hat had ever been engraved up to that time--full of
women clothed, and of naked men who are slaughtering the little
innocents by command of King Herod.

Marc' Antonio, meanwhile, continuing to work at engraving, executed some
plates with small figures of the twelve Apostles, in various manners,
and many Saints, both male and female, to the end that the poor painters
who were weak in design might be able to avail themselves of these in
their need. He also engraved a nude young man, who has a lion at his
feet, and is seeking to furl a large banner, which is swollen out by the
wind in a direction contrary to his purpose; another who is carrying a
pedestal on his back; and a little S. Jerome who is meditating on death,
placing a finger in the hollow of a skull that he has in his hand, the
invention and design of which were by Raffaello. Then he executed a
figure of Justice, which he copied from the tapestries of the Chapel;
and afterwards an Aurora, drawn by two horses, on which the Hours are
placing bridles. He also copied the Three Graces from the antique; and
he engraved a scene of Our Lady ascending the steps of the Temple.

After these things, Giulio Romano, who in his modesty would never have
any of his works engraved during the lifetime of his master Raffaello,
lest he should seem to wish to compete with him, caused Marc' Antonio,
after the death of Raffaello, to engrave two most beautiful battles of
horsemen on plates of some size, and all the stories of Venus, Apollo,
and Hyacinthus, which he had painted in the bathroom that is at the
villa of Messer Baldassarre Turini da Pescia. And he did the same with
the four stories of the Magdalene and the four Evangelists that are in
the vaulting of the chapel of the Trinita, which were executed for a
courtezan, although the chapel now belongs to Messer Agnolo Massimi. By
the same master was drawn and reproduced in engraving a very beautiful
ancient sarcophagus containing a lion-hunt, which was formerly at
Maiano, and is now in the court of S. Pietro; as well as one of the
ancient scenes in marble that are under the Arch of Constantine; and,
finally, many scenes that Raffaello had designed for the corridor and
Loggie of the Palace, which have since been engraved once more by
Tommaso Barlacchi, together with those of the tapestries that Raffaello
executed for the public Consistory.

[Illustration: THE MARTYRDOM OF S. LAWRENCE

(_Engraved after Bandinelli by =Marcantonio Bo