A detailed drypoint engraving from the late fifteenth century depicting the moralising tale of Aristotle and Phyllis.

This drypoint engraving depicts the medieval moralising tale of Aristotle and Phyllis. The philosopher, humbled by his infatuation, is shown crawling on all fours while Phyllis rides upon his back, holding a bridle. The composition is circular, a format often utilised by the Master of the Amsterdam Cabinet for his small-scale, highly detailed works. The artist employs a delicate drypoint technique, which allows for soft, velvety lines that differ from the sharper incisions of traditional copperplate engraving.

In the background, two figures observe the scene from behind a wall, their expressions providing a commentary on the folly of the philosopher. The artist pays close attention to the textures of the clothing, the foliage, and the physical strain on Aristotle's features. The Master of the Amsterdam Cabinet, also known as the Master of the Housebook, is recognised for his observational skill and his ability to capture human emotion with economy of line. This work reflects the late fifteenth-century interest in didactic narratives, where classical figures were often reinterpreted through a medieval lens to warn against the dangers of lust and the loss of reason.

The print demonstrates the technical capabilities of the drypoint medium during the late Gothic period. The lines possess a characteristic softness, as the burr of the metal plate holds the ink in a way that creates subtle tonal variations. This piece remains a fine example of the narrative printmaking tradition in the Upper Rhine region, where the artist was active. The circular frame serves to focus the viewer's attention on the central interaction, while the surrounding elements provide a sense of place and narrative context without overwhelming the primary subject.