Albrecht Dürer (e Marcantonio Raimondi) nella Felsina pittrice di Carlo Cesare Malvasia: biografia, autografia e collezionismo

Thanks to a new analysis of some passages from the Life of Marcantonio Raimondi, both in the printed version of Felsina pittrice and in the manuscript submitted by Carlo Cesare Malvasia in 1677 to the approval of the Inquisition, the author proposes a more complete evaluation of the role that Malvasia recognizes to Albrecht Dürer, with new considerations on the autography of his prints, on their importance in the artistic training of Marcantonio Raimondi, on their widespread collecting in Bologna shortly after the mid-seventeenth century