DOI Page / Citation link:
https://doi.org/10.11588/diglit.67657#0612
Giulio Campagnola.
491
BIBLIOGRAPHY.
Vasari, G. Vite de’ Pittori, ed. Milanesi, vol. III. pp. 628 and 639, in the life
of Vittore Carpaccio.
Scardeone, B. De antiquitate urbis Patavii. Basle 1560, p. 244.
Heinecken. Dictionnaire, Leipzig 1789, vol. III. p. 548.
Zani. Materiali, Parma 1802, p. 132.
-Enciclopedia, I. vol. 5 (1820), p. 318.
Bartsch. Peintre Graveur, XIII (1811), pp. 368-376 (eight Nos.).
Zanetti. Cabinet Cicognara, 1837, pp. 167-170.
Galichon. Gazette des Beaux-Arts, XIII. 332 (fourteen Nos.).
Passavant. Peintre-Graveur V (1864), pp. 162-167 (seventeen Nos.).
Luzio, A. G. C., fanciullo prodigio, Archivio Storico dell’ Arte, I. 184.
Gronau, George. Notes sur les dessins de Giorgione et Campagnola. Gazette des
Beaux-Arts, 3e per. XII. 322.
Campori, G. Gli intagliatori di stampe e gli Estensi. Atti e Mem. delle BP. Dep. di
st. p. per le Provincie dell’ Evi. vol. VII. parte 2, p. 70 (for quotations from
M. Bosso, Sassi, etc.).
Kristeller, P. Giulio Campagnola, Kupferstiche und Zeichnungen. Graphische
Gesellschaft, Berlin, 1907.
THE ENGRAVINGS OE GIULIO CAMPAGNOLA
The only dated print by the master is The Astrologer, which
belongs to 1509 and shows him already ripe both as artist and
craftsman. In his letter of 1497 1 Michael de Placiola states that
Giulio was then already ‘ cutting with the burin,’ so that Galichon’s
inference from his copies after Diirer that he only begun to engrave
about 1506 is untenable. His two authenticated copies after Diirer
are the Penance of $. Chrysostom (Gal. 4), and the landscape in the
Ganymede (No. 3, below): the original of the former dates about
1496-97, that of the latter about 1500. Some of Giulio’s existing
prints in all likelihood go back to about 1500 or a little earlier.
In its technical aspect Giulio Campagnola’s engraving is of
particular interest. Bartsch regarded him as the earliest engraver
in the dot and punch method (maniere pointille, gravure au maillet},
and others have described his work as an anticipation of stipple.
Neither view is accurate, and careful definition is demanded.
Technically Giulio’s prints fall into three classes. In the first
place there are the prints in pure line, e.g. the Old Shepherd (No. 7)
and S. Jerome (No. 11) and the copies after Diirer. More charac-
teristic are the plates in which a preliminary light engraving in line
is supplemented by a system of short ssicks produced by the graver
point. These ssicks, which are sometimes so delicate that they almost
resemble true dots, are used both by themselves and within the
interstices of the lines. The Woman of Samaria (No. 1), the Young
Shepherd (No. 5) and the Astrologer (No. 6) show the clearest mixture
of line and ssick; in other pieces, such as the S. John (No. 2) and
1 See footnote 2 to p. 489.
491
BIBLIOGRAPHY.
Vasari, G. Vite de’ Pittori, ed. Milanesi, vol. III. pp. 628 and 639, in the life
of Vittore Carpaccio.
Scardeone, B. De antiquitate urbis Patavii. Basle 1560, p. 244.
Heinecken. Dictionnaire, Leipzig 1789, vol. III. p. 548.
Zani. Materiali, Parma 1802, p. 132.
-Enciclopedia, I. vol. 5 (1820), p. 318.
Bartsch. Peintre Graveur, XIII (1811), pp. 368-376 (eight Nos.).
Zanetti. Cabinet Cicognara, 1837, pp. 167-170.
Galichon. Gazette des Beaux-Arts, XIII. 332 (fourteen Nos.).
Passavant. Peintre-Graveur V (1864), pp. 162-167 (seventeen Nos.).
Luzio, A. G. C., fanciullo prodigio, Archivio Storico dell’ Arte, I. 184.
Gronau, George. Notes sur les dessins de Giorgione et Campagnola. Gazette des
Beaux-Arts, 3e per. XII. 322.
Campori, G. Gli intagliatori di stampe e gli Estensi. Atti e Mem. delle BP. Dep. di
st. p. per le Provincie dell’ Evi. vol. VII. parte 2, p. 70 (for quotations from
M. Bosso, Sassi, etc.).
Kristeller, P. Giulio Campagnola, Kupferstiche und Zeichnungen. Graphische
Gesellschaft, Berlin, 1907.
THE ENGRAVINGS OE GIULIO CAMPAGNOLA
The only dated print by the master is The Astrologer, which
belongs to 1509 and shows him already ripe both as artist and
craftsman. In his letter of 1497 1 Michael de Placiola states that
Giulio was then already ‘ cutting with the burin,’ so that Galichon’s
inference from his copies after Diirer that he only begun to engrave
about 1506 is untenable. His two authenticated copies after Diirer
are the Penance of $. Chrysostom (Gal. 4), and the landscape in the
Ganymede (No. 3, below): the original of the former dates about
1496-97, that of the latter about 1500. Some of Giulio’s existing
prints in all likelihood go back to about 1500 or a little earlier.
In its technical aspect Giulio Campagnola’s engraving is of
particular interest. Bartsch regarded him as the earliest engraver
in the dot and punch method (maniere pointille, gravure au maillet},
and others have described his work as an anticipation of stipple.
Neither view is accurate, and careful definition is demanded.
Technically Giulio’s prints fall into three classes. In the first
place there are the prints in pure line, e.g. the Old Shepherd (No. 7)
and S. Jerome (No. 11) and the copies after Diirer. More charac-
teristic are the plates in which a preliminary light engraving in line
is supplemented by a system of short ssicks produced by the graver
point. These ssicks, which are sometimes so delicate that they almost
resemble true dots, are used both by themselves and within the
interstices of the lines. The Woman of Samaria (No. 1), the Young
Shepherd (No. 5) and the Astrologer (No. 6) show the clearest mixture
of line and ssick; in other pieces, such as the S. John (No. 2) and
1 See footnote 2 to p. 489.