. Prints; a brief review of their technique and history . ^ oH o !^ o r 1=^ SI. ?-^.jaiL).:..! CHRIST BETWEEN TWO SAINTSAndrea Mautegna THE EARLY DAYS OF ENGRAVING nature and antiquity the forms of artisticexpression. At his hands the world is in-vested with a grandeur seldom achieved,inspiring to his contemporaries, helpful andstimulating to young Dlirer in his strivingstoward greater breadth, simplicity, and unityof composition. In Mantegnas Christ be-tween two Saints, we find the same scantmeans of graver-work which he employed inall his austere compositions: a well-definedoutline, even, wi
. Prints; a brief review of their technique and history . ^ oH o !^ o r 1=^ SI. ?-^.jaiL).:..! CHRIST BETWEEN TWO SAINTSAndrea Mautegna THE EARLY DAYS OF ENGRAVING nature and antiquity the forms of artisticexpression. At his hands the world is in-vested with a grandeur seldom achieved,inspiring to his contemporaries, helpful andstimulating to young Dlirer in his strivingstoward greater breadth, simplicity, and unityof composition. In Mantegnas Christ be-tween two Saints, we find the same scantmeans of graver-work which he employed inall his austere compositions: a well-definedoutline, even, without swelling, softening ac-cents, simple shading, generally in a uniformdiagonal direction; nowhere an attempt attexture, or differentiation of color. The sub-jects are all treated as though they were cutin high relief on slabs of stone, without vari-ation of surface or suggestion of influence mitigates the ruggednessof Mantegnas gaunt, imposing John theBaptist, by means of the unusual, soft,stippling technique adopted by Giulio Cam-pagnola, which gives
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