Sculpture in Print, 1480–1600

Contents
Figures
Notes on Contributors
“Quanto in virtù d’una ingegnosa mano / la fermezza de’marmi ai fogli cede”: The Art of Translating Sculpture into Print. An Introduction
Part 1 Antique Sculpture
	Chapter 1 Aes Incidimus: Early Modern Engraving as Sculpture
	Chapter 2 Transferring Ancient Sculptures into Prints. Marcantonio Raimondi’s Quos Ego: Its Prototypes and Afterimages
	Chapter 3 Marcantonio Raimondi and Fragmentary Ancient Statues: Hypotheses on his Working Method and Antiquarian Practice
	Chapter 4 Cherubino Alberti’s Engravings after Polidoro da Caravaggio: from Chiaroscuro to Sculpture
	Chapter 5 From Sculpture to Print to Sculpture. Parmigianino, Caraglio and the Mystery of the Barberini Faun
Part 2 Contemporary Sculpture
	Chapter 6 The Reproduction of Sculpture as Sculpturein 16th Century Prints: Baccio Bandinelli, Giambologna, and Adriaen de Vries
	Chapter 7 The Young Baccio Bandinelli and the Role of Prints at the Beginning of a Sculptor’s Career
	Chapter 8 Considering the Viewer in Prints of Michelangelo’s Risen Christ: The Cases of Beatrizet and Matham
	Chapter 9 On the Genesis of Antonio Tempesta’s Print of Henry ii on Horseback
	Chapter 10 Sculpture’s Narrativity in Northern Renaissance Prints
	Chapter 11 Models for Sculptures in Print: Michelangelo’s Samson and Two Philistines in Lucas Kilian’s Engravings
Index