MARTIN SCHONGAUER ALS KUPFERSTECHER. _By Woldemar von Seidlitz._ Repertorium für Kunstwissenschaft, Vol. 7, pp. 169-182. Berlin and Stuttgart. 1884. MARTIN SCHONGAUER ALS KUPFERSTECHER. _By Hans Wendland._ 32 reproductions. Berlin: Edmund Meyer. 1907. MARTIN SCHONGAUER. EINE KRITISCHE UNTERSUCHUNG SEINES LEBENS UND SEINER WERKE NEBST EINEM CHRONOLOGISCHEN VERZEICHNISSE SEINER KUPFERSTICHE. _By Alfred von Wurzbach._ Vienna: Manz’sche K. K. Hofverlags und Universitäts Buchhandlung. 1880. MASTER OF THE BANDEROLES (flourished c. 1464) DER MEISTER MIT DEN BANDROLLEN; EIN BEITRAG ZUR GESCHICHTE DES ÄLTESTEN KUPFERSTICHS IN DEUTSCHLAND. _By Max Lehrs._ 19 reproductions on 7 plates. Dresden: W. Hoffmann. 1886. MECKENEM, ISRAHEL VAN (c. 1440-1503) DER MEISTER DER BERLINER PASSION UND ISRAHEL VAN MECKENEM. _By Max Geisberg._ 6 reproductions. Strassburg: J. H. Ed. Heitz (Heitz & Mündel). 1903. (Studien zur deutschen Kunstgeschichte. Part 42.) VERZEICHNIS DER KUPFERSTICHE ISRAHELS VAN MECKENEM. _By Max Geisberg._ 11 reproductions on 9 plates. Strassburg: J. H. Ed. Heitz (Heitz & Mündel). 1905. (Studien zur deutschen Kunstgeschichte. Part 58.) MASTER =W A= (flourished c. 1470) DER MEISTER =W A=; EIN KUPFERSTECHER DER ZEIT KARLS DES KÜHNEN. _By Max Lehrs._ 77 reproductions on 31 plates. Dresden: W. Hoffmann. 1895. STOSS, VEIT (c. 1450-c. 1533) VEIT STOSS; NACHBILDUNGEN SEINER KUPFERSTICHE. _Edited by Engelbert Baumeister._ 13 reproductions. Berlin: Bruno Cassirer. 1913. (Graphische Gesellschaft. Publication 17.) OLMÜTZ, WENZEL VON (flourished 1480-1500) WENZEL VON OLMÜTZ. _By Max Lehrs._ 22 reproductions on 11 plates. Dresden: W. Hoffmann. 1889 (In German.) [Illustration: MASTER L Cz. CHRIST TEMPTED Size of the original engraving 8¾ × 6⅝ inches] [Illustration: MASTER L Cz. CHRIST ENTERING JERUSALEM Size of the original engraving, 8⅞ × 7 inches In the Museum of Fine Arts, Boston] ITALIAN ENGRAVING: THE FLORENTINES Engraving in Italy differs, in many essentials, from the art as practised in Germany. Germany may claim priority in point of time, but it is doubtful whether the Florentines--for in Florence, and among the goldsmiths, the art took its rise in Italy--in the beginning were influenced by, or even acquainted with, the work of their northern contemporaries. In Germany the designer and the engraver were one, and some of the greatest masters embodied their finest conceptions in their prints. We may truly say that the world-wide reputation which Dürer and Schongauer have enjoyed for four centuries and more, rests almost entirely upon their engraved, rather than upon their painted, work.