LITERARY REMAINS OF ALBRECHT DÜRER. _By William Martin Conway._ 14 illustrations. Cambridge: University Press. 1889. THE ENGRAVINGS OF ALBRECHT DÜRER. _By Lionel Cust._ 4 reproductions and 25 text illustrations. London: Seeley & Co. 1906. (The Portfolio Artistic Monographs. No. 11.) ALBRECHT DÜRER; HIS ENGRAVINGS AND WOODCUTS. _Edited by Arthur Mayger Hind._ 65 reproductions. London and New York: Frederick A. Stokes Company, n. d. (Great Engravers.) DÜRER. _By H. Knackfuss. Translated by Campbell Dodgson._ 134 illustrations. Bielefeld and Leipzig: Velhagen & Klasing. 1900. (Monographs on Artists.) EXHIBITION OF ALBERT DÜRER’S ENGRAVINGS, ETCHINGS AND DRY-POINTS, AND OF MOST OF THE WOODCUTS EXECUTED FROM HIS DESIGNS. (Museum of Fine Arts, Boston. November 15, 1888-January 15, 1889.) _By Sylvester R. Koehler._ Boston: Museum of Fine Arts. 1888. CHRONOLOGICAL CATALOGUE OF THE ENGRAVINGS, DRY-POINTS AND ETCHINGS OF ALBERT DÜRER, AS EXHIBITED AT THE GROLIER CLUB. _By Sylvester R. Koehler._ 9 reproductions on 7 plates. New York: The Grolier Club. 1897. DÜRER; DES MEISTERS GEMÄLDE, KUPFERSTICHE UND HOLZSCHNITTE. _Edited by Valentin Scherer._ 473 reproductions. Stuttgart and Leipzig: Deutsche Verlags-Anstalt. (Klassiker der Kunst. Vol. 4.) ALBERT DÜRER; HIS LIFE AND WORKS. _By William B. Scott._ Illustrated. London: Longmans, Green & Co. 1869. ALBRECHT DÜRER; KUPFERSTICHE IN GETREUEN NACHBILDUNGEN. _Edited by Jaro Springer._ 70 plates. Munich: Holbein-Verlag. 1914. ALBERT DÜRER; HIS LIFE AND WORKS. _By Moritz Thausing. Translated from the German. Edited by Frederick A. Eaton._ 2 volumes. 58 illustrations. London: John Murray. 1882. DÜRER SOCIETY. [PORTFOLIOS] WITH INTRODUCTORY NOTES BY CAMPBELL DODGSON AND OTHERS. Series 1-10 (1898-1908). 311 reproductions. Index of Series 1-10. London. 1898-1908. ----. Publication No. 12. 24 reproductions. London. 1911. ITALIAN ENGRAVING: MANTEGNA TO MARCANTONIO RAIMONDI Andrea Mantegna is, both by his art and his influence, the most significant figure in early Italian engraving. His method or viewpoint is a determining feature in much of the best work which was produced during the last quarter of the fifteenth century, until the influence of Raphael, transmitted through Marcantonio, with a technical mode based upon the manner of Albrecht Dürer, completely changed the current of Italian engraving, seducing it from what might have developed into an original creative art, and condemned it to perpetual servitude as the handmaid of painting.