SANDRO BOTTICELLI. _By Herbert P. Horne._ 43 plates. London: George Bell & Sons. 1908. pp. 288-291. THE TAROCCHI PRINTS (c. 1467) DIE TAROCCHI; ZWEI ITALIENISCHE KUPFERSTICHFOLGEN AUS DEM XV. JAHRHUNDERT. _Edited by Paul Kristeller._ 100 reproductions on 50 plates. Berlin: Bruno Cassirer. 1910. (Graphische Gesellschaft. Extraordinary Publication 2.) DER VENEZIANISCHE KUPFERSTICH IM XV. JAHRHUNDERT. _By Paul Kristeller._ 6 illustrations. Mitteilungen der Gesellschaft für vervielfältigende Kunst, Vol. 30, No. 1. Vienna. 1907. ORIGINE DES CARTES À JOUER. _By R. Merlin._ About 600 reproductions. Paris: L’auteur. 1869. THE TAROCCHI PRINTS. _By Emil H. Richter._ 13 illustrations. The Print-Collector’s Quarterly, Vol. 6, No. 1, pp. 37-89. Boston. 1916. CATALOGUE OF PLAYING AND OTHER CARDS IN THE BRITISH MUSEUM. _By William Hughes Willshire._ 78 reproductions on 24 plates. London: The Trustees. 1876. POLLAIUOLO, ANTONIO (1432-1498) FLORENTINE PAINTERS OF THE RENAISSANCE. _By Bernhard Berenson._ New York: Putnam’s Sons. 1899. pp. 47-57. ANTONIO POLLAIUOLO. _By Maud Cruttwell._ 51 illustrations. London: Duckworth and Company. 1907. NOTE SU MANTEGNA E POLLAIUOLO. _By Arthur Mayger Hind._ 2 illustrations. L’Arte, Vol. 9, pp. 303-305. Rome. 1906. GERMAN ENGRAVING: THE MASTER OF THE AMSTERDAM CABINET AND ALBRECHT DÜRER With the exception of Martin Schongauer, none of Dürer’s immediate predecessors better repays a thorough study, or exerts a more potent fascination, than the MASTER OF THE AMSTERDAM CABINET. The earlier writers, from Duchesne to Dutuit, were united in their opinion that this engraver was a Netherlander; but Max Lehrs, following the track opened up by Harzen, has proved conclusively that the Master of the Amsterdam Cabinet (so called because the largest collection of his engravings--eighty subjects out of the eighty-nine which are known--is preserved in the Royal Print Rooms in Amsterdam) was not a Netherlander but a South German, a native of Rhenish Suabia--the very artist, in fact, who designed the illustrations of the Planets and their influences and the various arts and occupations of men, for the so-called “Medieval House Book” in the collection of Prince von Waldburg-Wolfegg. In subject-matter he owes little to his predecessors, and in technique he is an isolated phenomenon. _St. Martin and the Beggar_ and _St. Michael and the Dragon_ show that he was acquainted with the work of Martin Schongauer; the _Ecstasy of St. Mary Magdalen_ is obviously based upon a similar engraving by the Master E. S. of 1466; but for the most part he stands alone. He seems to have worked entirely in dry-point upon some soft metal--lead or pewter, perhaps--and the ink which he used, of a soft grayish tint, combines with the breadth and softness of the lines to impart to his prints much of the character of drawings in silver-point.