DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61523#0114
110
Exhibition of Drawings and Sketches.
effect of these small prints taken from unfinished nielli, seems to have suggested
to the goldsmith-engravers the idea of producing plates engraved in the niello
manner, but not intended, like true nielli, to serve themselves as decorations to
objects and ornaments in metal, only to yield impressions on paper for sale
whether as models to other craftsmen or as things pretty and desirable in them-
selves. The most prolific and skilful producer of these small “engravings in
the niello manner,” which are yet not true nielli, was he that now follows.
“P”* or “O’P’D’C”* (known as Peregrino da Cesena).
Worked about 1490-1510: School of Bologna.
548. Eighteen various designs of religious, mythological, and
ornamental subjects, engraved in the niello manner.
All from the Malcolm collection.
549. Thirty-three various designs of scriptural, mythological,
and ornamental subjects, engraved in the niello
manner.
The decorative charm and beauty of these minute compositions, and the
great technical skill of the workmanship, will be apparent to everyone.
The artist’s usual signatures, as given above, are supposed to be explained
by the inscription on one of his plates (not here exhibited), de opvs
peregrtni oesena, which may be construed as meaning “the work of
Peregrino da Cesena”: a name which is accordingly bestowed on him with
confidence. But the authenticity of this particular piece is not beyond
question. In one or two instances it will be noticed that a specimen
bearing the signature P is a copy of a still finer piece placed near it. The
unsigned originals in these cases have been supposed to be the work of
Francia himself.
The school of Francia at Bologna was not only one of niello-engraving, or
of engraving in the niello manner, but one of engraving on copper as
well; and from it sprang the most famous of all Italian masters of that
art, namely Marcantonio Raimondi, to whose work we are coming almost
immediately.
By or after LORENZO COSTA.
Painter: b. 1460, d. 1535-6: worked at Ferrara, Bologna, and Mantua.
550. (a) The Presentation of Christ in the Temple.
This is one of the rare instances in which an engraving of these early
times corresponds to the finished picture of a master. The painting
corresponding to this print is by Lorenzo Costa, next to Francia the chief
master of the early Bolognese School. Whether the engraving was done
by his own hand or by that of some subordinate craftsman of the school
is uncertain.
By or after FRANCESCO FRANCIA (RAIBOLINI).
Goldsmith and painter: b. 1450, d. 1517: worked at Bologna: was the head
of a much-frequented school of painters, engravers, and goldsmiths (see
above, p. 21).
550. (b) Virgin and Child, with St Francis of Assisi and St,
Antony of Padua.
Exhibition of Drawings and Sketches.
effect of these small prints taken from unfinished nielli, seems to have suggested
to the goldsmith-engravers the idea of producing plates engraved in the niello
manner, but not intended, like true nielli, to serve themselves as decorations to
objects and ornaments in metal, only to yield impressions on paper for sale
whether as models to other craftsmen or as things pretty and desirable in them-
selves. The most prolific and skilful producer of these small “engravings in
the niello manner,” which are yet not true nielli, was he that now follows.
“P”* or “O’P’D’C”* (known as Peregrino da Cesena).
Worked about 1490-1510: School of Bologna.
548. Eighteen various designs of religious, mythological, and
ornamental subjects, engraved in the niello manner.
All from the Malcolm collection.
549. Thirty-three various designs of scriptural, mythological,
and ornamental subjects, engraved in the niello
manner.
The decorative charm and beauty of these minute compositions, and the
great technical skill of the workmanship, will be apparent to everyone.
The artist’s usual signatures, as given above, are supposed to be explained
by the inscription on one of his plates (not here exhibited), de opvs
peregrtni oesena, which may be construed as meaning “the work of
Peregrino da Cesena”: a name which is accordingly bestowed on him with
confidence. But the authenticity of this particular piece is not beyond
question. In one or two instances it will be noticed that a specimen
bearing the signature P is a copy of a still finer piece placed near it. The
unsigned originals in these cases have been supposed to be the work of
Francia himself.
The school of Francia at Bologna was not only one of niello-engraving, or
of engraving in the niello manner, but one of engraving on copper as
well; and from it sprang the most famous of all Italian masters of that
art, namely Marcantonio Raimondi, to whose work we are coming almost
immediately.
By or after LORENZO COSTA.
Painter: b. 1460, d. 1535-6: worked at Ferrara, Bologna, and Mantua.
550. (a) The Presentation of Christ in the Temple.
This is one of the rare instances in which an engraving of these early
times corresponds to the finished picture of a master. The painting
corresponding to this print is by Lorenzo Costa, next to Francia the chief
master of the early Bolognese School. Whether the engraving was done
by his own hand or by that of some subordinate craftsman of the school
is uncertain.
By or after FRANCESCO FRANCIA (RAIBOLINI).
Goldsmith and painter: b. 1450, d. 1517: worked at Bologna: was the head
of a much-frequented school of painters, engravers, and goldsmiths (see
above, p. 21).
550. (b) Virgin and Child, with St Francis of Assisi and St,
Antony of Padua.