Baccio Baldini

[6] They are "characterized by rather sharp, often deeply incised outlines: similar deeply-cut graver work for the features, for the ample ornament of the costumes, and for the architecture; and extremely fine lines, organized into rather fuzzy cross-hatching, for the shading, which often gives the draperies an almost furry look".

[7] He, or his circle, have been attributed with the Florentine Picture-Chronicle in the British Museum, an album of 55 drawings of scenes and figures of ancient history.

[8] Jay Levinson has also attributed to him several of the Otto Prints "a group of delightful engravings, mostly in the round, showing amorous subjects or hunting scenes; they were intended to be pasted into gift boxes", which are also in the British Museum (they survive in unique impressions, presumably from a collection for customers to choose from).

[10] Hugo Chapman points out that there is "no contemporary reference to Baldini making prints" at all,[11] and Vasari was writing almost a century after his career is supposed to have begun.

Botticelli's attempt to design the illustrations for a printed book was unprecedented for a leading painter, and though it seems to have been something of a flop, this was a role for artists that had an important future.

[26] Apart from a general stylistic similarity to the prints attributed to Baldini, there are some specific borrowings (in whichever direction), or use of a common source.

[33] He is attributed with a set of 24 Prophets and 12 Sibyls, all shown seated at full-length, with verses underneath, copied by Francesco Rosselli and others, and a series of The Planets.

[34] Engravings by Baldini were published in 1477 illustrating Monte Santo di Dio, a religious work by Antonio Bettini, printed by Nicolaus Laurentii.

[36] Other large individual prints are a Conversion of Saint Paul, in a unique impression in Hamburg,[37] and a Judgement hall of Pontius Pilate, "known only in a very late reworked state and therefore difficult to judge".