See also:

• MARCANTONIO [MARCANTONIO RAIMONDI]

MARCANTONIO [MARCANTONIO RAIMONDI]  , the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief See also:

• ITALIAN

Italian See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the See also:

• ART

art of See also:

• ENGRAVING

engraving in the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of the See also:

• RENAISSANCE, THE

Renaissance, and the first who practised it in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to reproduce, not designs of his own invention, as earlier craftsmen had commonly done, but those of other artists almost exclusively . The date of his See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth is uncertain, nor is there any See also:

• GOOD, JOHN MASON (1764-1827)

good authority for assigning it, as is commonly done, approximately to the See also:

• YEAR

year 1488 . He was probably See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born some years at least earlier than this, inasmuch as he is mentioned by a contemporary writer, See also:

• ACHILLINI, ALESSANDRO (1463-1512)

Achillini, as being an artist of repute in 1504 . His earliest dated See also:

• PLATE

plate, illustrating the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of Pyramus and Thisbe, belongs to the following year, 1505 . See also:

• MARCANTONIO [MARCANTONIO RAIMONDI]

Marcantonio received his training in the workshop of the famous See also:

• GOLDSMITH
• GOLDSMITH, LEWIS (c. 1763–1846)
• GOLDSMITH, OLIVER (1728–1774)

goldsmith and painter of See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna, See also:

• FRANCESCO
• FRANCESCO, 210

Francesco Raibolini, usually called See also:

• FRANCIA (c. 1450-1517)
• FRANCIA, JOSE GASPAR RODRIGUEZ (c. 1757-1840)

Francia . " Having more aptitude in See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design," says See also:

• VASARI, GIORGIO (1511-1571)

Vasari, " than hismaster, and managing the graver with facility and See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace, he made See also:

• WAIST

waist-buckles and many other things in See also:

• NIELLO (the Italian form of Lat. nigellum, diminutive of ?tiger, " black "; Late Gr. /IAAavbv)

niello, such being then greatly in See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion, and made them most beautifully, as being in truth most excellent in that See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

craft." The real fame, however, of Marcantonio was destined to be founded on his attainments, not in the goldsmith's art generally, but in that particular development of it which consists of engraving designs on See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal plates for the purpose of See also:

• REPRODUCTION

reproduction by the See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press . This art was not new in See also:

• ITALY
• ITALY (Italia)

Italy in the days of Marcantonio's See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship . It had been practised, in a more or less elementary See also:

• FORM (Lat. forma)

form, for not less than See also:

• FORTY

forty or fifty years in the workshops alike of See also:

• VENETIA

Venetia, the See also:

• EMILIA

Emilia, See also:

• TUSCANY
• TUSCANY (Toscana)

Tuscany and See also:

• LOMBARDY

Lombardy . But the technical aim of the Italian engravers had not hitherto been directed, like that of See also:

• SCHONGAUER (or Suon), MARTIN (c. 1445-c. 1488)

Schongauer or Diirer See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north of the See also:

• ALPS

Alps, towards securing such freedom and precision in the use of the burin as should impart to the impressions taken from their engraved plates both a striking decorative effect and a See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of suggesting to the See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye a complex variety of natural See also:

• OBJECTS

objects and surfaces in See also:

• LIGHT

light and shade . The Italian masters had been satisfied with much more rudimentary effects . The Florentine primitives had been content either with very See also:

• SIMPLE

simple cloudy patches of See also:

• CROSS

cross-hatching in See also:

• FINE

fine straight lines, or with broad open shadings in the manner of a bold See also:

• PEN (Lat. penna, a feather, pen)

pen-See also:

• DRAWING

drawing . See also:

• MANTEGNA, ANDREA (1431–1506)

Mantegna and See also:

• POLLAIUOLO

Pollaiuolo, the two chief See also:

• ORIGINAL

original masters who practised the art, had used the latter method with See also:

• GREAT

great power but at the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time great simplicity .

By the beginning of the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century a See also:

• DESIRE

desire for a more complicated See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of effects was already arising among the followers of the art in Italy . Both backgrounds and passages of foreground detail were often imitated, inartificially enough, from the See also:

• WORKS

works of the See also:

• NORTHERN

northern masters . Marcantonio himself was among the foremost in this See also:

• MOVEMENT

movement . About eighty engravings can be referred to the first five or six years of his career (1505-1511) . Their subjects are very various, including many of See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan See also:

• MYTHOLOGY

mythology, ,and some of obscure See also:

• ALLEGORY (iXXos, other, and ayopeuav, to speak)

allegory, along with those of See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian devotion . The types of figures and drapery, and the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of the compositions, bespeak for the most See also:

• PART

part the See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration, and sometimes the See also:

• DIRECT

direct authorship, of Francia . But the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German example is very perceptible also, particularly in the landscape backgrounds, and in the endeavour to See also:

• EXPRESS (through the French from the past participle of the Lat. exprimere, to press out, by transference used of representing objects in painting or sculpture, or of thoughts, &c. in words)

express form by means of light and See also:

• SHADOW (0. Eng. Schadewe, sceadu; a form of " shade "; connected with Gr. 6-Ore's, darkness)

shadow with greater freedom than had been hitherto the practice of the See also:

• SOUTHERN

southern See also:

• SCHOOLS

schools . In a few subjects also the figures themselves correspond to a coarse See also:

• TEUTONIC
• TEUTONIC (GERMANIC) LANGUAGES

Teutonic, instead of to the refined Italian, ideal . But so far we find Marcantonio only indirectly leaning on the north for the See also:

• SAKE

sake of self-improvement . It must have been for the sake of commercial profit that he by-and-by produced a See also:

• SERIES (a Latin word from serere, to join)

series of direct counterfeits on See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper from See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Diirer's woodcuts . These facsimiles are sixty-nine in number, including seventeen of See also:

• DURER, ALBRECHT (1471-1528)

Durer's " See also:

• LIFE

Life of the Virgin," See also:

• THIRTY

thirty-seven of his " Little See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Passion," on See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, and a number of single pieces . According to Vasari, Durer's indignation over those counterfeits was the cause of his See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, where he is said to have lodged a complaint against Marcantonio, and induced the See also:

• SENATE (Lat. senatus, from root sen-, as in senex, old; the root is the Sanskrit sana, cf. Gr. 'vos; the same element appears in senor, seigneur, seneschal)

Senate to prohibit the See also:

• COUNTERFEITING (from Lat. contra-facere, to make in opposition or contrast)

counterfeiting of his See also:

• MONOGRAM (from Late Lat. monogramma, in Late Gr. µovoypaµµov, from µovos, single, ypaµµa, letter)

monogram, at any See also:

• RATE

rate, upon any future imitations of the kind .

Vasari's See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account must certainly be mistaken, inasmuch as Diirer's journey to Venice took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in 15o6, and neither of the two series of woodcuts imitated by Marcantonio was published until 1511 . The greater part of the designs for the " Life of the Virgin " had, it is true, been made and engraved seven years earlier than the date of their publication; and it is to be remarked that, whereas Marcantonio's copies of the " Little Passion " leave out the monogram of Durer, it is inserted in his copies of the "Life of the Virgin"; whence it would, after all, seem possible that he had seen and counterfeited a set of impressions of this series at the time when they were originally executed, and before their publication . But the real nature of the transaction, if transaction there was, which took place between Durer and Marcantonio we cannot now See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

hope to recover . Enough that the Bolognese engraver evidently profited, both in See also:

• MONEY

money and in See also:

• EDUCATION

education of the See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, by his See also:

• WORK

work in imitating in a finer material the energetic characters of these northern woodcuts . He was soon to come under a totally different influence, and to turn the experience he had gained to account in interpreting the work of a master of a quite other See also:

• STAMP (from " to stamp," to strike or tread heavily, hence to impress, O. Eng. stempen, Du. stampen, Ger. stampfen, whence, O. Fr. estamper, mod. etamper)

stamp . Up till the year 1510 Marcantonio had lived entirely at Bologna, with the exception, it would appear, of a visit or visits to Venice . (A few of his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early engravings are from drawings of the school of See also:

• GIORGIONE
• GIORGIONE (1477-1510)

Giorgione.) Very soon afterwards he was attracted, for good and all, into the circle which surrounded See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael at See also:

• ROME
• ROME (Roma)

Rome . Where or when he had first made Raphael's acquaintance is uncertain . His passage to Rome by way of See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence has been supposed to be marked by an engraving, dated 1510, and known as " The Climbers," See also:

• LES

Les Grimpeurs (Bartsch, 487), in which he has re-produced a portion of the design of See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo's See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon of the Soldiers surprised bathing, and has added behind the figures a landscape imitated from the then See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Dutch engraver See also:

• LUCAS, CHARLES (1713–1771)
• LUCAS, JOHN SEYMOUR (1849– )
• LUCAS, SIR CHARLES (d. 1648)

Lucas of See also:

• LEIDEN

Leiden . Contemporary or somewhat earlier than this is a large engraving done by him from a design by Baldassare See also:

• PERUZZI, BALDASSARE (1481-1536)

Peruzzi, a Sienese artist See also:

• DRAWN

drawn about the same time into the Raphael circle . The piece in which he is recorded to have first tried his hand after Raphael himself is the See also:

• LUCRETIA

Lucretia (Bartsch 192) . From that time until he disappears in the See also:

• CATASTROPHE (Gr. Karaurpoch, from KaraQrp4ecv, to over-turn)

catastrophe of 1527, Marcantonio was almost exclusively engaged in reproducing by means of engraving the designs of Raphael or of his immediate pupils .

Raphael, the story goes, was so delighted with the See also:

• PRINT

print of the Lucretia that he personally trained and helped Marcantonio afterwards . A printing See also:

• ESTABLISHMENT (0. Fr. establissement, Fr. etablissement, late Norm. Fr. establishement, from O. Fr. establir, Fr. etablir, Lat. stabilire, to make stable)

establishment was set up under the See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge of Raphael's See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour-grinder, II Baviera, and the profits, in the early See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage of the business, were shared between .the engraver and the printer . The See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale soon became very great; pupils gathered See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round about Marcantonio, of whom the two most distinguished were Marco Dente, known as Marco da See also:

• RAVENNA
• RAVENNA, EXARCHATE OF

Ravenna, and See also:

• AGOSTINO
• AGOSTINO, or AGOSTINI [AUGUSTINUS], PAOLO (1593-1629)

Agostino de' Musi, known as Agostino Veneziano; and he and they, during the last ten years of Raphael's life, and for several years following his See also:

• DEATH

death, gave forth a great profusion of engravings after the master's work—not copying, in most instances, his finished paintings, but working up, with the addition of simple back-grounds and accessories, his first sketches and trials, which often give the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition in a different form from the finished work, and are all the more interesting on that account . The best of these engravings produced in the workshop of Marcantonio—those, namely, done by his own hand, and especially those done during the first few years after he had attached himself to Raphael—See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count among the most prized and coveted examples of the art . In them he enters into the See also:

• GENIUS (from Lat. genere, gignere)

genius of his master, and loses little of the chastened See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science and rhythmical purity of Raphael's contours, or of the inspired and winning sentiment of his faces; while in the parts where he is See also:

• LEFT

left to himself—the rounding and shading, the back-ground and landscape—he manages his burin with all the skill and freedom which he had gained by the See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of northern See also:

• MODELS

models, but puts away the northern emphasis and redundance of detail . His work, however, does not See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long remain at the height marked by pieces like the Lucretia, the See also:

• DIDO, or ELISSA

Dido, the See also:

• JUDGMENT

Judgment of See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, the See also:

• POETRY

Poetry, the See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

Philosophy, or the first See also:

• MASSACRE

Massacre of the Innocents . Marcantonio's engravings after the works of Raphael's later years are See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold, ostentatious, and soulless by comparison . Still more so, as is natural, were those which he and his pupils produced after the designs of the degenerate scholars of Raphael and Michelangelo, of a Giulio Romano, a Polidoro, or a See also:

• BANDINELLI, BARTOLOMMEO

Bandinelli . Marcantonio's association with Giulio Romano was the cause of his first great disaster in life . He engraved a series of obscene designs by that painter in See also:

• ILLUSTRATION

illustration of the Sonnetti lussuriosi of Pietro See also:

• ARETINO, PIETRO (1492-1556)

Aretino, and thereby incurred the anger of See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

pope See also:

• CLEMENT (Lat. Clemens, i.e. merciful; Gr. K)4gs)
• CLEMENT, FRANCOIS (1714-1793)
• CLEMENT, JACQUES (1567-1589)

Clement VII., at whose order he was thrown into See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

prison . Marcantonio's ruin was completed by the calamities attendant on the See also:

• SACK

sack of Rome in 1527 . He had to pay a heavy See also:

• RANSOM (from Lat. redemptio, through Fr. rancon)

ransom in order to See also:

• ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli

escape from the hands of the Spaniards, and fled from Rome, in the words of Vasari, " all but a See also:

• BEGGAR

beggar." Itis said that he took See also:

• REFUGE

refuge in his native See also:

• CITY (through Fr. cite, from Lat. civitas)

city, Bologna; but he never again emerges from obscurity, and all we know with certainty is that in 1534 he was dead .

(S .