bed in
order to kill one who is sleeping in it. And he also executed one of
Alexander with Roxana, to whom that Prince is presenting a royal crown,
while some Loves are hovering about her and adorning her head, and
others are playing with the arms of Alexander.

[Illustration: THE DEATH OF LUCRETIA

(_After the engraving by =Marcantonio Bolognese=. London: British
Museum, B. 192_)

_M.S._]

The same masters together engraved the Last Supper of Christ with the
twelve Apostles, on a plate of some size, and an Annunciation, all after
the designs of Raffaello; and then two stories of the Marriage of
Psyche, which had been painted by Raffaello not long before. In the end,
Agostino and the above-mentioned Marco between them engraved almost all
the works that Raffaello ever drew or painted, and made prints of them;
and also many of the pictures painted by Giulio Romano, after copies
drawn for that purpose. And to the end that there might remain scarcely
a single work of Raffaello that had not been engraved by them, they
finally made engravings of the scenes that Giulio had painted in the
Loggie after the designs of Raffaello.

There may still be seen some of the first plates, with the signature
"M.R." for Marco Ravignano, and others with the signature "A.V." for
Agostino Viniziano, re-engraved by others after them, such as the
Creation of the World, and God forming the Animals; the Sacrifices of
Cain and Abel, and the Death of Abel; Abraham sacrificing Isaac; Noah's
Ark, the Deluge, and the Animals afterwards issuing from the Ark; the
Passage of the Red Sea; the Delivery of the Laws from Mount Sinai
through Moses, and the Manna; David slaying Goliath, already engraved by
Marc' Antonio; Solomon building the Temple; the Judgment of the same
Solomon between the two women, and the Visit of the Queen of Sheba; and,
from the New Testament, the Nativity and the Resurrection of Christ, and
the Descent of the Holy Spirit. All these were engraved and printed
during the lifetime of Raffaello.

After the death of Raffaello, Marco and Agostino separated, and Agostino
was retained by Baccio Bandinelli, the Florentine sculptor, who caused
him to engrave after his design an anatomical figure that he had formed
out of lean bodies and dead men's bones; and then a Cleopatra. Both
these were held to be very good plates. Whereupon, growing in courage,
Baccio drew, and caused Agostino to engrave, a large plate--one of the
largest, indeed, t