Print collector's quarterly (4.1914)

bodies is modeled by short lines in contiguous rows. In
the matter of technique Schongauer, without doubt, is a
pupil of Master E. S. who may have lived in Basle or in
Strassburg, even though there is no evidence of their
having been in personal contact with each other. No
trace is found of any influence of the great monogramist
in the earliest engravings of Schongauer, the Madonna
crowned by Angels, the Small Crucifixion and the Man
of Sorrows. In later plates such influences become
clearly evident. The stränge parallel lines in the sky in
the Temptation of St. Anthony, increasing in depth to-
ward the top, can only be explained by comparison with
two corresponding plates of Master E. S. The posture
and forms of Christ, in the early Crucijixions, in like
männer seem influenced by his predecessor, but, to my
mind, the echo of the elder master is nowhere more
clearly evident than in the Madonna with the Parrot,
which is closely related — in facial form — to the latest
Madonna pictures of Master E. S. Finally, as we know,
there is — among the fancy armorial designs — a Schon-
gauer engraving actually copied after Master E. S., the
only copy among all his prints. In another figure of that
series the costume is of the kind we are wont to find in
the engravings of the monogramist.
Schongauer starts out, in regard to technique, from
the heights to which his predecessor had carried graver
work. Thence he, in turn, progresses. With him, for
the first time, the lines in their entire length follow the
curves of the body; another series Crossing the first, in-
dicates the rounding of the form. The transition from
dark to light is effected by breaking the lines into little
hooks. Extensive use is made of simple, plain cross-
hatching, but in the depths of shadow, he is obliged to

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