the hat of the King to the right, which lies on the ground, is copied in reverse from Schongauer’s _Adoration_, and that the _Allegory of the Power of Love_, one of Robetta’s most charming subjects, is engraved upon the reverse side of the plate of the _Adoration of the Magi_, the copper-plate itself being now in the Print Room of the British Museum. Whether the _Allegory of Abundance_ is entirely Robetta’s, or whether the design was suggested by another master’s painting or drawing, can be only a matter of conjecture. It shows, however, so many of the characteristics which we associate with his work that we may give him the benefit of the doubt and consider him as its “onlie begetter.” [Illustration: CRISTOFANO ROBETTA. ADORATION OF THE MAGI Size of the original engraving, 11⅝ × 11 inches In the Museum of Fine Arts, Boston] [Illustration: ANTONIO POLLAIUOLO. BATTLE OF NAKED MEN Size of the original engraving, 15¾ × 23½ inches In the Museum of Fine Arts, Boston] _Hercules and the Hydra_ and _Hercules and Antæus_ show so markedly the influence of Pollaiuolo that we may conclude them to have been taken from the two small panels in the Uffizi; though, in the case of the first named, Pollaiuolo’s original sketch, now in the British Museum, may also have served Robetta. Whether POLLAIUOLO based his technical method upon that of Mantegna and his School, or whether Mantegna’s own engravings were inspired by his Florentine contemporary, is an interesting, but thus far unanswered, question. Pollaiuolo’s one print, the _Battle of Naked Men_, is engraved in the Broad Manner, somewhat modified by the use of a light stroke laid at an acute angle between the parallels. The outlines of the figures are strongly incised; while the treatment of the background lends color to the supposition that, in his youth, Pollaiuolo engraved in niello, as well as furnished designs to be executed by Finiguerra and his School. In this masterpiece the artist has summed up his knowledge of the human form, and has expressed, in a more convincing and vigorous measure than has any other engraver in the history of the art, the strain and stress of violent motion and the fury of combat.