This thesis centers on an analysis of a single engraving, Hercules and Antaeus (fig. 1) by Agostino Veneziano, and seeks to address the formal, iconographic, and historical problems that the work raises. The research occupying the following pages concerns a particular impression of the print in the Burton Emmett Collection of the Ackland Art Museum. Since the print entered the Ackland’s collection in 1958, it has been given only cursory curatorial attention. The work has never before received sustained study, even though its composition contains a series of puzzles waiting to be solved. The print presents a non-canonical vision of the classical topos by an important, but understudied, printmaker of the cinquecento. This paper will critically examine Hercules and Antaeus for the first time.