus Feregrini de Ces,^but comparison with indubitably genuine works by the master 1 Cf. below, Marcantonio, p. 92. Impressions with this inscription in the British Museum, Berlin, and Paris (). An impression in the collection of Baron Edmond de Rothschild signed OpysPe7-egritio is described by Dutuit as an earlier state. The same composition isseen in a silver plate in the British Museum, which is a far more egregious modernforgery. 70 THE EARLIEST ENGRAVERS ( the Sforj of Abraham, D. 9-14, Mars and Venus, D. 220,Orpheus, D. 255, and Mucins Scaevola, D. 263) inclines me to re-gard the work as an eighteenth or early nineteenth century fabrica-tion, while admitting that the insc
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