Ottley, William Young: An inquiry into the origin and early history of engraving: upon copper and in wood ; with an account of engravers and their works, from the invention of chalcography by Maso Finiguerra to the time of Marc Antonio Raimondi (Band 2) (London, 1816) [Cicognara, 266B]

chap, viii.] ENGRAVINGS BY UNKNOWN ARTISTS. 705

and in her right a rose, which she presents to the Infant, h. 5,
3-4ths: w. A, 7-8ths.

A. The Madonna and Child. She is seated upon a bank supported
by planks of wood, with the Infant upon her knees, to whom she
presents an apple. Her figure is turned towards the left. h. Q,
l-4th: w. 4, 3-8ths.

5. S. Margaret, a standing figure, turned towards the right. She
holds a staff, surmounted by a double cross, and at her feet is the
dragon, h. 6, 3-4ths : w. 3, 7-8ths.

Engravings marked ° Q^J^J or $

The engravers by whom the above marks were used, are all of
them unknown. Bartsch only mentions one piece by each.

(a) . St. John the Evangelist writing his Apocalypse, in the Isle
of Patmos. This piece is a very exact copy, in a reverse direction,
from Schongauer. (No. 55.) The mark (a) is in the middle, at bot-
tom, h. 6, 3-8ths : w. A, 5-8ths.

(b) . A Landscape, with on the right a River the border of which
is enriched with fabrics, and on the left a large rock. In the fore-
ground, on the left, is a hind; and on the right, on the banks of
the river, is a man walking with a bundle upon his head, The
mark (b) is in the middle of the print at bottom, height and width,
5, 3-8ths.

(c) . An ornament of Foliage. This piece, Bartsch observes, is very
badly engraved. The mark (c) is in the middle at top. h. 2, 7-8ths:
w. 2.

Engravings marked thus:

The engraver who used this mark, also, appears to be quite un-
known.

1—12. The Passion of Christ; a set of twelve pieces, copied, in
the same directions as the originals, from Nos, 2 to 13 of the artist

4x