sides these two series, and one other in illustration of the Apocalypse, he designed many separate prints, both in the small manner of the Little Masters and in imitation of the large works of Maximilian, such as his Military Fête, in honor of Charles V., his Fountain of Youth, and the prints of the Marauding Soldiers, which measured four or five feet in length. His representations of peasant life are peculiarly attractive, because of the force of realism displayed in them, whether he depicted the marriage festival, or mere jollity or drunken brawl. In the breadth of his interests, in the variety of his subjects, and in his sympathy with the special movements of his age, he was as an engraver more characteristic of the civilization in which he lived than any other of the Little Masters who gave their attention to wood-engraving. Of the rest of this group none, excepting Hans Brosamer (1506–1552), left works in wood-engraving of any consequence; he designed in a free and bold manner, and his engravings are to be found in books of the third quarter of the century.
Other artists of this period devoted their attention to wood-engraving; but as they did not mark any new progress in the art, or reflect any aspect of German civilization which has not already been illustrated, they need not be treated in any detail. Virgil Solis (1514–1562), a very productive designer, who was employed by the Nuremberg printers to illustrate the books by which they attempted to rival the productions of the Lyonese press; Jobst Amman (1539–1591), whose excellent engravings of costumes and trades are well known; Erhard Schön (d. 1550), Melchior Lorch (1527–1586), whose works were of little merit; and Tobias Stimmer (1539–1582), a popular designer for book
