also known by his family name Ramondi, an eminent Italian engraver, is supposed to have been born in Bologna about 1487. After studying painting in that city under Francesco Francia, he repaired to Venice to prosecute his art still further. Seeing, however, exposed to sale some woodcuts of the eminent Flemish artist Albert Dürer, he expended all his money in buying them, and began to imitate them on copper. So faithfully copied was one of these imitations, representing the Life and Passion of our Saviour, that when it had been marked by the initials of Dürer, it is said by Vasari to have been sold throughout all Italy for the work of that eminent engraver. When Albert Dürer, however, heard of this illegal use of his name, he hastened to Venice, and induced the senate to issue a command prohibiting Marcantonio from again employing his signature. Removing soon afterwards to Rome, Marcantonio introduced himself to the notice of Raffaello da Urbino, a copperplate which he executed of the "Lucretia" of that master. Raffaello accordingly employed him in engraving many of his other designs, including the "Judgment of Paris," the "Slaughter of the Innocents," the "Rape of Helen," and the "Death of Santa Felicita." With so masterly and delicate a hand did Marcantonio execute this undertaking, that his fame spread rapidly, and pupils flocked to him from all quarters. His engravings of the heads of the Caesars, after ancient medals, wrung a commendation even from the offended Albert Dürer. After the death of Raffaello in 1520, he was employed by Giulio Romano to engrave several of his designs. Among these were twenty plates of figures so grossly indecent, that Pope Clement VII., in a virtuous indignation, threw Marcantonio into prison. There he might have paid an extreme penalty for his crime, had not Cardinal de Medici and Baccio Bandinelli effectually sued for his release. He then returned to the practice of his art; and by his exquisite engraving of the picture of Baccio Bandinelli, representing the martyrdom of San Lorenzo, he so delighted the pope, that he was forgiven for his former offence and received into favour. More profitable patronage might have been extended, had not the sack and pillage of Rome by the Spaniards followed in 1527. Marcantonio barely escaping with his life, returned a beggar to his native city. He died there not many years afterwards.

Besides being a master in his art, Marcantonio earned the distinction of giving the first stimulus to engraving in Italy. A very full catalogue of his works is given in Heinecken's "Dictionnaire des Artistes." About 500 of them may be seen in the Print Room of the British Museum. Many of his engravings are anonymous, and some are marked with M.A. or M.A.F. (Vasari is the best authority for his biography. See also Lanzi's "Stor. Pittor. i.")