the Pontiff perceived not only that Marcantonio had committed no fault, but that he had even with great judgment corrected many, and of no small importance, which had been committed by the sculptor himself; proving, in fact, that he was a more competent master of engraving than Baccio of design, since the imitation was a work of higher merit than the model.
Pope Clement thereupon commended Marcantonio greatly, and ever afterwards received him very graciously; it is even believed that he would have shown him many favours had it not been for the plunder of Rome, which took place shortly after: Marcantonio then became little less than a beggar, for besides losing all that he possessed, he was compelled to disburse a good ransom, as the only means of liberating himself from the hands of the Spaniards. Having effected this he departed from Rome, to which city he never returned more; nor are there many works now to be found which can be authenticated as having been executed by this artist after the time we now speak of. Our arts, meanwhile, are deeply indebted to Marcantonio, since it was by him that the first plates engraved in Italy were executed, and this introduction was much to the advantage of Art, as well as to the convenience and profit of all who exercise the same; for by this others have since been enabled to execute works of which we shall speak more at large below.
Agostino Yeneziano, of whom we have before made mention, repaired to Florence, after the circumstances related above, with the intention of attaching himself to Andrea del Sarto, who, after Raphael, was considered one of the best painters in Italy. Persuaded by Agostino to permit his works to be engraved, Andrea did accordingly design a figure of the Dead Christ supported by three Angels, as the subject of the first attempt; but this not succeeding exactly as he would have had it to do, he would never afterwards consent to have any of his paintings engraved. It is true that on the death of Andrea, his Visitation of Our Lady to Sant’ Rlizabetta was published by others, as was also the' picture of San Giovanni baptizing the people, both engravings being taken from the chiaro-scuro in the church of the Barefooted Friars at Florence.
Marco di Ravenna, likewise, in addition to the works
