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Bridging the gap between social science studies and econometric
analysis
Designed to bridge the gap between social science studies and field-
econometrics,Econometric Analysis, 8th Edition presents this ever-
growing area at an accessible level. The book first introduces readers to
basic techniques, a rich variety of models, and underlying theory that is
easy to put into practice. It then presents readers with a sufficient
theoretical background to understand advanced techniques and to
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economists in the field.
Apart from Mantegna, Leonardo and Bramante are the two great
names which have been connected with engravings of the period.
But I incline to doubt whether either of them engraved the plates
which have been attributed to them. The large Interior of a Ruined
Church, splendid in design and reminiscent of the architect’s work in
the sacristy of S. Satiro, Milan, might equally well have been
engraved by a Nicoletto da Modena, with whose earlier style it has
much in common. Of the prints attributed to Leonardo, the
fascinating Profile Bust of a Young Woman (p. 252), unique
impression in the British Museum, stands out from the rest for the
sensitive quality of its outline, but even here I would be more ready
to see the hand of an engraver like Zoan Andrea, who after leaving
Mantua seems to have settled in Milan and done work in a finer
manner influenced by the style of the Milanese miniaturists (such as
the Master of the Sforza Book of Hours in the British Museum).
In Venice Giovanni Bellini’s style is reflected in the dignified
engravings of Girolamo Mocetto, and in the region of Bologna or
Modena one meets the anonymous master “I B (with the Bird),”
whose few engraved idyls are among the most alluring prints of the
lesser masters of north Italy.
More individual than Mocetto and far less dependent on any other
contemporary painter is Jacopo de’ Barbari, who is of peculiar
interest as a link between the styles of Germany and the South.
Whether of Northern extraction or not is uncertain, but the earlier
part of his life was passed in Venice. Dürer was apparently much
impressed by his art on his first visit to Venice between 1495 and
1497, and his particular interest in the study of a Canon of Human
Proportions was aroused by some figure-drawings which Barbari had
shown him. Dürer even seems to have taken an immediate
suggestion for a composition from Barbari, i.e. for his Apollo and
Diana. Dürer’s version shows a far greater virility and concentration
of design, but for all its power it lacks the breezier atmosphere of
Barbari’s print; it is redolent of the study, while the latter has the
charm of an open Italian landscape. There is a distinct femininity
about Barbari; perhaps this very feature and the languorous grace of
his treatment of line and the sinuous folds of drapery give his prints
their special allure.
I would close this article with some reference to two other engravers
of great individuality of style—Giulio and Domenico Campagnola, of
Padua.
Domenico’s activity as a painter continued until after 1563, but the
probable period of his line-engravings (about 1517-18), and his close
connection with Giulio Campagnola (though the exact nature of the
relationship is unexplained), justify his treatment among the
precursors rather than in the wake of Marcantonio.
Giulio Campagnola, like Giorgione, whose style he so well
interpreted, was a short-lived genius. He was a young prodigy,
famous at the tender age of thirteen as a scholar of Latin, Greek,
and Hebrew, besides being accomplished as a musician and in the
arts of sculpture, miniature, and engraving. Little wonder that he did
not long survive his thirtieth year. Probably his practice as an
illuminator as well as his particular aim of rendering the atmosphere
of Giorgione’s paintings led him to the method of using dots, or
rather short flicks, in his engraving, which is in a sense an
anticipation of the stipple process of the eighteenth century, though
of course without the use of etching. Most of his prints are known in
the two states—in pure line, and after the dotted work had been
added.
Giulio Campagnola. St. John the Baptist
“One of the most splendid of his plates is the St. John the
Baptist, with a dignity of design whose origin may probably be
traced back to some drawing by Mantegna, though the
landscape is of course thoroughly Paduan or Venetian in its
character.” Arthur M. Hind.
Reproduced from the impression in the Print Department,
Museum of Fine Arts, Boston
Size of the original engraving. 13⅝ × 9⁵⁄₁₆ inches
T
HE French make a fine distinction between three varieties of that
very special individual to whom we refer in a general way as “a
collector.” They have always been authorities on that subject and
one of them has said: “On est amateur par goût, connaisseur par
éducation, curieux par vanité.” While another adds: “Ou par
spéculation.” By “collector” we simply mean a person who has
formed the habit of acquiring the things in which he is particularly
interested, and these in as many varieties as possible. It implies
neither an artistic pursuit nor a deep knowledge of the subject. By
curieux, however, is meant, as a rule, an amateur, a man of taste
who collects things which pertain to art exclusively; he is in most
cases a connaisseur, and always an enthusiast.
Paris, the home of taste, has never been that of the curieux more so
than at the present day, when, it seems, every one who can afford a
rent of over four thousand francs has a hobby of some sort and is a
mad collector. A general history of the weakness for things either
beautiful or odd or rare, or merely fashionable, would be both
voluminous and chaotic, if a distinction were not made between that
which pertained to art and that which did not. A complete description
of the latter, a hopelessly heterogeneous mass, would make an
amusing volume, for there is no end to the variety of things in which
vanity and folly have caused human beings to become interested to
the point of collecting in large numbers.
George IV collected saddles; the Princess Charlotte and many
others, shells. Tulips were so madly sought after in Holland that one
root was exchanged for 460 florins, together with a new carriage, a
pair of horses, and a set of harness. Shop-bills and posters have
been the specialty of many, while thousands of persons have
collected postage-stamps and coins. A Mr. Morris had so many
snuff-boxes that it was said he never took two pinches of snuff out of
the same box. A Mr. Urquhart collected the halters with which
criminals had been hanged; and another enthusiast, the masks of
their faces. Suett, a comedian, collected wigs, and another specialist
owned as many as fifteen hundred skulls, Anglo-Saxon and Roman.
If there have been men who have shown a propensity to collect
wives, Evelyn tells us in his diary:
“In 1641 there was a lady in Haarlem who had been married to her
twenty-fifth husband, and, having been left a widow, was prohibited
from marrying in future; yet it could not be proved that she had ever
made any of her husbands away, though the suspicion had brought
her divers times to trouble.”
Although we much regret that such an intensely interesting work as a
Comprehensive History of Collecting has never been written, we
realize that a mere description of rare and beautiful objects would be
unsatisfactory as long as we did not know their history and the way
in which they had been gathered together. It is the soul of the
collector which we should like to see laid bare. Was his work a labor
of vanity or one of love? Were his possessions mere playthings,
speculation, to him, or did they represent treasures of happiness
greater than all the gold in Golconda?
Without a doubt, it is one thing to collect what is highly prized on all
sides, with large means at one’s disposal, and the constant advice of
experts, and quite another to search patiently oneself for things
which the general public has not yet discovered, and then to acquire
them with difficulty.
Who shall know with what admirable zeal some collectors have
made themselves authorities on the things which they loved? with
what untiring energy they have sifted for years masses of trash in the