File:A short history of engraving (and) etching - for the use of collectors and students; with full bibliography, classified list and index of engravers (1908) (14596493200).jpg

Identifier: shorthistoryofen00hinduoft (find matches)
Title: A short history of engraving (and) etching : for the use of collectors and students; with full bibliography, classified list and index of engravers
Year: 1908 (1900s)
Authors: Hind, Arthur Mayger, 1880-1957
Subjects: Engravers Engraving Etchers Etching
Publisher: London : A. Constable
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: MSN

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after Botticellis designs, is responsible for any of theanonymous plates we have mentioned is still an unsolved problem.He may have been among those who carried on the tradition of theFiniguerra school in the Monte Sancto and Dante engravings, buthis separate entity as an engraver would incline one to look for himas the representative of the Broad Manner group which, as we haveseen, contains examples almost as certainly derived from Botticellias the Dante prints in the Fine Manner. The same principle of technique that is found in the Broad AntonioManner, the imitation of the character of pen drawing, is also seen ° ^^^° °-in the only engraving which is unquestionably by the hand of thepainter and goldsmith Antonio Pollaiuolo, the large Battle of theNudes (Fig. 20). In the power of its design and the nervous grip of 1 See, e.g. Mocetto, p. 65. ^ cf. Home, Botticelli, 1908, pp. 288-91. E 50 THE EARLIEST ENGRAVERS its drawing, it is one of the greatest achievements in the engraving of
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the fifteenth century. In technical character, with the open parallellines interlaid (at a small angle) with lighter lines of shading, itresembles Mantegna, who may owe something of his style to the POLLAIUOLO—ROBETTA 51 suggestion of the Florentine, though it is dangerous to be dogmaticin regard to the interchange of influence of these contemporaries.Despite the largeness of the line-work, there is still something in itscharacter, e.g. the close deep lines of shading of the backgroundcasting the whole into relief, which reveals the goldsmith who hasworked in niello. Of the nielli which Pollaiuolo must have doneit is difficult to speak with any certainty. The style of Finiguerra,who was probably the more prolific craftsman in this medium, is sonear to his, that a definite distinction of their work presents consider-able difficulty. The Heirules and the Hydra (Dut. 338, BritishMuseum) must depend directly on his design, although its closetechnique shows a certain affinity to the scho

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