could be taken before the plate became worn. According to Arthur Mayger Hind, Schongauer was one of the first German engravers to "rise above the Gothic limitations both of setting and type" and that he "actualises an idea of beauty which in its nearer approach to more absolute ideals appeals to a far more universal appreciation" than earlier engravers such as Master E. S. With Master E.S., he was the first northern printmaker not only to have his prints very widely copied by other printmakers, but to have his designs taken by painters, sculptors and artists in all media. The demons in his The Temptation of St Anthony established the hybrids of fish, bird and insect types followed by Hieronymus Bosch and other artists throughout the next century. Major print rooms possess good collections of Schongauer's prints, most of which are relatively common for fifteenth-century prints, although impressions vary in quality a good deal. The different watermarks found suggest that impressions were printed over considerable periods, with most made when the copper plates were showing signs of wear. The Rest on the Flight into Egypt survives in some sixty impressions, though only seven are "of the first quality". For the large Christ Carrying the Cross, the largest engraving yet made, the equivalent figures are about seventy and fifteen. Paintings Only a few of his paintings survived, the most notable being the Madonna in the Rose Garden painted for St Martin's Church, Colmar and today displayed in the Dominican church nearby. This is a German subject, associated in particular with Cologne and Stephan Lochner, but Schongauer gives it a treatment very much in the Netherlandish style. It has been cut down at the top and sides to fit the elaborate later carved frame. The Musée d´Unterlinden in Colmar possesses the largest collection. Two double-sided shutters (probably made to surround a sculpted central section) from the "Orlier Altarpiece", dated c. 1470–75, show the Annunciation on the outer faces and a Nativity and Saint Anthony with donor portrait within. These are regarded as largely the work of the master, while the twenty-four panels from the doors of an altarpiece for the Dominican church are regarded as mainly painted by the workshop, no doubt to his designs. A Nativity in Berlin is attributed to him. The small Holy Family in the Kunsthistorisches Museum in Vienna is close in style to his engravings, and not