The Emblem. John Manning
If Drawing Acts has one shortcoming, it is that it focuses almost exclusively on those masters mentioned above, all of whom stand out from their contemporaries. Discussing Titian, for example, Rosand makes the point that the Red Sea is "a studied response to the sophisticated printmaking of Diirer" (164), and that in this selfconscious mode Titian developed "an essentially Venetian graphic dialect" (168). This potent idea might have been developed further by looking at the drawings and prints of Domenico Campagnola and others who responded to Titian's example. Yet, in raising questions like this, in considering qualities of line and meanings of marks, and in asking what "motivates" a line or graphic style, we have become the careful observers that Rosand hopes to inspire. In short, both as guide to the theory and history of Renaissance and Baroque design and as a stimulus to new kinds of critical analysis, Drawing Acts deserves the same close attention that Rosand would have us pay to his subject matter and is the rare book that will interest scholars, critics, and artists alike. JOHN MARCIARI Yale University Art Gallery