Sculpture in Print, 1480–1600

List of 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  Anne Bloemacher, Mandy Richter and Marzia Faietti Part 1: Antique Sculpture 1 Aes Incidimus: Early Modern Engraving as Sculpture  Madeleine C. Viljoen 2 Transferring Ancient Sculptures into Prints. Marcantonio Raimondi’s “Quos Ego”: Its Prototypes and Afterimages  Gudrun Knaus 3 Marcantonio Raimondi and Fragmentary Ancient Statues: Hypotheses on His Working Method and Antiquarian Practice  Mandy Richter 4 Cherubino Alberti’s Engravings after Polidoro da Caravaggio: from Chiaroscuro to Sculpture  Maria Gabriella Matarazzo 5 From Sculpture to Print to Sculpture. Parmigianino, Caraglio and the Mystery of the Barberini Faun  Marzia Faietti Part 2: Contemporary Sculpture 6 The Reproduction of Sculpture as Sculpture in 16th Century Prints: Baccio Bandinelli, Giambologna, and Adriaen de Vries  Anne Bloemacher 7 The Young Baccio Bandinelli and the Role of Prints at the Beginning of a Sculptor’s Career  Angelika Marinovic 8 Considering the Viewer in Prints of Michelangelo’s Risen Christ: The Cases of Beatrizet and Matham  Bernadine Barnes 9 On the Genesis of Antonio Tempesta’s Print of Henry ii on Horseback  Claudia Echinger-Maurach 10 Sculpture’s Narrativity in Northern Renaissance Prints  Franciszek Skibiński 11 Models for Sculptures in Print: Michelangelo’s Samson and Two Philistines in Lucas Kilian’s Engravings  Claudia Echinger-Maurach Index