Somewhat later in date, by an engraver of the Finiguerra School, is the _Triumphal Procession of_ _Bacchus and Ariadne_, the most joyous of all Florentine engravings. The original design was attributed at one time to Botticelli; and although, as Herbert P. Horne has shown, it cannot be by this master, it is similar in style to his compositions. Whatever the immediate original, it shows marked traces of classical influences, and its motive is directly derived from antique sculpture--a sarcophagus in all probability. “The splendid design has suffered not only from the feebleness of the engraving, but also from the florid manner in which the engraver has exaggerated some of the decorative details and added others.... In spite of the feebleness of its execution it remains an incomparably greater work of art than any other print in the Fine Manner.”[2] [2] Sandro Botticelli. By Herbert P. Horne. London: George Bell & Sons. 1908. p. 84. The Fine Manner, in which all of the engravings hitherto mentioned are executed, owes its name to the method employed. The engraver has incised his outlines upon the plate--probably unbeaten copper or some even softer metal--and for his shading has employed a system of delicate strokes, laid close to one another and overlaid with two, and, at times, three, sets of cross-hatching. Such engravings, when printed, as is usually the case, in a greenish or grayish ink, give a result similar to a wash drawing. In the Broad Manner the style of engraving is based upon that of pen drawing, with open, diagonal shade strokes and without cross-hatching. The Broad Manner was finally developed by Pollaiuolo and Mantegna, who modified it by a series of delicate lines laid at an acute angle to the heavier shadings, blending the main lines into a harmonious whole.