. Engraving and etching : a handbook for the use of students and print collectors . Fig. 40. Girolamo Mocetto: The Baptism of Christ (detail). method of scattering between the lines a number of smalldots, to express shadows and gradation of tone. Campag-nolas prints on this accoutit have been taken as stipple GIULIO CAMPAGNOLA 87. Fig. 41 Giulio Campagnola : The resting Shepherd. engravings, and the artist has been credited with the dis-covery of stipple. The assumption is quite erroneous, forin his engravings the work is done entirely with the burin. 88 ENGRAVING IN ITALY There is remarkable
. Engraving and etching : a handbook for the use of students and print collectors . Fig. 40. Girolamo Mocetto: The Baptism of Christ (detail). method of scattering between the lines a number of smalldots, to express shadows and gradation of tone. Campag-nolas prints on this accoutit have been taken as stipple GIULIO CAMPAGNOLA 87. Fig. 41 Giulio Campagnola : The resting Shepherd. engravings, and the artist has been credited with the dis-covery of stipple. The assumption is quite erroneous, forin his engravings the work is done entirely with the burin. 88 ENGRAVING IN ITALY There is remarkable finish in his finely drawn plate of The Rape of Ganymede, the landscape of which is takenfrom Durers * Virgin with the Monkey. Campagnolaspeculiar dotted technique is shown at its fullest developmentin his engraving of Christ and the Samaritan Woman atthe Well, with its composition borrowed from the Giorgione,and in his large plate of St. John the Evangelist. Domenico Campagnola, probably a relation of Giulioand alleged to be his nephew, was a pupil or assistant inTitians studio, and worked at Padua between 15 ii and1568. His compositions are powerful and full of life,but the drawing in his engravings is far too carelessand casual. Titian, Giulio Campagnola, and Jacopo deBarbari, all apparently influenced his style. He sho
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