_St. Matthew_ (whom we shall meet again in our consideration of Florentine engraving, transformed into the _Tiburtine Sibyl_, engraved in the Fine Manner of the Finiguerra School) and _St. Paul_ (who likewise reappears as _Amos_ in the series of _Prophets and Sibyls_) show an increasing command of technical resources. The draperies are beautifully disposed; and, in _St. Paul_, the system of cross-hatching upon the back of the chair, in the shaded portions beneath, and upon the mantle of the saint, is fully developed. The _Madonna of Einsiedeln_, dated 1466, is usually accounted the engraver’s masterpiece. Beautiful though it is in composition and in execution, it suggests a translation, into black and white, of a painting, and on technical grounds, as well as for the beauty of its component parts, one may prefer the _Design for a Paten_, dating from the same year [1466]. Here the central scene, representing St. John the Baptist, owes not a little, both in composition and in technique, to the Master of St. John the Baptist. The four Evangelists, arranged in alternation with their appropriate symbols, around the central picture, are little masterpieces of characterization and of engraving, and there can be nothing but unmixed admiration for the way in which plant and bird forms are woven into a perfectly harmonious pattern. [Illustration: MASTER E. S. OF 1466. DESIGN FOR A PATEN Size of the original engraving, 7⅛ inches in diameter In the Royal Print Room, Berlin] [Illustration: MASTER E. S. OF 1466. ST. JOHN ON THE ISLAND OF PATMOS Size of the original engraving, 8⅛ × 5½ inches In the Hofbibliotek, Vienna] _St. John on the Island of Patmos_ likewise shows unmistakably the influence of the Master of St. John the Baptist and is doubly interesting inasmuch as, in its turn, it had a shaping influence upon the engraving of the same subject by Martin Schongauer. It is dated 1467, the latest date found upon any plate by the Master E. S., and it is assumed that in this year his activity came to an end. MARTIN SCHONGAUER, who was born in Colmar about 1445 and is known to have died in 1491, is not only the most eminent painter and engraver in the latter third of the fifteenth century, he is one of the very greatest masters of the graphic arts. His plates number one hundred and fifteen, and, as in the case of Albrecht Dürer, it is upon his engraved work, rather than upon his all too few paintings, that his immortality must rest.