| Sumario: | The fact that the methods were so artistic-creative that they had the ability to build a diverse and conclusive type of communication with an ability to multiply and disseminate which worked as a catalyst in the social framework (outside the residences of the nobility or of the museums) generated a strong conviction according to which the engraving was categorized as having a plausible relevance. Undoubtedly, the engravers expressed themselves in various types of (visual) messages-expressions, through an approximately wide range of plastic statements, by constituting and considering the "graphic alphabet" as having a real potential of reliability for the particularities of individual artistic methods and they were under the sign of the receptive interest and at the same time with an ardour for the technical order, increasing both their own artistic repertoire and the general one of the considerable cycles of creations. As far as the thematicdesiderata are concerned for the artists-engravers of the time, we can report that they were positioned under the sign of apophthegma, sometimes reaching the level of monomonia, concepts-exercises that could not be included only in the frame of a certain painting, but rather were themes that required multiplication in series or were pretending intensifications and edifying detentions, which were identified by engraving, as being the best solution.
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