According to Vasari, it was the _Death of Lucretia_, engraved shortly after Marcantonio’s arrival in Rome, about 1510, after a drawing by Raphael, which attracted the attention of that master and showed him how much he might benefit by the reproduction of his work. One would be inclined to think that the _Death of Dido_ rather than the _Death of Lucretia_ might have been the means of bringing about this artistic collaboration; for, if Vasari is correct, the immediate result of Raphael’s personal influence upon Marcantonio was harmful rather than helpful, the _Lucretia_ by general consent being the finer plate of the two. It is significant that none of Marcantonio’s engravings interprets any existing painting by Raphael. We may infer that the engraver worked entirely after drawings supplied to him by Raphael--either drawings made for the purpose of being interpreted in terms of engraving, or the original studies for paintings, which, in their elaboration, were subjected to many modifications and changes. Among his most interesting engravings are _Saint Cecilia_, which may be compared, or rather contrasted, with the famous painting in Bologna; the _Virgin and Child in the Clouds_, which later appears as the _Madonna di Foligno_; and _Poetry_, based on a study by Raphael for the fresco in the Camera della Segnatura, in the Vatican. The _Massacre of the Innocents_, usually accounted the engraver’s masterpiece, is one of several subjects of which two plates exist. Authorities disagree as to which is the “original,” but some familiarity with both versions leads one to think that Marcantonio may well have been his own interpreter. At least one cannot name certainly any other engraver capable of producing either of the two versions of the _Massacre of the Innocents_, in point of drawing or of technique. Among Marcantonio’s portrait plates one of the most attractive is that of _Philotheo Achillini_ (“The Guitar Player”), which is in his early manner and probably dates from his Bolognese period. It may be based upon a drawing by Francia, but the trees and distant landscape all show markedly the influence of Dürer. [Illustration: MARCANTONIO RAIMONDI. PHILOTHEO ACHILLINI (“The Guitar Player”) Size of the original engraving, 7¼ × 5¼ inches In the Museum of Fine Arts, Boston] [Illustration: MARCANTONIO RAIMONDI. PIETRO ARETINO Size of the original engraving, 7⅜ × 5⅞ inches In the British Museum] To a much later period, and engraved in Marcantonio’s most mature manner, belongs the portrait of _Pietro Aretino_. Vasari refers to this plate as “engraved from life,” but its richness and color would seem to point to an original by Titian or Sebastiano del Piombo.