This print simply but elegantly summarizes the interplay between sculpture, print, myth, and life that runs throughout this exhibition. Giovanni Battista Scultori depicts the Po River as a reclining male nude, a personification common in ancient art. The engraved figure seems at once sculpted and alive, as if the printmaker is showing off his ability to breathe life into the static forms of classical statuary. Scultori’s name also resonates with the themes of this exhibition. Giovanni Battista was the first to use the term sculptor (in this case meaning “engraver”) as part of his signature. Though perhaps intended primarily as a play on his own name, the term came to be a favored form of self-identification by his fellow engravers, whose work entailed “sculpting” into a metal plate. Many printmakers of Scultori’s generation were trained as metal smiths, a fact that brings the dialogue among the arts full circle.