Stress has been laid upon the influence exerted by Jacopo upon Dürer’s engraving; but with the exception of the _Apollo and Diana_ this influence is theoretical rather than artistic. Dürer, in one of the manuscript sketches, dated 1523, for his book _The Theory of Human Proportions_, writes: “Howbeit, I can find none such who hath written aught about how to form a canon of human proportion, save one man--Jacopo by name, born at Venice, and a charming painter. He showed me the figures of a man and a woman, which he had drawn according to a canon of proportions, so that, at that time, I would rather have seen what he meant than be shown a new kingdom.... Then, however, I was still young and had not heard of such things before. Howbeit, I was very fond of art, so I set myself to discover how such a canon might be wrought out.” Dürer undoubtedly refers to the period of his first visit to Venice, and it is, accordingly, in Dürer’s earliest plates that we see most clearly the influence of the older master on his technical method. Dürer soon outstripped Jacopo in everything that pertains to the technical side of engraving and worked out for himself a method which, for his purpose, was substantially perfect. [Illustration: JACOPO DE’ BARBARI. APOLLO AND DIANA Size of the original engraving, 5¾ × 3⅞ inches. In the Museum of Fine Arts, Boston] [Illustration: JACOPO DE’ BARBARI. ST. CATHERINE Size of the original engraving, 7⅛ × 4⅝ inches In the British Museum] In such plates as _Judith_ and _St. Catherine_, Jacopo’s love for long, flowing lines finds its fullest expression. There is a grace about these single figures which is not without appealing charm, though obviously they leave something to be desired on the score of solidity and structure. GIROLAMO MOCETTO, born in Murano before 1458, was living at Venice in 1514, where he died after 1531. According to Vasari, Mocetto was, at some time, an assistant to Giovanni Bellini, whose influence may be traced in his work. His engravings are unpleasing in style and often clumsy in draughtsmanship. He owes such merit as he may possess to the originals which he interpreted. There is a compelling power in _Judith_, after Mantegna’s design, which atones for even so shapeless a member as Judith’s right hand. The grandeur of the plate is, however, derived from Mantegna. Mocetto has done little more than traduce it; but, even so, the engraving is noteworthy, inasmuch as it preserves for us a noble composition, of which otherwise we might remain in ignorance. The _Baptism of Christ_ is adapted, with some modifications, from Giovanni Bellini’s painting executed between 1500 and 1510. In the engraving, the landscape, which differs radically from that in Bellini’s painting, may possibly be original with Mocetto, though it recalls the work of Cima, whose _Baptism_, in S. Giovanni in Bragora, Venice, was painted in 1494.