Abstract

In the feld of prints, it is not unusual to have versions made with di#erent techniques of one inventio. On the other hand, the preparatory drawing for the engravings – and in general the graphic exercises relating to the engraved works – have almost never survived their use in the artists’ workshop. e protagonist work of this essay, a Flight into Egypt that we possess in the form of drawing, burin and chiaroscuro, escaped that fate. e Flight into Egypt will be studied by putting again at the centre of its history the words that Giorgio Vasari dedicated to it: he attributed the in%entio to Giulio Romano and the engraving to his collaborator Giovan Battista Scultori. e investigation will then move to a little studied area of reproductive prints by Giulio, that of xilography, considering some chiaroscuro derived from his drawings and related for technical and stylistic reasons to the Flight into Egypt