. Engraving and etching : a handbook for the use of students and print collectors . ctation of breadth and fluency is coarse and un-pleasing to the eye (fig. 103). Andrea Meldolla, who maybe identified as Andrea Schiavone (1522—1582), Titianspupil and assistant, etched Parmigianinos designs in asoft and painter-like style. On the whole the VenetianSchool preserved its natural character longer thanParmigianino and other followers of Correggio. Fromthe Venetians who were working about the middle of thecentury, we may single out Battista dell Angelo Veronese,called del Moro, working at Venice abo
. Engraving and etching : a handbook for the use of students and print collectors . ctation of breadth and fluency is coarse and un-pleasing to the eye (fig. 103). Andrea Meldolla, who maybe identified as Andrea Schiavone (1522—1582), Titianspupil and assistant, etched Parmigianinos designs in asoft and painter-like style. On the whole the VenetianSchool preserved its natural character longer thanParmigianino and other followers of Correggio. Fromthe Venetians who were working about the middle of thecentury, we may single out Battista dell Angelo Veronese,called del Moro, working at Venice about 1540, and theengravers and etchers Giovanni Battista Fontana andGiulio Fontana. Federigo Barocci (born at Urbino 1528, worked mainly 226 FEDERIGO BAROCCI 227 at Rome, died 1602) surpassed every one of hisItalian contemporaries in the art of making his etchingscharming and effective. He produced, however, only asmall number of plates, and his example found at firstno followers among his fellow-countrymen. Baroccisetched Annunciation (fig. 104) rivals his best paintings r/r-y. Fig. 103. Francesco Parmigianino (Mazzuoli) : The Entombment (detail). in fineness of effect, and, in spite of a method of treatmentthat hardly wins our sympathy to-day, may be counted asa masterpiece of etching. In line-engraving the School of Marc-Antonio, apartfrom the engravers of Mantua, could boast only a fewstraggling adherents in the latter half of the sixteenth(Century, the most noteworthy among them being Martino 228 ENGRAVING IN ITALY Rota, of Sebenico, who worked between 1558 and is something of Netherlandish influence in his fineand pleasing technique. Among the enormous crowd ofmechanical engravers who were now engaged in reproducingthe paintings of their contemporaries and of older masters,only a few stand out as of particular importance. Even
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