Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 3.djvu/500

492 Franci. In design, Marcantonio possessed more force than his master, and as he also used the burin with much grace and facility, he executed Nielli^ which were at that time much sought for, applying them to girdles and other articles, which were exceedingly beautiful, seeing that he was of a truth very excellent in that branch of art. Having then conceived the desire which is felt by so many men of seeing somewhat of the world, and of the mode of proceeding in use among the artists of other lands, Marcantonio departed for Bologna, with the good favour of his master Francia, and repaired to Venice, where he was well received among the artists of that city. At the same time there arrived in the same place certain Flemings, who brought numerous copper-plate engravings and wood-cuts by Albert Dürer, which were then seen by Marcantonio exposed for sale on the Piazza di San Marco. Amazed at what he beheld, and charmed with the manner and execution of Albert, Marcantonio spent almost all the money which he had brought from Bologna in the purchase of those plates, and among others he bought the Passion of Our Saviour Christ, woodcuts in thirty-six plates which had been completed but a short time previously by the Flemish master, and which, commencing vlth the Fall of Adam and with his Expulsion by the Angel from Paradise, continued to the Descent of the Holy Spirit on the Apostles.

Marcantonio, perceiving to what honour and profit the man might aspire who should attach himself to that branch of art in Italy, determined to devote his own time thereto, and commenced his work with all possible zeal and diligence. He first began by copying those engravings thus obtained of Albert Dürer’s, carefully studying the method of each stroke, and every other particular of the prints which he had purchased, and which had obtained so much reputation by their novelty and beauty, that all were seeking to become possessors of them. Having thus imitated the wood-cuts with strong lines on a copper-plate, which he rendered as similar as possible to the work of Albert Dürer, until he had copied all the said Life and Passion of Chirst in thirty-six plates, and having added the signature used by Albert on his plates,—