Giulio Campagnola; Kupferstiche und Zeichnungen. Edited by Paul Kristeller. 27 reproductions. Berlin: Bruno Cassirer. 1907. (Graphische Gesellschaft. Publication 5.)
Marcantonio Raimondi (c. 1480-c. 1530)
Marc-Antoine Raimondi; étude historique et critique suivie d’un catalogue raisonné des oeuvres du maitre. By Henri Delaborde. 63 illustrations. Paris: Librairie de l’art. 1888.
Marcantonio Raimondi. By Arthur Mayger Hind. 22 illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 3, pp. 243-276. Boston. 1913.
Marcantonio and Italian Engravers and Etchers of the Sixteenth Century. Edited by Arthur Mayger Hind. 65 reproductions. London and New York: Frederick A. Stokes Company. n. d. (Great Engravers.)
SOME MASTERS OF PORTRAITURE
YOU will all remember how John Evelyn, writing to Samuel Pepys, advised him to collect engraved portraits—since, in his own words, “Some are so well done to the life, that they may stand comparison with the best paintings.” He then adds: “This were a cheaper, and so much a more useful, curiosity, as they seldom are without their names, ages and eulogies of the persons whose portraits they represent. I say you will be exceedingly pleased to contemplate the effigies of those who have made such a noise and bustle in the world; either by their madness and folly; or a more conspicuous figure, by their wit and learning. They will greatly refresh you in your study and by your fireside, when you are many years returned.” We know by his “Diary” that Pepys became an enthusiastic collector and that he went over to Paris to buy many of Robert Nanteuil’s engraved portraits—at a later date commissioning his wife to secure for him many more, which he strongly desired.
From the time of Evelyn and Pepys in England, and that prince of print-collectors in France, the Abbé de Marolles—who in 1666 could boast of possessing over 123,000 prints, “and all the portraits extant”—portraits have had, for the student, a peculiar fascination, and it may be interesting to consider briefly the work of some six or eight of the acknowledged masters of the art.
Aside from two unimportant plates by the Master of the Amsterdam Cabinet, which may, or may not, be portraits, the earliest engraver to address himself to portraiture, pure and simple, is the anonymous German master with the monogram
