DOI Page / Citation link:
https://doi.org/10.11588/diglit.22421#0325
Letter IX
COLLECTION OF ENGRAVINGS.
261
Of a Pieta mentioned by Bartsch in his Appendix, the only im-
pression here is one which has been retouched by the same inferior
hand as that above described. As these retouches extend pretty
equally over every portion, both the woolliness, which is still more
obvious, and also the square awkward forms, and the rude ex-
pression of grief in the female head, may be ascribed to the same
irreverent retoucher. Although it is impossible to form any de-
cided opinion of the original designer, except from an impression
in the original form, yet there is something in the conception of
the landscape, with the fantastic overhanging rocks with trees upon
them, which so far corresponds with the Lion Hunt above men-
tioned as to indicate Lorenzo Costa, or more probably Amico
Aspertini.
With the exception of seven (Nos. 7, 9,10,15,17, 21, 22), all the
engravings of that grand and fertile inventor Andrea Maxtegna,
described by Bartsch (vol. xiii., p. 227, &c), are here. Almost all
are good impressions, and of some there are duplicates. There
are also several impressions of the copies, as well as of some plates
inscribed to him by Ottley. Besides these there are two examples
not elsewhere mentioned.. As, with these exceptions, these plates
are well known to all connoisseurs by means of Bartsch, and as I
have already enlarged upon their artistic significance in another
place, I shall confine myself only to a few remarks.
A proof impression of the Descent from the Cross (No. 4) ; the
upper part of a tree on the right only given in outline. In point
of velvety depth, clearness of every part, tenderness and intensity
of expression in the heads, this engraving is almost unique. Raphael
evidently studied many a motive from it for his well-known com-
position preserved in Marc Antonio's engraving (Bartsch, vol. xiv.,
p. 37, No. 32). A comparison with a good impression from the
finished plate, also here, is highly interesting.
Equally excellent is an impression of the Hercules and Antaeus
(No. 16), which belongs to the maturest period of the master, both
as designer and engraver : also that of the Combat of the Sea
Gods (No. 18) ; and one of the Bacchanals with the vat is scarcely
inferior to the foregoing.
Of the Bacchante with the Silenus here is a good, though
injured, impression of the first plate, and a first-rate one of the
second plate, which latter, erroneously, as it appears to me, Bartsch
COLLECTION OF ENGRAVINGS.
261
Of a Pieta mentioned by Bartsch in his Appendix, the only im-
pression here is one which has been retouched by the same inferior
hand as that above described. As these retouches extend pretty
equally over every portion, both the woolliness, which is still more
obvious, and also the square awkward forms, and the rude ex-
pression of grief in the female head, may be ascribed to the same
irreverent retoucher. Although it is impossible to form any de-
cided opinion of the original designer, except from an impression
in the original form, yet there is something in the conception of
the landscape, with the fantastic overhanging rocks with trees upon
them, which so far corresponds with the Lion Hunt above men-
tioned as to indicate Lorenzo Costa, or more probably Amico
Aspertini.
With the exception of seven (Nos. 7, 9,10,15,17, 21, 22), all the
engravings of that grand and fertile inventor Andrea Maxtegna,
described by Bartsch (vol. xiii., p. 227, &c), are here. Almost all
are good impressions, and of some there are duplicates. There
are also several impressions of the copies, as well as of some plates
inscribed to him by Ottley. Besides these there are two examples
not elsewhere mentioned.. As, with these exceptions, these plates
are well known to all connoisseurs by means of Bartsch, and as I
have already enlarged upon their artistic significance in another
place, I shall confine myself only to a few remarks.
A proof impression of the Descent from the Cross (No. 4) ; the
upper part of a tree on the right only given in outline. In point
of velvety depth, clearness of every part, tenderness and intensity
of expression in the heads, this engraving is almost unique. Raphael
evidently studied many a motive from it for his well-known com-
position preserved in Marc Antonio's engraving (Bartsch, vol. xiv.,
p. 37, No. 32). A comparison with a good impression from the
finished plate, also here, is highly interesting.
Equally excellent is an impression of the Hercules and Antaeus
(No. 16), which belongs to the maturest period of the master, both
as designer and engraver : also that of the Combat of the Sea
Gods (No. 18) ; and one of the Bacchanals with the vat is scarcely
inferior to the foregoing.
Of the Bacchante with the Silenus here is a good, though
injured, impression of the first plate, and a first-rate one of the
second plate, which latter, erroneously, as it appears to me, Bartsch