piece was not like other works executed by Raimondi's School, which were usually copies of other artists' preliminary drawings for paintings or frescoes. This piece was intentionally created to be distributed through the medium of print. The engraving attempts to illustrate a glimpse of the history of the subject, but also convey Raphael's commentary on the restorations of antiquity. In Dente's print of the Laocoon and his Sons, he uses the 'R S' monogram to record a different version of the fate of the Trojan priest. Raphael wanted to see Rome restored to its former glory. The piece seeks to 'harmonize the Plinian sculpture with the Virgilian narrative'. Evidenced by the inscription of an excerpt from Book II of the Aeneid, and the inscription of text from Pliny's Natural History. The evidence of Rome is seen through architectural structures and fragments; the depiction of an obelisk, as well as the style of the temple on the hill is equally iconically Roman. Two of Dente's other famous works are his 'Battle of the Innocents', produced from a piece of the same title by Baccio Bandinelli, and his 'Judgment of Paris', an engraving he imitated from a piece completed by Marcantonio, who had based his after Raphael. Imitation in Works Marco Dente's skill as an imitator was clear. The artist is said to have 'forged so precisely' in so many of his prints. It is common to see evidence of Dente's precision through his replication of arduously minute details of the master copy. Michael Bryan, in his Dictionary of Painters and Engravers, portrays Dente as a professional forger, with deceptive intents of his imitation. This portrayal has merit. Many of Dente's works were copied line by line; others have inscriptions and signatures that directly correspond to originals by Marcantonio. However, the artist's dedication to accuracy in his reproductive method had a purpose. It was not to deceive the buyer, who could be fooled with less effort; it also was not to deceive Marcantonio, who as an experienced engraver, would have been able to identify it is a forgery regardless of Dente's efforts. Il Baviera was the keeper of all the original plates made by Marcantonio and his colleagues; the accuracy of Dente's imitation was fore mostly intended to mislead Il Baviera, the keeper of the original plates. The marketing of Dente's works as masterpieces by Il Baviera would have meant both Dente