While Francesco Francia was working at his painting in Bologna, there was among his many disciples a young man called Marc' Antonio, who, being more gifted than the others, was much brought forward by him, and, from having been many years with Francia and greatly beloved by him, acquired the surname of De' Franci. This Marc' Antonio, who was more able in design than his master, handled the burin with facility and grace, and executed in niello girdles and many other things much in favour at that time, which were very beautiful, for the reason that he was indeed most excellent in that profession. Having then been seized, as happens to many, with a desire to go about the world and see new things and the methods of other craftsmen, with the gracious leave of Francia he went off to Venice, where he was well received by the craftsmen of that city. About the same time there arrived in Venice some Flemings with many copper-plate engravings and woodcuts by Albrecht Duerer, which were seen by Marc' Antonio on the Piazza di S. Marco; and he was so amazed at the manner and method of the work of Albrecht, that he spent on those sheets almost all the money that he had brought from Bologna. Among other things, he bought the Passion of Jesus Christ, which had been engraved on thirty-six wood-blocks and printed not long before on sheets of quarter-folio by the same Albrecht. This work began with the Sin of Adam and the scene of the Angel expelling him from Paradise, and continued down to the Descent of the Holy Spirit. Marc' Antonio, having considered what honour and profit might be acquired by one who should apply himself to that art in Italy, formed the determination to give his attention to it with all possible assiduity and diligence. He thus began to copy those engravings by Albrecht Duerer, studying the manner of each stroke and every other detail of the prints that he had bought, which were held in such estimation on account of their novelty and their beauty, that everyone sought to have some. Having then counterfeited on copper, with engraving as strong as that of the woodcuts that Albrecht had executed, the whole of the said Life and Passion of Christ in thirty-six parts, he added to these the signature that Albrecht used for all his works, which was "A.D.," and they proved to be so similar in manner, that, no one knowing that they had been executed by Marc' Antonio, they were ascribed to Albrecht, and were bought and sold as works by his hand. News of this was sent in writing to Albrecht, who was in Flanders, together with one of the counterfeit Passions executed by Marc' Antonio; at which he flew into such a rage that he left Flanders and went to Venice, where he appeared before the Signoria and laid a complaint against Marc' Antonio. But he could obtain no other satisfaction but this, that Marc' Antonio should no longer use the name or the above-mentioned signature of Albrecht on his works. [Illustration: S. JEROME IN HIS STUDY