BATTLE OF NUDE MEN
Antonio Pollajuolo
CHRIST BETWEEN TWO SAINTS
Andrea Mantegna
Early Italian engraving begins with the niello of the goldsmith, little silver plates for ornamental uses, with minute scenes and figures, usually well cut, as might certainly be expected in a guild so highly skilled. It is interesting to follow engraving as it broadens beyond the neat and primarily ornamental sphere of the craft, into the large field of art. Florence, the center of dignified, conservative art, the Florence of Botticelli has given us the two classical series of “Sibyls” and “Prophets.” The manner of execution, as we see in the example shown, is still that of the goldsmith, fond of ornament, of detail, shading with minute strokes, close together, which blend to form a tone. The other example is selected from a North Italian series of the same period. It forms part of what by some authorities is thought to be a set of “Tarocchi,” a game of cards peculiar to Italy. Less severe, more graceful than the Florentine example, it is another triumph of the goldsmith in the field of the graphic arts. From him engraving passes under the sway of the painter. If we compare Italian and German graver-work of those days, a plate of Mantegna, for instance, and a plate of Schongauer, we shall readily perceive that in engraving the German master thinks in line. The Italian painter thinks, not in line, but in masses of light and shade, in terms of the antique marbles, which he has studied with such enthusiasm. His design goes on the copper as it would be jotted down on paper with the pen, without consideration of the graver, except that it seems a useful implement for multiplying his sketches, which are wanted in many studios and workshops. A simple, even outline, and for shading, parallel lines, straight and close together, generally in a uniform diagonal direction,—that is all. Fine early impressions from plates of this character have quite the charm of a drawing; deep shadow-tones are then visible, caused by a system of slight, tone-giving lines over the heavier shadings. When these have worn off, they leave only a system of hard, wiry-looking shade-strokes; unfortunately the good early impressions are very, very rare, so that we are accustomed to look upon the gray, worn impressions usually found as being the actual work of the artist, which is unfair. The absorbing interest of antique bas-reliefs is evident in the large “Battle of Nude Men,” by Antonio Pollajuolo, breathing the enthusiasm with which Italy told anew the artistic message of the distant past, yet lacking the poise and moderation which we admire in the grand classical sculptures. In his eagerness to proclaim the beauty and power of the human body in vigorous action, he far outstrips his powers of expression, yet his muscular exaggerations need not materially lessen our enjoyment of this powerful, expressive print. In Andrea Mantegna, we reach the central figure of this early period of Italian engraving. In him are combined the humanist’s devotion to classical art and the fiery energy of a man of action, filled with his art, rugged, stern, taking from nature and antiquity the forms of artistic expression. At his hands the world is invested with a grandeur seldom achieved, inspiring to his contemporaries, helpful and stimulating to young Dürer in his strivings toward greater breadth, simplicity, and unity of composition. In Mantegna’s “Christ between two Saints,” we find the same scant means of graver-work which he employed in all his austere compositions: a well-defined outline, even, without swelling, softening accents, simple shading, generally in a uniform diagonal direction; nowhere an attempt at texture, or differentiation of color. The subjects are all treated as though they were cut in high relief on slabs of stone, without variation of surface or suggestion of distance. Venetian influence mitigates the ruggedness of Mantegna’s gaunt, imposing “John the Baptist,” by means of the unusual, soft, stippling technique adopted by Giulio Campagnola, which gives the print more the appearance of a grainy wash drawing, in contrast with the usual pen-and-ink aspect of early Italian prints. Scores of other important examples might be adduced, but they can easily be found in any good history of engraving.
ST. JOHN THE BAPTIST
Giulio Campagnola