A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . that it was this magnificentprint which induced the great painter to acquire the co-operationof Marcantonio, which lasted till the death of the former in 1520. Of the drawings furnished by Raphael to his engraver very feware authenticated, but these are sufficient to show how much was leftto Marcantonio to elaborate and develop, and it is exactly in hiswonderful sympathy and power in adaptation that his chief strengthlies. A study for the Pieta (
A short history of engraving [and] etching : for the use of collectors and students; with full bibliography, classified list and index of engravers . that it was this magnificentprint which induced the great painter to acquire the co-operationof Marcantonio, which lasted till the death of the former in 1520. Of the drawings furnished by Raphael to his engraver very feware authenticated, but these are sufficient to show how much was leftto Marcantonio to elaborate and develop, and it is exactly in hiswonderful sympathy and power in adaptation that his chief strengthlies. A study for the Pieta (B. 37) in Oxford, and another for theMassacre of the Innocents (B. 18 and 20) in the British Museum(where the original chalk is possibly covered by work of anotherhand) are almost the only examples beyond dispute. 1 A copy of L. V. Leydens Pilgrims (B. 149) is also attributed to Marcantoniowith plausibility (B. XIV. 462). See O. Fischel, Raphaels Zeichiiungen, Strassburg, 1898 (Xos. 100 and 380). MARCANTONIO AND RAPHAEL 95 The prints of the first two or three years in Rome are, as agroup, perhaps the most charming of all Marcantonios work, the. Fig. 38.—Marcantonio Raimondi. The Death of Lucretia. Deatli of Dido (B. 187) and the Poetry (B. 382) (the latter after thefresco by Raphael in the Camera della Segnatura) being unsurpassed 96 THE GREAT MASTERS OE ENGRAVING for grace of design and delicacy of workmanship. Marcantonioscutting is now perfectly clean, and the tendency to exaggerateddepth of tone in the darker portions has quite disappeared. Wemay probably be right also in placing in this period the twoattractive portrait studies (B. 445 and 496) which, with the perpen-dicular shading and in the method of treating the figure, may havesuggested to Parmigiano the etching of St Thais (B. 12, Fig. 44).The second of the two studies is of great interest if tradition is rightin calling it a portrait of Raphael. The same subtlety of shading which has been remarked in theearliest w
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