Among Marcantonio’s portrait plates one of the most attractive is that of Philotheo Achillini (“The Guitar Player”), which is in his early manner and probably dates from his Bolognese period. It may be based upon a drawing by Francia, but the trees and distant landscape all show markedly the influence of Dürer.
MARCANTONIO RAIMONDI. PHILOTHEO ACHILLINI
(“The Guitar Player”)
Size of the original engraving, 7¼ × 5¼ inches
In the Museum of Fine Arts, Boston
MARCANTONIO RAIMONDI. PIETRO ARETINO
Size of the original engraving, 7⅜ × 5⅞ inches
In the British Museum
To a much later period, and engraved in Marcantonio’s most mature manner, belongs the portrait of Pietro Aretino. Vasari refers to this plate as “engraved from life,” but its richness and color would seem to point to an original by Titian or Sebastiano del Piombo.
After the death of Raphael, in 1520, Marcantonio’s engraving undergoes a change—a change for the worse, as might be expected, since a number of his plates are interpretations of designs by Giulio Romano. There is less care in the drawing, less delicacy in the management of the burin, and, although we may pity him for the loss of all that he possessed at the sack of Rome, in 1527, we cannot greatly regret that, as an engraver, Marcantonio’s active life terminates with that date.
ITALIAN ENGRAVING: MANTEGNA TO
MARCANTONIO RAIMONDI