RAIMONDI, Marcantonio ( 1470-1527 )
Quotation
Every Action must be represented as done, not only as ‘tis possible it might be perform’d, but in the Best manner. In the Print after Rafaëlle, grav’d by Marc Antonio, you see Hercules gripe Anteus with all the Advantage one can wish to have over an Adversary : […]. Daniele da Volterra has not succeeded so well in his famous Picture of the Descent from the Cross, where one of the Assistants, who stands upon a Ladder drawing out a Nail, is so disposed as is not very Natural, and Convenient for the purpose.
Quotation
[...] Ledit Marc Antoine [ndr : Marc-Antonio Raimondi] a tesmoigné par ses Œuvres qu’il estait fort exact imitateur de ses [ndr : Raphaël] Originaux, mais non pas de rechercher une grande liberté de burin, & beauté en l’ordre & arrangement des hacheures, fortifiement & affaiblissement d’icelles, suivant le pres & le loin à l’égard du Tableau ou section, ainsi au contraire tout y paroist d’une mesme force, qui est à dire comme si tout estoit en un mesme plan [...]. Cornelis Cort a tesmoigné par ces [ndr : sic] Œuvres estre un des sçavans Graveurs dont lon ait memoire, pour avoir montré par tout, estre tres-ferme & resolu en l’execution de ses Ouvrages ; Il n’a pas exprimé non plus que ceux de cy-devant, les grands Esloignements par affoiblissemens ; Mais pour ce qui est des corps à part, je les trouve paroistre ou exprimer davantage le relief [...]
Quotation
[...] Ledit Marc Antoine [ndr : Marc-Antonio Raimondi] a tesmoigné par ses Œuvres qu’il estait fort exact imitateur de ses [ndr : Raphaël] Originaux, mais non pas de rechercher une grande liberté de burin, & beauté en l’ordre & arrangement des hacheures, fortifiement & affaiblissement d’icelles, suivant le pres & le loin à l’égard du Tableau ou section, ainsi au contraire tout y paroist d’une mesme force, qui est à dire comme si tout estoit en un mesme plan [...]
Quotation
(...) in the time of Raphael Urbine flourished the renouned Marco Antonio, who graved after those incomparable pieces of that famous Painter, to whom he was so dear, that the honour he has done him to posterity will appear, so long as that School of Raphael remains in the Popes Chamber at the Vatican, or any memorial of it lasts ; though to speak truth, even of this rare Graver, the Pieces which he hath published seem to be more estimable yet for the choice and imitation, then for any perfection of the Burine ; as forming most of his figures and touches of too equal force, and by no means well observing the distances, according to the rules of Perspective, that tendernesse, and as the Italians terme it, Morbidezza, in the hatching, which is absolutely requisite to render a piece accomplish’d and without reproch.
Quotation
Every Action must be represented as done, not only as ‘tis possible it might be perform’d, but in the Best manner. In the Print after Rafaëlle, grav’d by Marc Antonio, you see Hercules gripe Anteus with all the Advantage one can wish to have over an Adversary : […]. Daniele da Volterra has not succeeded so well in his famous Picture of the Descent from the Cross, where one of the Assistants, who stands upon a Ladder drawing out a Nail, is so disposed as is not very Natural, and Convenient for the purpose.
Quotation
ESTAMPE, image qui se tire d’une planche gravée.
[...]
Estampes en taille douce, ce sont ceilent qui se tirent d’une planche gravée au burin : ce furent les premieres estampes.
Estampes à l’eau forte : Leur invention suivit de près l’origine de la Gravüre.
Les estampes à l’eau forte, se gravent avec l’aiguille & avec l’échoppe.
Quotation
The Excellence of a Print, as of a Drawing consists not particularly in the Handling ; This is but One, and even one of the Least considerable parts of it : ‘tis the Invention, the Grace, and Greatness, and those Principal things that in the first place are to be regarded. There is better Graving, a finer Burin in many Worthless Prints than in those of Marc Antonio, but those of Him that come after Raffaele are Generally more esteem’d than even those which are Grav’d by the Masters themselves ;
Quotation
Or encore que je ne face point de mention de plusieurs autres [n.d.r. graveurs] comme de Marc Anthoine, Corneille Cort, Augustin Carrace, ce n’est pas que je ne les tienne excellents graveurs, & davantage, les plus sçavants qui ayent esté dans le dessein : Mais comme j’ay dit cy-devant, je n’ay autre intention que de proposer à celui qui veut graver à l’eau forte un modele pour y faire des hacheures ou traicts bien nets & bien fermes, & quoy que Cort, & Carrace, ayent gravé net, il me semble que c’est toûjours un peu moins que ceux que j’ay nommez cy-devant.
Quotation
There are Pictures representing not one particular Story, but the History of Philosophy, of Poetry, of Divinity, the Redemption of Mankind, and the like : Such is the School of Athens, the Parnassus, the Picture in the Vatican commonly call’d the Dispute of the Sacrament, all of Rafaelle ; and the large one of Frederico Zuccaro of the Annunciation, and God the Father, with a Heaven, the Prophets, &c. Such Compositions as These being of a different nature are not subject to the same Rules with Common Historical Pictures ; but Here must be Principal, and Subordonate Figures, and Actions ; As the Plato and Aristotle in the School of Athens, the Apollo in the Parnassus, &c.
Now I have mention’d this Design, I cannot pass it over without going a little out of my way to observe some Particulars of that Admirable Group of the three Poets, Homer, Virgil, and Dante ; […].
The Figure of Homer is an admirably one, and manag’d with great propriety ; He is Group’d with others, but is nevertheless alone :
Quotation
[...] Ledit Marc Antoine [ndr : Marc-Antonio Raimondi] a tesmoigné par ses Œuvres qu’il estait fort exact imitateur de ses [ndr : Raphaël] Originaux, mais non pas de rechercher une grande liberté de burin, & beauté en l’ordre & arrangement des hacheures, fortifiement & affaiblissement d’icelles, suivant le pres & le loin à l’égard du Tableau ou section, ainsi au contraire tout y paroist d’une mesme force, qui est à dire comme si tout estoit en un mesme plan [...]
Quotation
There are Pictures representing not one particular Story, but the History of Philosophy, of Poetry, of Divinity, the Redemption of Mankind, and the like : Such is the School of Athens, the Parnassus, the Picture in the Vatican commonly call’d the Dispute of the Sacrament, all of Rafaelle ; and the large one of Frederico Zuccaro of the Annunciation, and God the Father, with a Heaven, the Prophets, &c. Such Compositions as These being of a different nature are not subject to the same Rules with Common Historical Pictures ; but Here must be Principal, and Subordonate Figures, and Actions ; As the Plato and Aristotle in the School of Athens, the Apollo in the Parnassus, &c.
Now I have mention’d this Design, I cannot pass it over without going a little out of my way to observe some Particulars of that Admirable Group of the three Poets, Homer, Virgil, and Dante ; […].
The Figure of Homer is an admirably one, and manag’d with great propriety ; He is Group’d with others, but is nevertheless alone :
Quotation
Or encore que je ne face point de mention de plusieurs autres [n.d.r. graveurs] comme de Marc Anthoine, Corneille Cort, Augustin Carrace, ce n’est pas que je ne les tienne excellents graveurs, & davantage, les plus sçavants qui ayent esté dans le dessein : Mais comme j’ay dit cy-devant, je n’ay autre intention que de proposer à celui qui veut graver à l’eau forte un modele pour y faire des hacheures ou traicts bien nets & bien fermes, & quoy que Cort, & Carrace, ayent gravé net, il me semble que c’est toûjours un peu moins que ceux que j’ay nommez cy-devant.
Quotation
[...] Ledit Marc Antoine [ndr : Marc-Antonio Raimondi] a tesmoigné par ses Œuvres qu’il estait fort exact imitateur de ses [ndr : Raphaël] Originaux, mais non pas de rechercher une grande liberté de burin, & beauté en l’ordre & arrangement des hacheures, fortifiement & affaiblissement d’icelles, suivant le pres & le loin à l’égard du Tableau ou section, ainsi au contraire tout y paroist d’une mesme force, qui est à dire comme si tout estoit en un mesme plan [...] [...] Chérubin Albert [ndr : Cherubino Alberti] a eu aussi bien que d’autres, plus de talent au dessein, qu’à la netteté & egalité des hacheures [...]. Augustin Carrache, estoit aussi extremement sçavant, & mesme avoit une tres belle conduite de hacheure [...] Le Villamene a eu à mon sens une grande egalité d’hacheures, liberté, franchise & netteté au maniment du burin, & grand agreément ; [...] [...] le digne Svanebourg [ndr : Swanenburg], dont plusieurs de ses Ouvrages me ravissent, par la grande netteté, tendresse & belle conduite des hachures qui s’y voyent, notamment en quelques Stampes qu’il a faites sur les Desseins de Bloemard et de Rubens. [...]
Quotation
(...) in the time of Raphael Urbine flourished the renouned Marco Antonio, who graved after those incomparable pieces of that famous Painter, to whom he was so dear, that the honour he has done him to posterity will appear, so long as that School of Raphael remains in the Popes Chamber at the Vatican, or any memorial of it lasts ; though to speak truth, even of this rare Graver, the Pieces which he hath published seem to be more estimable yet for the choice and imitation, then for any perfection of the Burine ; as forming most of his figures and touches of too equal force, and by no means well observing the distances, according to the rules of Perspective, that tendernesse, and as the Italians terme it, Morbidezza, in the hatching, which is absolutely requisite to render a piece accomplish’d and without reproch.
Quotation
[...] Ledit Marc Antoine [ndr : Marc-Antonio Raimondi] a tesmoigné par ses Œuvres qu’il estait fort exact imitateur de ses [ndr : Raphaël] Originaux, mais non pas de rechercher une grande liberté de burin, & beauté en l’ordre & arrangement des hacheures, fortifiement & affaiblissement d’icelles, suivant le pres & le loin à l’égard du Tableau ou section, ainsi au contraire tout y paroist d’une mesme force, qui est à dire comme si tout estoit en un mesme plan [...]
Quotation
(...) in the time of Raphael Urbine flourished the renouned Marco Antonio, who graved after those incomparable pieces of that famous Painter, to whom he was so dear, that the honour he has done him to posterity will appear, so long as that School of Raphael remains in the Popes Chamber at the Vatican, or any memorial of it lasts ; though to speak truth, even of this rare Graver, the Pieces which he hath published seem to be more estimable yet for the choice and imitation, then for any perfection of the Burine ; as forming most of his figures and touches of too equal force, and by no means well observing the distances, according to the rules of Perspective, that tendernesse, and as the Italians terme it, Morbidezza, in the hatching, which is absolutely requisite to render a piece accomplish’d and without reproch.
Quotation
Every Action must be represented as done, not only as ‘tis possible it might be perform’d, but in the Best manner. In the Print after Rafaëlle, grav’d by Marc Antonio, you see Hercules gripe Anteus with all the Advantage one can wish to have over an Adversary : […]. Daniele da Volterra has not succeeded so well in his famous Picture of the Descent from the Cross, where one of the Assistants, who stands upon a Ladder drawing out a Nail, is so disposed as is not very Natural, and Convenient for the purpose.
Quotation
(...) in the time of Raphael Urbine flourished the renouned Marco Antonio, who graved after those incomparable pieces of that famous Painter, to whom he was so dear, that the honour he has done him to posterity will appear, so long as that School of Raphael remains in the Popes Chamber at the Vatican, or any memorial of it lasts ; though to speak truth, even of this rare Graver, the Pieces which he hath published seem to be more estimable yet for the choice and imitation, then for any perfection of the Burine ; as forming most of his figures and touches of too equal force, and by no means well observing the distances, according to the rules of Perspective, that tendernesse, and as the Italians terme it, Morbidezza, in the hatching, which is absolutely requisite to render a piece accomplish’d and without reproch.
Quotation
Every Action must be represented as done, not only as ‘tis possible it might be perform’d, but in the Best manner. In the Print after Rafaëlle, grav’d by Marc Antonio, you see Hercules gripe Anteus with all the Advantage one can wish to have over an Adversary : […]. Daniele da Volterra has not succeeded so well in his famous Picture of the Descent from the Cross, where one of the Assistants, who stands upon a Ladder drawing out a Nail, is so disposed as is not very Natural, and Convenient for the purpose.
Quotation
Or encore que je ne face point de mention de plusieurs autres [n.d.r. graveurs] comme de Marc Anthoine, Corneille Cort, Augustin Carrace, ce n’est pas que je ne les tienne excellents graveurs, & davantage, les plus sçavants qui ayent esté dans le dessein : Mais comme j’ay dit cy-devant, je n’ay autre intention que de proposer à celui qui veut graver à l’eau forte un modele pour y faire des hacheures ou traicts bien nets & bien fermes, & quoy que Cort, & Carrace, ayent gravé net, il me semble que c’est toûjours un peu moins que ceux que j’ay nommez cy-devant.
Quotation
The Excellence of a Print, as of a Drawing consists not particularly in the Handling ; This is but One, and even one of the Least considerable parts of it : ‘tis the Invention, the Grace, and Greatness, and those Principal things that in the first place are to be regarded. There is better Graving, a finer Burin in many Worthless Prints than in those of Marc Antonio, but those of Him that come after Raffaele are Generally more esteem’d than even those which are Grav’d by the Masters themselves ;
Quotation
(...) in the time of Raphael Urbine flourished the renouned Marco Antonio, who graved after those incomparable pieces of that famous Painter, to whom he was so dear, that the honour he has done him to posterity will appear, so long as that School of Raphael remains in the Popes Chamber at the Vatican, or any memorial of it lasts ; though to speak truth, even of this rare Graver, the Pieces which he hath published seem to be more estimable yet for the choice and imitation, then for any perfection of the Burine ; as forming most of his figures and touches of too equal force, and by no means well observing the distances, according to the rules of Perspective, that tendernesse, and as the Italians terme it, Morbidezza, in the hatching, which is absolutely requisite to render a piece accomplish’d and without reproch.
Quotation
(...) in the time of Raphael Urbine flourished the renouned Marco Antonio, who graved after those incomparable pieces of that famous Painter, to whom he was so dear, that the honour he has done him to posterity will appear, so long as that School of Raphael remains in the Popes Chamber at the Vatican, or any memorial of it lasts ; though to speak truth, even of this rare Graver, the Pieces which he hath published seem to be more estimable yet for the choice and imitation, then for any perfection of the Burine ; as forming most of his figures and touches of too equal force, and by no means well observing the distances, according to the rules of Perspective, that tendernesse, and as the Italians terme it, Morbidezza, in the hatching, which is absolutely requisite to render a piece accomplish’d and without reproch.
Quotation
Or encore que je ne face point de mention de plusieurs autres [n.d.r. graveurs] comme de Marc Anthoine, Corneille Cort, Augustin Carrace, ce n’est pas que je ne les tienne excellents graveurs, & davantage, les plus sçavants qui ayent esté dans le dessein : Mais comme j’ay dit cy-devant, je n’ay autre intention que de proposer à celui qui veut graver à l’eau forte un modele pour y faire des hacheures ou traicts bien nets & bien fermes, & quoy que Cort, & Carrace, ayent gravé net, il me semble que c’est toûjours un peu moins que ceux que j’ay nommez cy-devant.
Quotation
Or encore que je ne face point de mention de plusieurs autres [n.d.r. graveurs] comme de Marc Anthoine, Corneille Cort, Augustin Carrace, ce n’est pas que je ne les tienne excellents graveurs, & davantage, les plus sçavants qui ayent esté dans le dessein : Mais comme j’ay dit cy-devant, je n’ay autre intention que de proposer à celui qui veut graver à l’eau forte un modele pour y faire des hacheures ou traicts bien nets & bien fermes, & quoy que Cort, & Carrace, ayent gravé net, il me semble que c’est toûjours un peu moins que ceux que j’ay nommez cy-devant.
Quotation
[...] Ledit Marc Antoine [ndr : Marc-Antonio Raimondi] a tesmoigné par ses Œuvres qu’il estait fort exact imitateur de ses [ndr : Raphaël] Originaux, mais non pas de rechercher une grande liberté de burin, & beauté en l’ordre & arrangement des hacheures, fortifiement & affaiblissement d’icelles, suivant le pres & le loin à l’égard du Tableau ou section, ainsi au contraire tout y paroist d’une mesme force, qui est à dire comme si tout estoit en un mesme plan [...]. Cornelis Cort a tesmoigné par ces [ndr : sic] Œuvres estre un des sçavans Graveurs dont lon ait memoire, pour avoir montré par tout, estre tres-ferme & resolu en l’execution de ses Ouvrages ; Il n’a pas exprimé non plus que ceux de cy-devant, les grands Esloignements par affoiblissemens ; Mais pour ce qui est des corps à part, je les trouve paroistre ou exprimer davantage le relief [...]
Quotation
[...] Ledit Marc Antoine [ndr : Marc-Antonio Raimondi] a tesmoigné par ses Œuvres qu’il estait fort exact imitateur de ses [ndr : Raphaël] Originaux, mais non pas de rechercher une grande liberté de burin, & beauté en l’ordre & arrangement des hacheures, fortifiement & affaiblissement d’icelles, suivant le pres & le loin à l’égard du Tableau ou section, ainsi au contraire tout y paroist d’une mesme force, qui est à dire comme si tout estoit en un mesme plan [...] [...] Chérubin Albert [ndr : Cherubino Alberti] a eu aussi bien que d’autres, plus de talent au dessein, qu’à la netteté & egalité des hacheures [...]. Augustin Carrache, estoit aussi extremement sçavant, & mesme avoit une tres belle conduite de hacheure [...] Le Villamene a eu à mon sens une grande egalité d’hacheures, liberté, franchise & netteté au maniment du burin, & grand agreément ; [...] [...] le digne Svanebourg [ndr : Swanenburg], dont plusieurs de ses Ouvrages me ravissent, par la grande netteté, tendresse & belle conduite des hachures qui s’y voyent, notamment en quelques Stampes qu’il a faites sur les Desseins de Bloemard et de Rubens. [...]
Quotation
(...) in the time of Raphael Urbine flourished the renouned Marco Antonio, who graved after those incomparable pieces of that famous Painter, to whom he was so dear, that the honour he has done him to posterity will appear, so long as that School of Raphael remains in the Popes Chamber at the Vatican, or any memorial of it lasts ; though to speak truth, even of this rare Graver, the Pieces which he hath published seem to be more estimable yet for the choice and imitation, then for any perfection of the Burine ; as forming most of his figures and touches of too equal force, and by no means well observing the distances, according to the rules of Perspective, that tendernesse, and as the Italians terme it, Morbidezza, in the hatching, which is absolutely requisite to render a piece accomplish’d and without reproch.
Quotation
The Excellence of a Print, as of a Drawing consists not particularly in the Handling ; This is but One, and even one of the Least considerable parts of it : ‘tis the Invention, the Grace, and Greatness, and those Principal things that in the first place are to be regarded. There is better Graving, a finer Burin in many Worthless Prints than in those of Marc Antonio, but those of Him that come after Raffaele are Generally more esteem’d than even those which are Grav’d by the Masters themselves ;
Quotation
Every Action must be represented as done, not only as ‘tis possible it might be perform’d, but in the Best manner. In the Print after Rafaëlle, grav’d by Marc Antonio, you see Hercules gripe Anteus with all the Advantage one can wish to have over an Adversary : […]. Daniele da Volterra has not succeeded so well in his famous Picture of the Descent from the Cross, where one of the Assistants, who stands upon a Ladder drawing out a Nail, is so disposed as is not very Natural, and Convenient for the purpose.
Quotation
There are Pictures representing not one particular Story, but the History of Philosophy, of Poetry, of Divinity, the Redemption of Mankind, and the like : Such is the School of Athens, the Parnassus, the Picture in the Vatican commonly call’d the Dispute of the Sacrament, all of Rafaelle ; and the large one of Frederico Zuccaro of the Annunciation, and God the Father, with a Heaven, the Prophets, &c. Such Compositions as These being of a different nature are not subject to the same Rules with Common Historical Pictures ; but Here must be Principal, and Subordonate Figures, and Actions ; As the Plato and Aristotle in the School of Athens, the Apollo in the Parnassus, &c.
Now I have mention’d this Design, I cannot pass it over without going a little out of my way to observe some Particulars of that Admirable Group of the three Poets, Homer, Virgil, and Dante ; […].
The Figure of Homer is an admirably one, and manag’d with great propriety ; He is Group’d with others, but is nevertheless alone :
Quotation
There are Pictures representing not one particular Story, but the History of Philosophy, of Poetry, of Divinity, the Redemption of Mankind, and the like : Such is the School of Athens, the Parnassus, the Picture in the Vatican commonly call’d the Dispute of the Sacrament, all of Rafaelle ; and the large one of Frederico Zuccaro of the Annunciation, and God the Father, with a Heaven, the Prophets, &c. Such Compositions as These being of a different nature are not subject to the same Rules with Common Historical Pictures ; but Here must be Principal, and Subordonate Figures, and Actions ; As the Plato and Aristotle in the School of Athens, the Apollo in the Parnassus, &c.
Now I have mention’d this Design, I cannot pass it over without going a little out of my way to observe some Particulars of that Admirable Group of the three Poets, Homer, Virgil, and Dante ; […].
The Figure of Homer is an admirably one, and manag’d with great propriety ; He is Group’d with others, but is nevertheless alone :
Quotation
ESTAMPE, image qui se tire d’une planche gravée.
[...]
Estampes en taille douce, ce sont ceilent qui se tirent d’une planche gravée au burin : ce furent les premieres estampes.
Estampes à l’eau forte : Leur invention suivit de près l’origine de la Gravüre.
Les estampes à l’eau forte, se gravent avec l’aiguille & avec l’échoppe.