The contributions of Andrea Mantegna and Antonio Pollaiuolo to the development of graphic invenzione have long been considered important in the study of early Italian prints. This field attracted considerable scholarly attention earlier this century, 1 and the subject has again been opened up to fresh and vigorous debate as a result of important new studies published during the 1990s. 2 This paper, although emerging from the study of Antonio Pollaiuolo, also coincides with some of the issues raised in both the old and the new literature.