. Engraving and etching : a handbook for the use of students and print collectors . with niello, the engraving as a ruleis particularly fine, clear, andsharp, and this intentionalsharpness appears also in theimpression, in conjunction withvery deep blacks. In the print,moreover,any inscriptions muststand in reverse, since theplate, and not the impression,was originally intended forview. The most certain meansof recognising a false niello isgiven by prints that come froma plate obviously worn out byfrequent false nielli, intended from the first for printing,exist nowadays in larg
. Engraving and etching : a handbook for the use of students and print collectors . with niello, the engraving as a ruleis particularly fine, clear, andsharp, and this intentionalsharpness appears also in theimpression, in conjunction withvery deep blacks. In the print,moreover,any inscriptions muststand in reverse, since theplate, and not the impression,was originally intended forview. The most certain meansof recognising a false niello isgiven by prints that come froma plate obviously worn out byfrequent false nielli, intended from the first for printing,exist nowadays in large numbers. An artist, who wasparticularly diligent in their preparation, gives his name ona Resurrection (at Paris), as Peregrino, with the additionof Cese, which is believed to denote his birthplace, this there are about forty prints of the niellonature, on which appear signatures such as -0.^»i>C^or a monogram P, which without doubt stands forPeregrino. His works are treated entirely in the style ofproper nielli—charming compositions, delicately engraved,. Fig. 44. Peregrino de engraving: Prudence. MARC-ANTONIO RAIMONDI 95 usually mythological or allegorical in subject (fig. 44).Besides Peregrine, other unknown artists of the Florentineor of the North Italian School made similar nielli or en-gravings in the style of nielli—small prints with tiny figures,and often simply ornamental designs of delightful com-position. The background, as a rule, is produced by closecross-hatching, with figures or ornament standing outbrightly against it. Artists such as Marc-Antonio Rai-mondi, Nicoletto da Modena, and others, borrowed ideasin many of their engravings from niello technique. Ifthe art of engraving in Italy did not spring, as wasformerly supposed, from the niello, it obtained never-theless no small influence from the niello in its develop-ment. The high value placed by collectors on nielligave rise to frequent forgeries, which, particularly atth
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