BENEDETTO MONTAGNA was, like Mocetto, painter as well as engraver. His earliest engravings are executed in a large, open manner, which can be seen to advantage in the _Sacrifice of Abraham_. The outline is strongly defined and the shading chiefly in parallel lines. Where cross-hatching is used, it is laid generally at right angles. Later, Montagna modifies his style and adopts the finer system of cross-hatching perfected by Dürer, whose influence, especially in the backgrounds, is clearly to be traced, and whose _Nativity_, of the year 1504, Montagna copied in reverse. _St. Jerome Beneath an Arch of Rock_ belongs to this later period, and the plate is probably based upon a painting by Bartolommeo Montagna, the engraver’s father. GIULIO CAMPAGNOLA, born at Padua about 1482, is known to have been working in Venice in 1507 and is assumed to have died shortly after 1514. According to contemporary accounts, he was a youth of marvellously precocious and varied gifts and promise. To his musical and literary accomplishments, he added those of painter, miniaturist, engraver, and sculptor. [Illustration: GIULIO CAMPAGNOLA. CHRIST AND THE WOMAN OF SAMARIA Size of the original engraving, 5⅛ × 7¼ inches In the Museum of Fine Arts, Boston] [Illustration: GIULIO CAMPAGNOLA. GANYMEDE (First State) Size of the original engraving, 6⅜ × 4⅞ inches In the Museum of Fine Arts, Boston] His engravings betray markedly the influence of Giorgione, and his manner of engraving may have been an attempt to imitate the rich softness of that master’s painting. He worked out and perfected a technical system all his own. In his earliest manner he works in pure line, as in his copies of Dürer’s engravings and in such plates as the _Old Shepherd_ and _St. Jerome_. In the _Young Shepherd_, the _Astrologer_, and _Christ and the Woman of Samaria_, the composition is first engraved in simple, open lines, with little cross-hatching. The plate is then carried forward and completed by a system of delicate flicks, so disposed as to produce a harmonious result, obliterating substantially all trace of the preliminary line work. In the third group, to which two prints belong--_Naked Woman Reclining_ and _The Stag_--no lines at all are used, and the plate is carried out, from first to last, in flick work. Only one of Campagnola’s plates is dated--the _Astrologer_, of 1509. In this he shows himself ripe, both as artist and as craftsman. To an earlier period would seem to belong the _Ganymede_, in which the landscape is a faithful copy of Dürer’s engraving of the _Virgin and Child with a Monkey_. The place which, in the original engraving, was occupied by the Virgin, is now filled by a clump of trees.