Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 3.djvu/501

Rh this A. D., namely—he produced the most faithful similitude of his subjects, insomuch that, as no one knew them to be done by Marcantonio, they were supposed to be by Albert Dürer himself, as whose works they were accordingly bought and sold.

When intelligence of this thing was written to Flanders, and one of the counterfeit plates by Marcantonio was at the same time time sent to Albert, the latter fell into a most violent rage, and leaving Flanders he at once repaired to Venice. Here he had recourse to the Signoria, and made his complaint against Marcantonio, but could obtain nothing beyond the command that Marcantonio should no longer affix to his works the name or signature aforesaid of Albert Dürer. After this, Marcantonio repaired to Rome, where he devoted all his attention to design, and Albert returned to Flanders, where he found another competitor who had already commenced the execution of engravings, very delicately finished, in competition with his own manner. This was Luca of Holland, who, although not possessed of similar force in design with Albert Dürer, yet equalled him on many points in the use of the burin.

Among the large and beautiful works produced by Luca were two in a round form, which he published in the year 1509, and in one of which is Our Saviour Christ bearing his Cross, in the other his Crucifixion, He afterwards sent forth a figure of Samson, with one of David on horseback, and a St. Peter the Martyr, with his persecutors and tormentors. He likewise produced a copper-plate engraving of King Saul, in a seated position, with David, as a youth, playing on the harp, near him. No long time after this, having