Chapter 2 Transferring Ancient Sculptures into Prints. Marcantonio Raimondi’s Quos Ego: Its Prototypes and Afterimages
In: Sculpture in Print, 1480–1600Search for other papers by Gudrun Knaus in
Current site
Google Scholar
PubMed
Purchase instant access (PDF download and unlimited online access):
Abstract
This text provides a stylistic analysis of Marcantonio Raimondi’s engraving Quos Ego, designed by Raphael, ascribing two preparatory drawings from the Chatsworth collection – Aeneas escorted by Dido to the banquet as well as Dido receiving the Trojans to Raimondi himself. Further, it is argued that Raimondi contributed to the final design of the relief-like panels on the left and right of the plate, since he was well trained in translating antique stone reliefs into engravings as can be seen in his prints after the Arch of Constantine and several Roman sarcophagi. This conclusion is determined through an examination of the stylistic differences between the central and peripheral panels. While the central image of Neptune is a persuasive depiction of a powerful god, and hence created by Raphael, the peripheral panels portray sculpted figures in flat backgrounds akin to antique relief sculptures – a trait typical of Raimondi’s engraving style.