DOI Page / Citation link:
https://doi.org/10.11588/diglit.61523#0110
106
Exhibition of Drawings and Sketches.
subjects of fighting men, engraved with vigorous open shading in a
manner of extreme boldness and energy, and the above smaller subject
(no. 534 (a)) of Hercules and Antaeus. The next number, 534(b), shows
how he, like other masters of his time and afterwards, occasionally
furnished slight sketches for subordinate artists to copy and work out in
engraving. This very vigorous and characteristic pen-and-ink sketch for
a Hercules and the Hydra was used both for a picture now at
Florence bearing Pollaiuolo’s name, but probably the work of a pupil,
and for the first of the seven engravings which now follow by
ROBETTA.
Goldsmith and engraver: worked at Florence about 1490-1520.
534. (c) Hercules slaying the Hydra. Engraving by Robetta,
after 534 (b).
From the Malcolm collection.
535. (a, b, c) Adam and Eve, with the infants Cain and Abel.
(d) Allegory of Abundance.
(c) (d) From the Malcolm collection.
536. (a) Virgin and Child, with St. John and three Angels.
(b) The Adoration of the Magi.
(b) From the Malcolm collection.
Eobetta, as the above examples show, was a subordinate craftsman working
in a somewhat feeble and amateurish style, yet not without charm. He
copied chiefly the designs of Filippino Lippi, but sometimes also those of
other artists. With him we leave the works of the Florentine engravers
of the fifteenth and early years of the sixteenth centuries, and pass to
those of the North Italian masters.
SCHOOLS OF PADUA, VENICE, VICENZA, &c.
Andrea MANTEGNA.
Painter and engraver: b. 1431, d. 1506: worked chiefly at Padua and
Mantua (see above, p. 15).
537. Christ descending into Hell.
From the Malcolm collection.
538. The Descent from the Cross.
The impassioned austerity of this great painter’s conceptions, and his unsur-
passed energy of hand, find admirable expression in the score or so of
engraved plates which are attributed to him. They are all characterized
by the same technical qualities, the same deep incision of the outlines,
characteristic of one whose chief inspiration was drawn from the works of
sculpture; the same bold, strongly cut system of open lines, inclined to
each other only at a very acute angle, without anything like cross-
hatching, and the same rich brownish tone in printing. He had several
pupils and imitators in the art, as Giovanni Antonio da Brescia; the various
hands whose works are collectively known under the name of the publisher
and printseller Zoan Andrea; and one Ardigioni, whose name is only
Exhibition of Drawings and Sketches.
subjects of fighting men, engraved with vigorous open shading in a
manner of extreme boldness and energy, and the above smaller subject
(no. 534 (a)) of Hercules and Antaeus. The next number, 534(b), shows
how he, like other masters of his time and afterwards, occasionally
furnished slight sketches for subordinate artists to copy and work out in
engraving. This very vigorous and characteristic pen-and-ink sketch for
a Hercules and the Hydra was used both for a picture now at
Florence bearing Pollaiuolo’s name, but probably the work of a pupil,
and for the first of the seven engravings which now follow by
ROBETTA.
Goldsmith and engraver: worked at Florence about 1490-1520.
534. (c) Hercules slaying the Hydra. Engraving by Robetta,
after 534 (b).
From the Malcolm collection.
535. (a, b, c) Adam and Eve, with the infants Cain and Abel.
(d) Allegory of Abundance.
(c) (d) From the Malcolm collection.
536. (a) Virgin and Child, with St. John and three Angels.
(b) The Adoration of the Magi.
(b) From the Malcolm collection.
Eobetta, as the above examples show, was a subordinate craftsman working
in a somewhat feeble and amateurish style, yet not without charm. He
copied chiefly the designs of Filippino Lippi, but sometimes also those of
other artists. With him we leave the works of the Florentine engravers
of the fifteenth and early years of the sixteenth centuries, and pass to
those of the North Italian masters.
SCHOOLS OF PADUA, VENICE, VICENZA, &c.
Andrea MANTEGNA.
Painter and engraver: b. 1431, d. 1506: worked chiefly at Padua and
Mantua (see above, p. 15).
537. Christ descending into Hell.
From the Malcolm collection.
538. The Descent from the Cross.
The impassioned austerity of this great painter’s conceptions, and his unsur-
passed energy of hand, find admirable expression in the score or so of
engraved plates which are attributed to him. They are all characterized
by the same technical qualities, the same deep incision of the outlines,
characteristic of one whose chief inspiration was drawn from the works of
sculpture; the same bold, strongly cut system of open lines, inclined to
each other only at a very acute angle, without anything like cross-
hatching, and the same rich brownish tone in printing. He had several
pupils and imitators in the art, as Giovanni Antonio da Brescia; the various
hands whose works are collectively known under the name of the publisher
and printseller Zoan Andrea; and one Ardigioni, whose name is only