apparent in the engravings of Martin Schongauer, the leading figure in fifteenth-century engraving. In his work we still discern the peculiar characteristics of the period, long slim hands and feet, an emaciation which brings the head into prominence, a tendency--reminiscent of the Middle Ages--to treat each object independently, as a unit, as a symbol of its kind; but then what purity and sincerity emanate from his figures. In his “Death of the Virgin,” what a harmonious effect, what keenness of observation. He knows little of the rendering of nudity,--all Northern artists are hampered in that way,--but his bodies, though lacking in structural skill, are wonderfully well caught in pose and gesture. His observation and his resourceful imagination were fully recognized by both Dürer and Raphael, who both availed themselves of his achievements. The graver helps to round the forms, by following the direction of the curves. Long, steady, curving strokes, emphasized in the deep shadows, breaking up--in the lights--into dots which blend into the high lights of white paper. No hesitating, little criss-cross strokes here, but a dignified simplicity of line which enhances the dignity and simplicity of his compositions. Remember that in order to appreciate these essential qualities of line and of resulting effect, you must consult the original prints; half-tone illustrations cannot be expected to convey more than a general idea of the originals. [Illustration: DEATH OF THE VIRGIN Martin Schongauer] It would be unfair to attribute all this artistic development to German initiative alone. Italy has practically no share in it, at this period, but the close commercial relations existing between Germany and the Burgundian Netherlands must have facilitated an artistic intercourse most beneficial to the former country. The stupendous creations of the brothers Van Eyck, of Van der Weyden, Memling, Van der Goes, and others did induce workers in the artistic crafts to visit the Low Countries. Their contemplation must have been a source of stimulating inspiration to the German painters, and indirectly to German engraving. Direct influence there could not be, since we look in vain through the ranks of this flourishing school of Flemish painters for any manifestation in the graphic arts. Only the arts of opulence: painting, costly illuminated manuscripts with miniatures, or the woven tapestries of Arras and Brussels, brocades, and laces, were produced in the prosperous towns and at the brilliant ducal court of Burgundy. * * * * * [Illustration: SIBILLA SAMIA Florence, 15th Century] [Illustration: CLIO, FROM THE SO-CALLED TAROCCHI Northern Italy, 15th Century] [Illustration: BATTLE OF NUDE MEN Antonio Pollajuolo] [Illustration: CHRIST BETWEEN TWO SAINTS Andrea Mantegna]