. Engraving and etching : a handbook for the use of students and print collectors . ^7\ For a long time these were considered asplayi»g-cards ( Tarock-karten, B. xiii., p. 120), but arenow much more correctly explained as a kind of illustratedmanual of science. The figures are original in conception, forthe most part thoroughly natural, skilfully drawn, and putupon the copper by a practised hand. The series certainlydoes not belong to the Florentine School, to which it wasin earlier days ascribed ; but is assigned by later opinion,with much more likelihood, to the School of Ferrara, Twosets of
. Engraving and etching : a handbook for the use of students and print collectors . ^7\ For a long time these were considered asplayi»g-cards ( Tarock-karten, B. xiii., p. 120), but arenow much more correctly explained as a kind of illustratedmanual of science. The figures are original in conception, forthe most part thoroughly natural, skilfully drawn, and putupon the copper by a practised hand. The series certainlydoes not belong to the Florentine School, to which it wasin earlier days ascribed ; but is assigned by later opinion,with much more likelihood, to the School of Ferrara, Twosets of the whole series are in existence, probably engravedat about the same period ; they show only slight differences,and their relation to one another still awaits completeexplanation. The series, however, mentioned by Bartsch 78 ENGRAVING IN ITALY as a set of copies, seems to possess more originality thanthe prints described by the same writer as greatest master of Italian engraving in the fifteenth. Fig. 37- A Master of Fcrrara (?) From the series of the so-calledPlaying-cards (detail). century, and at the same time the most distinguishedof the painter-engravers of the Italian Renaissance, doesnot belong to the Florentine School. This is AndreaMantegna, of Padua (born 1431, died at Mantua in 1506). ANDREA MANTEGNA 79 Old tradition ascribes to him some twenty-four engravings,as a rule large in size and full of figures ; and thoughnone of these bears his signature, their style points tohim without doubt as their author. The technique ofthese engravings is particularly original. It is only dis-tantly related to the Florentine manner, and is completelydifferent from that of Germany, consisting essentially inthe application to the copper plate of the method ofdrawing with pen on paper, practised by Mantegna andartists of his school. The outlines are firmly expressed,and the modelling is produced by sets of straight lines,running obliquely, growing thicker towards the sh
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