Aeneas Saves his Father from Burning Troy

This print was based on a painting made by Barocci between 1586 and 1589 for the art collection of Emperor Rudolf II at Prague Castle. A detailed study done in oil paints by Carracci has been preserved (Windsor, Royal Collections) which, in all probability, served the artist as a model for this engraving. In his Felsina pittrice, Malvasia mentions the making of the engraving. According to him, Carracci created the print for his own pleasure. The two impressions he had sent Barocci did not meet with a positive response from the author of the study. Malvasia claimed that Barocci’s negative response was due to jealousy, as he was well aware that the engraving outstripped his own painting. Despite the fact that the engraving is a masterpiece, Malvasia’s words ought to be taken with some reserve, as he clearly sided with Carracci at the expense of other artists.