Gert Jan!van der Sman, 'Le Siecle de Titien, Gravures Venitiennes de la Renaissance'.

Acute refinement characterized engraving in Venice concurrently with Giorgione, and, at mid-cinquecento, marked the style of Battista Franco who must have been steeped in Michelangelo's exquisite chalk drawings. But the century belonged to Titan and the dramatic visions he designed for woodcut. The author discusses with connoisseurial sensibility and scholarly erudition, the prints of this high culture. Against these, he poses popular prints. The reviewer points to issues neglected by the author: the vernacular woodcutting style characteristic of Venice destined for an audience standing between the author's high and low polarities; and the extension of Mannerism beyond Schiavone into the spheres of Vasari, Francesco Salviati, Giuseppe Porta, and Lambert Sustris.