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Updated: June 23, 2025
The Virgin has the fine features and earnest, tender expression which recalls earlier Flemish painters. Her dress falls in rich, heavy folds upon the marble pavement. But, as with Van Eyck and Memling, Holbein and Schongauer, fine clothes do not conceal her girlish simplicity or her loving heart.
For a time he followed the methods of another German artist, Schongauer, but finally he went forth to try his luck alone. He wandered from place to place, practising all his trades, goldsmithing, engraving, whatever would support him, yet always and everywhere painting.
Michael Angelo, when a boy, is said to have copied engravings by Schöngauer and others, with his pen, in facsimile so true that he could pass his drawings as the originals. But I should only discourage you from all farther attempts in art, if I asked you to imitate any of these accomplished drawings of the gem-artificers.
I should have to work up my notes, and after dealing with Meister Wilhelm, Stephan Lochner, and Zeitblom, to speak of Bernhardt Strigel, an almost unknown painter, of Albert Dürer, Holbein, Martin Schongauer, Hans Balding, Burgkmayer, and I know not how many more.
Martin Schongauer was dead, but under that master's brothers Dürer studied and helped to support himself by his art at Colmar and at Bâsle. Various wood-blocks executed by him at the latter place are preserved there. Whether he also visited Venice now or not is a moot point.
Guido cared more for rare engravings and etchings than for pictures, and a few very fine framed prints stood on the big writing table; there was Dürer's Melancholia, and the Saint Jerome, and the Little White Horse, and the small Saint Anthony, and Rembrandt's Three Trees, all by itself, as the most wonderful etching in the world deserved to be; and here and there, about the room, were a few good engravings by Martin Schöngauer, and by Mantegna, and by Marcantonio Raimondi.
Schongauer gives a delightful oasis: palms and prickly pears, the latter conceived as growing at the top of a tree; below, lizards at play and deer grazing; in this place the Virgin has drawn up her ass, who browses the thistles at his feet, while St.
Martin Schongauer, one of the greatest German masters of the sixteenth century, is known to have been his pupil, and it is certain that there must have been many others. His poetical and profoundly human qualities had a special attraction for the "Pre-Raphaelite Brotherhood" inaugurated by Rossetti and Holman Hunt in the middle of the nineteenth century.
Of these I would take two as typical typical of individual fancy most strangely contrasting with the conventionalism of the Italians. Let the reader think of any of the scores of Flights into Egypt, and of Resurrections by fifteenth-century Italians, or even Giottesques; and then turn to two prints, one of each of these subjects respectively, by Martin Schongauer and Altdorfer.
The bold, careless, effective drawing of the Italian engravers contrasted strongly with the profoundly conscientious work of Schöngauer and Lucas van Leyden, and revealed at a glance the incomparable mastery of Dürer's dry point and Rembrandt's etching needle, the deep conviction of the German, and the inexhaustible richness of the Dutchman's imagination.
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