_St. John the Baptist_ is, all things considered, Campagnola’s masterpiece. The figure is unquestionably based upon a drawing by Mantegna, and has all the largeness and grandeur of style which characterizes the work of that master. The landscape background may be original with the engraver but it clearly shows the influence of Giorgione. In this superb plate Campagnola’s method of combining line work with delicate flick work can be studied at its best. The _Young Shepherd_, known in two states--the first in pure line, the second completed with flick work--is as charming and graceful as _St. John the Baptist_ is monumental. It justly deserves the reputation and popularity which it enjoys among print lovers. _Christ and the Woman of Samaria_ is treated in a more open manner than either of the two preceding engravings. The beautiful landscape, as also the hill to the left, is entirely in line, while the flick work upon the figures and garments and, even more noticeably, in the foreground to the right, is of a more open character than that which appears in the _Young Shepherd_. It may belong to the latter part of Campagnola’s career as an engraver. There is an amplitude in the design of the seated woman which suggests Giorgione and Palma, though one cannot definitely name any painting by either of these masters from which Campagnola has borrowed his figure. [Illustration: GIULIO CAMPAGNOLA. ST. JOHN THE BAPTIST Size of the original engraving, 13⅝ × 9½ inches In the Museum of Fine Arts, Boston] [Illustration: GIULIO AND DOMENICO CAMPAGNOLA. SHEPHERDS IN A LANDSCAPE Size of the original engraving, 5¼ × 10⅛ inches In the Museum of Fine Arts, Boston] The last of Campagnola’s plates, left unfinished at his death and completed by DOMENICO CAMPAGNOLA, is _Shepherds in a Landscape_ or, as it is sometimes called, the _Musical Shepherds_. The original drawing, in reverse, for the right-hand half of this print is in the Louvre. It is unquestionably by Giulio Campagnola; but, equally without question, the left-hand portion of the engraving itself is by Domenico. Whether Domenico was a close relative or merely a pupil of Giulio’s has not been determined; but the _Shepherds in a Landscape_ conclusively proves that he was at least the artistic heir of the older master. Domenico’s style is in marked contrast to that of Giulio. Flick work is almost absent from his engravings, which are executed in rather open lines, more in the mode of an etcher than of an engraver working according to established tradition. The skies, in particular, have a romantic quality which is all their own, and which can be seen to advantage in the _Shepherd and the Old Warrior_, dated 1517.