DOI Page / Citation link:
https://doi.org/10.11588/diglit.22421#0331
Letter IX.
COLLECTION OF ENGRAVINGS.
267
playing the violin and the bagpipe, in the manner of a genre
picture. An excellent impression.
Finally, the engraving No. 33, described by Bartsch as
"l'homme a la fleche," might in my opinion be better entitled an
Apollo ; the figure being solely clad with the chlamys. Carefully
executed in delicate lines ; the impression being first-rate.
Nicoleto da Modena.—Bartsch (vol. xiii. p. 252) remarks of
this engraver, who nourished from 1490 to 1520, that he probably
first formed his style from Mantegna's engraving ; to which I may
add, that he also evidently engraved various plates from drawings
by that master. He further states, that at a later period Nicoleto
da Modena studied from the works of Albert Durer and other
German engravers, so much so, that with the technicalities of that
school he also acquired their mode of conception, and in some
instances copied directly from them. The engravings by this
master, which are variously inscribed, treat also of the most various
subjects, and are very unequal in merit. Of the sixty-five which
Bartsch attributes to him—many assuredly on insufficient grounds
—'twenty-three are here, including the seven of the Life of the
Virgin before-mentioned, with nine more besides, which in my
opinion Mr. Carpenter is right in ascribing to this master. In
those instances where I suggest no original designer, I assume that
he engraved from compositions of his own.
The Nativity (No. 3). All the figures in this piece, with the
exception of the shepherd on the right, are, as Bartsch has already
remarked, copied from a plate by Martin Schongauer. (Bartsch,
No. 4.) A good impression.
The same subject (No. 4), but treated more in the style of a
landscape, so that the figures are small in proportion to the
building. This engraving has much which recalls Amico Asper-
tini, though in some respects it shows a German influence.
The same subject with similar architecture, but the figures treated
on a smaller scale. If by Nicoleto da Modena at all, it is one of
his harder and more mechanical works. An excellent impression.
Christ in the act of benediction; the globe in his left hand ;
very noble in feature ; inscribed with the monogram M which
Ottley (p. 536) has added to the many inscriptions belonging to
this engraver mentioned by Bartsch.
St. Anthony the Hermit (No. 24), St. John the Baptist (No. 31),
COLLECTION OF ENGRAVINGS.
267
playing the violin and the bagpipe, in the manner of a genre
picture. An excellent impression.
Finally, the engraving No. 33, described by Bartsch as
"l'homme a la fleche," might in my opinion be better entitled an
Apollo ; the figure being solely clad with the chlamys. Carefully
executed in delicate lines ; the impression being first-rate.
Nicoleto da Modena.—Bartsch (vol. xiii. p. 252) remarks of
this engraver, who nourished from 1490 to 1520, that he probably
first formed his style from Mantegna's engraving ; to which I may
add, that he also evidently engraved various plates from drawings
by that master. He further states, that at a later period Nicoleto
da Modena studied from the works of Albert Durer and other
German engravers, so much so, that with the technicalities of that
school he also acquired their mode of conception, and in some
instances copied directly from them. The engravings by this
master, which are variously inscribed, treat also of the most various
subjects, and are very unequal in merit. Of the sixty-five which
Bartsch attributes to him—many assuredly on insufficient grounds
—'twenty-three are here, including the seven of the Life of the
Virgin before-mentioned, with nine more besides, which in my
opinion Mr. Carpenter is right in ascribing to this master. In
those instances where I suggest no original designer, I assume that
he engraved from compositions of his own.
The Nativity (No. 3). All the figures in this piece, with the
exception of the shepherd on the right, are, as Bartsch has already
remarked, copied from a plate by Martin Schongauer. (Bartsch,
No. 4.) A good impression.
The same subject (No. 4), but treated more in the style of a
landscape, so that the figures are small in proportion to the
building. This engraving has much which recalls Amico Asper-
tini, though in some respects it shows a German influence.
The same subject with similar architecture, but the figures treated
on a smaller scale. If by Nicoleto da Modena at all, it is one of
his harder and more mechanical works. An excellent impression.
Christ in the act of benediction; the globe in his left hand ;
very noble in feature ; inscribed with the monogram M which
Ottley (p. 536) has added to the many inscriptions belonging to
this engraver mentioned by Bartsch.
St. Anthony the Hermit (No. 24), St. John the Baptist (No. 31),