visit Antwerp. The disruptions of the Dutch Revolt scattered all the Antwerp artists across Northern Europe, and after the siege of Antwerp in 1585 Jan and Rafael worked in several German cities - Mainz, Frankfurt-am-main, Munich without settling for long, before they went to Italy in 1593, where Jan may have died. They first went, accompanied by their nephew Aegidius II, to Verona, then Venice from 1596/7, where they had a shop. In 1604 Rafael returned to Munich, where he remained for most of the rest of his life, of which the last record comes in 1622. Jan's son Marcus, or Marco, remained in Italy as a publisher and artist, though there may be confusion between his work and that of his presumed relation the older Marcus. Three of their best-known prints after the Bassani are known as the "Sadeler kitchen scenes". They show respectively Christ in the house of Mary and Martha, at Emmaus, and Dives and Lazarus. Aegidius Sadeler II Aegidius Sadeler (sometimes written Egidius, or Gilles) was also a painter, and a leading Northern Mannerist engraver; the best of the dynasty. After moving to Cologne in childhood (c. 1579), then Munich (c. 1588), he trained in Antwerp, and went to Italy, working in Rome (1593), then back to Munich with his uncles Jan and Rafael in 1594, travelling with them to Verona, and probably Venice (1595–97). After a trip (apparently alone) to Naples he moved to Prague in 1597, where spent the rest of his life, mostly employed by Emperor Rudolf II. He lived for some time in the house of Bartholomeus Spranger, whose works he engraved. As the more important figure, references to just Aegidius Sadeler are more likely to mean him than his father. He sold prints from a stall in the Vladislav Hall in Prague Castle, shown in a well-known engraving of his (1607), and his prints after Spranger, Roelant Savery and other Prague artists were important in disseminating the style of Rudolfine Mannerism across Europe, especially Germany and the Netherlands. He also painted, although no works certainly by him survive. His early works were mostly religious prints after Northern painters, several in sets. In Italy he added Northern painters working in Italy, such as Paul Bril and Denys Calvaert, as well as Italian masters both some generations older (Titian, Raphael, Parmigianino, and contemporary (Tintoretto, Barocci). In Prague he engraved the Mannerists of Rudolf's