In the Galleries
I
N THE GALLERIES without the "chicot," the little fir tree in the upper
corner on the right. The two versions of this subject
The engravings of Marc-Antonio Raimon- have received the attention of authors as well as con-
di, from the collection of Dr. William Engle- noisseurs in all periods, and have given rise to a Iit-
Ed i™.'11111' °^ Leipzig, seen at the galleries of R. erary dispute which does not seem to have beende-
^ timer, in West Fortieth Street, New York, cidedyct. Malvasia, who gives a very romantic story
of th mC(' (>n° °^ l'1C m°sl 'mI>or,ant exhibitions about the two plates, states that both were engraved
month. by Marc-Antonio; Abbe" Zani attributes the version
the 1C ')Caut'^u' example of the high qualities of without the chicot to the master, and says that
tio ^aVCr' s'lown *n the accompanying reproduc- Marco da Ravenna was the engraver of the repeti-
I is from the celebrated cartoon of the Battle of tion. Bartsch agrees with him upon the point that
f;i ^ "^'cnelangelo, known as "The Climbers." one version was engraved by Marco-Dente, but ex-
e pnnt Lucas van Leyden, Mahomet and the presses his conviction in strong terms that the plate
onkSergiuscon-
tains one fact „f
!reat
mterest.
While the figures
follow closely the
design of Michel-
angelo, the land-
scape offers an ex-
act copy of the
plate by Lucas van
Leyden, represent-
ing Mahomet and
the monk Sergius,
<>i the year 1508,
with the only ex-
ception that the
tree in the middle
In " "*v *"iuule
, as been omitted
£ ^arc-Antonio.
His '
11s plate, which is
dated 1510, shows
how in his early
period he was in-
fluenced not only
hy Durer but also
hy the Leyden
genius, a fact all
the more interest-
ing because the
latter shows in the
work of his last
period the very
Mi
a8 influence of
arc-Antonio's
style.
Mother inter-
JJj8 Plate was
U'C Massacre 0) «,/R.Edtrhtimer „,,„„,.„<■>
ho I-?"-"' ENGRAVING BV marc-antonio, KJ»WN£ ££2£XZ*** « "™ "
""Wn in tWO a group of three figures from the ceixbka
ates- With anil pisa by michelangelo xv
I
N THE GALLERIES without the "chicot," the little fir tree in the upper
corner on the right. The two versions of this subject
The engravings of Marc-Antonio Raimon- have received the attention of authors as well as con-
di, from the collection of Dr. William Engle- noisseurs in all periods, and have given rise to a Iit-
Ed i™.'11111' °^ Leipzig, seen at the galleries of R. erary dispute which does not seem to have beende-
^ timer, in West Fortieth Street, New York, cidedyct. Malvasia, who gives a very romantic story
of th mC(' (>n° °^ l'1C m°sl 'mI>or,ant exhibitions about the two plates, states that both were engraved
month. by Marc-Antonio; Abbe" Zani attributes the version
the 1C ')Caut'^u' example of the high qualities of without the chicot to the master, and says that
tio ^aVCr' s'lown *n the accompanying reproduc- Marco da Ravenna was the engraver of the repeti-
I is from the celebrated cartoon of the Battle of tion. Bartsch agrees with him upon the point that
f;i ^ "^'cnelangelo, known as "The Climbers." one version was engraved by Marco-Dente, but ex-
e pnnt Lucas van Leyden, Mahomet and the presses his conviction in strong terms that the plate
onkSergiuscon-
tains one fact „f
!reat
mterest.
While the figures
follow closely the
design of Michel-
angelo, the land-
scape offers an ex-
act copy of the
plate by Lucas van
Leyden, represent-
ing Mahomet and
the monk Sergius,
<>i the year 1508,
with the only ex-
ception that the
tree in the middle
In " "*v *"iuule
, as been omitted
£ ^arc-Antonio.
His '
11s plate, which is
dated 1510, shows
how in his early
period he was in-
fluenced not only
hy Durer but also
hy the Leyden
genius, a fact all
the more interest-
ing because the
latter shows in the
work of his last
period the very
Mi
a8 influence of
arc-Antonio's
style.
Mother inter-
JJj8 Plate was
U'C Massacre 0) «,/R.Edtrhtimer „,,„„,.„<■>
ho I-?"-"' ENGRAVING BV marc-antonio, KJ»WN£ ££2£XZ*** « "™ "
""Wn in tWO a group of three figures from the ceixbka
ates- With anil pisa by michelangelo xv