. Incisione e incisione : un manuale per l'uso di studenti e collezionisti di stampe . Fig. 65. Hcndrick Goltzius : Portraitof Niquet (dettaglio). 144 INCISIONE NEI PAESI BASSI ad un eccesso di eccentricità. A volte questi piatti sono incisi dopo Martin de Vos, Primaticcio, strada, e altri; a volte sono la sua composizione. E solo l'esecuzione tecnica, la bravura con cui si dimezza il rame in modo pulito, forte, e con la massima facilità concepibile, thatgives loro lastingvalue a questi platesby Goltzius. Goltzius ha fornito in-spiration ad un numero di artisti, che werepartly suo

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. Engraving and etching : a handbook for the use of students and print collectors . Fig. 65. Hcndrick Goltzius : Portraitof Niquet (detail). 144 ENGRAVING IN THE LOW COUNTRIES to an excess of eccentricity. Sometimes these platesare engraved after Martin de Vos, Primaticcio, Strada, and others ; sometimes they are his own composition. Itis only the technical execution, the bravura with which hecuts the copper cleanly, strongly, and with the greatest conceivable ease, thatgives their lastingvalue to these platesby Goltzius. Goltzius supplied in-spiration to a numberof artists, who werepartly his pupils, andpartly engraved fromhis designs. Amongthe first to follow himmost closely in greattechnical skill wereJacob Matham(i57i —1631) and Jan Saenre-dam (1565—1607). Another pupil ofGoltzius was Jacob deGheyn (the Elder), whose technique wasfine, and who producedprints, sometimes with. Fig. 66. Jan Saenredam . Ceres (detail). unpleasant mannerisms, sometimes spirited and interest-ing. How much of these was the work of his son, whobore the same name and was an accomplished draughts-man, remains undecided. Jan Muller, another pupil of Goltzius (working from1598 to 1625), comes very near to his master in dashing CRISPIN DE PASSE 145 vigour of technique. In his engravings after Spranger, deVries, and similar masters he seems scarcely able to satisfyhis love of bold and sweeping, though inexpressive, lines.It is noteworthy that he had the gift of copying Aldegreverand Lucas van Leyden, and at the same time of findingthe exact means of expression on the copper plate for apainting by Rubens, as, for example, in his two fineportraits of the Archduke Albrecht and his wife. Mulleralso engraved a series of plates from his own designs, which are not particularly original. Contemporary with the School of Goltzius, AbrahamBloemaert (of Utrecht, 1564—1651) is another engraver ofi

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• bookcentury1900
• bookdecade1900